Filmmaking and Video Production Vol. 2: Film Editing with Adobe Premiere & Boris Suite - Deluxe

1. Filmmaking and Video Production Deluxe Editon FILM EDITING II: Have you ever dreamed about editing videos or movies that are truly professional. Do you want to learn the secrets behind creating a xful Audio Visual project. Then this course is for you. Welcome to this second volume of the new filmmaking and video production the Looks edition course. Focus on professional film and video editing. My name is avila Perez, and for over 15 years, I've been a film director, actor, and singer. I graduated from the Spain's top film school, and I'm here to share all my knowledge with you. I have crafted this course around two cinematic music videos created specifically for this platform through which you will learn a step by step how to turn your ideas into real audio visual privacy. In this course, you will learn how to sample and edit from scratch. Mastering techniques that go beyond software use and enable you to make right editing decisions. Editing for professional cinema or video isn't just about learning to use software. It's about making the right editing decisions based on sytics cinematic criteria in the language of ellipsis insensitivity to create new things from previously planned shoot. This course is aimed at anyone who wants to learn step by step how to construct an edit within a professional project. If you have already taken the first volume where you saw how to these works were filmed, this second volume is perfect for you. You can see on the screen the quality of the productions we'll be working with. Now, let's delve into the contents of this second volume of this deluxe edition dedicated to film and video editing. Volume two is entirely dedicated to Audio Vsel as production. The software you use is the last important. Nowadays, you don't need to be an expert in visual effects to create visual compositions, and that is one of the most important tools you will learn in this volume. You will learn to create a complete edit alongside me, and it will provide you with all the materials to make it from scratch. You will learn how to do color correction, restore under exposed images, and add a completely cinematic look to your video. Using as an example, one of the best suits at the moment, bore effect suite in Adobe Premier. You will learn how to create sound sign in editing in a simple and vast way. And finally, you will learn about the process of creating these fantastic visual effects, solely using the visual composition and editing. As a course project, you will create your own version of the edit. I will do step by step, and I will provide you with the material to do it yourself. So don't miss a chance to gain a knowledge that isn't available to everyone. I have created this course so that you can have a chance to learn with a real project using tools that someone like you would have at their disposal. If you have always trained about making movies or want to become a true film director, this is the course for you. My name is avio perez, and this is my Atelier in filmmaking and film editing that looks edition volume two. I see you in the first lesson. 2. Ordering and Selecting Footage Lecture: Hello, people. Welcome to this new film editing course. As you know, this is a volume two of the filmmaking Dukes edition course. So we're going to begin the first lesson by directly addressing one of the most important topics when it comes to video editing, organizing and arranging the Video futge. So remember that to understand this content properly, we are going to do a step by step assembly. And part of this course is for you to be able to make your round version of what I'm doing. So that is the reason why I had left all the material to achieve it as a course project. But first, we have to see the fundamentals to make an artistic and professional feudage arrangement. Okay. So imagine you're facing a table full of bussiness. Each video clip is a unique piece that we must strategically place to reveal the complete picture of our narrative. But how do we choose the right pieces? This is where our judgment as editors comes into play. It's not just about selecting the most beautiful shots but about identifying those that convey the motion and the message we want to communicate to the audience. So what is the process for selecting and organizing these shots? First, we need to develop a critical to recognize the most impactful moments in each clip. And this involves analyzing aspects such as image clarity, relevance to the story we are telling and the ability to evoke emotions in the viewer. So I'm going to give you a perfect example about it. The challenge of a good photographer is not only to take a good photo. It's much more complex than that. In a two hour photo session, a photographer can easily take 500 photos, and one of the most difficult task of a photographer is to select which car the best photos that came out of that photo session. You cannot imagine how difficult it is to know which ones are the best. And not only that, but to what extent a poor selection of the final photos can damage a photo session. I have worked with people who really take very good photos, and then the selection is a complete disaster. So for those people who think that video is quite different from photography, I remind you that a second film has 24 frames or photos. I mean, when you are choosing the exact second in which you are going to make a cut, it's as if you were choosing a specific photograph from a photo section. So if for example, the clip you are reviewing is 10 seconds long. This clip contains approximately 240 photographs from which you are supposed to select the best ones. I tend to insist a lot of this because this issue has nothing to do with the quality of the software you're using. For more than 100 years, there had been movies with excellent rhythm. Just 30 years ago, many music videos and movies were still edited in analog systems, and yet they had excellent editing. So the problem is that this is not as simple as black and white. But rather like a photographer must choose between 500 photographs. You also have quite a few video clips from which you must choose the best moments taken into account precisely that gray scale that ranges from prioritizing the actors performance, for example, for the beauty of the shot. I tend to insist a lot on this because this issue has nothing to do with the quality of the software you are using. On the other hand, you will always have shots that at first glance, they are very similar, but in reality, differ quite a bit. So it's important that you take all this into account when doing the course project in a, pay attention to the work that I'm going to do that I'm going to develop during the course, not only in the assembly lessons, but in the rest as well. Once we have identified our stand out shots, it's time to organize them effectively. This involves creating a current structure for our project, dividing it into sequences and subsequences, that helps us maintain the narrative flow and visual equation. But visual storytelling is also important in filmmaking each shot has a purpose and contributes to the development of the story. This is why it's so important to know how to create tension and rhythm to the image arrangement, using transitions and effects to keep the viewer engaged from the start to finish. An excellent example of Asne with masterful shot arrangement is the chase scene in the movie the dog night, directed by Christopher Nan. In this scene, we see the joker escaping from the pole through the streets of Godm City in a Salen fire truck. The editing of this sequence is empresed for several reasons. First of all, the rhythm intention, the editing maintains a frenetic pace that matches the intensity of the chase. Shots follows one and another rapidly. Creating a sense of urgency and tension that keeps the audience on the edge of their seats. On the other hand, the director uses a wide variety of angles and shots to capture the action from different respects from wide shots that show the magnitude of the chase to close ups that highlight the motions of the characters. Each shot is carefully selected to maximize visual impact. Despite that fast pace of editing, the sequence maintains impeccable nerative corns. Each shot is smoothly connected to the next, allowing the audience to easily follow the development of the action without getting lost in confusion. I think that is one of the most important things in editing. On the other hand, the editing includes a creative use of special effects that add spectacle to the scene without sacrificing credibility from explosions to impressive sounds, each special effect is seamlessly integrated into the editing, contributing to the audience immersion in the action. I think the chase scene in the dark night is a brilliant example of effective shot arrangement in editing. Throughout its phentic rhythm, variety of angles, narrative currents, and creative use of special effects. This sequence demonstrates how masterful editing can elevate and action scene to new cinematic heights. Another important detail take into account when editing is the concept of ellipses. Ellipsis in film editing is a powerful tool that allows us for the condensing of time and the advancement on the narrative efficiently. I mean by omitting segments of time between the scenes and within the same scene, the most relevant moments of the story can be highlighted, keeping the viewers attention and avoiding redundancy, eliminating superfluous elements and focusing on essentials, thereby contributing to a more dynamic and impressive cinematic experience. Furthermore, ellipsis enables viewers to fill innarrative gaps with the wrong interpretation, fostering active engagement, and reflection on the story. I mean, by suggesting events that of course off the screen, the audience imagination is a simulated, inviting them to connect to the dots and generating deeper emotional engagement with the characters and sequences and their sac stance. Thus, Ellipsis not only drives tip flow, but also enriches the cinematic experience by involving the viewer more profoundly in the plot. Actually, in my previous film editing course, we delve into this, I showed you an example of ellipses in the movie 12 years of slave, but now I will present two much better examples. A notable example of creative ellipses in cinema is the film 2001 space dys. In an iconic sequence ellipsis is used to showcase evolution of humanity from prehistory to the distant future in just a few minutes. The film skillfully cuts from the moment and ape and discovers the use of a bone as a tool to the launch of a spaceship towards Jupiter, spanning millions of years in a cinematic instance. This ellipsis not only condenses a vast amount of time, but also suggests the progress and evolution of humanity in an striking and evocative manner. On the other hand, the film lost in translation, directed by Saphia Coppola, features several of the scenes where ellipsis is used to represent the passage of time and the development of the relationship between the main characters to Bob and Charli. A notable scene is when Bob and Charlotte meet at a karaoke bar in Tokyo. Through a series of quick and suggestive cuts, the film shows a significant moments of their interaction at the bar from sharing love and intimate conversations to dancing together. So the ellipsis allows the viewer to infer the evolution of their relationship. During that time, they spend together in the setting, creating a sense of connection and complicity between the characters without the need to show every single moment of their interaction. Okay. So this technique contributes to the emotional and evocative atmosphere of the film. So in summary image arrangement is a fundamental process of video editing, allowing us to build visual impactful and exciting narratives. I hope you are ready to embark on this exciting and learning journey. I'm here to guide you every step of the way. I see you in the next lesson. 3. Soldier Landing: Perfect, we are here ready into the Ado premiere. We're going to start creating the sequence straightforward. We're going to click here and go to new item, and we're going to create the sequence. We type here in the name of the sequence, solve your sequence or whatever you want to type. And here in editing mode, we're going to select custom. Here, we're going to select the frame size, and the horizontal is 1920, and the vertical size is 900. Here in the pixel aspect ratio, we're going to select square pixels. And right here below, we're going to select quick time in the video previous. So we already have a frame with Anmorphic aspect. It's a kind of cinematic aspect. So now we're going to move on to the been with the Futage for selecting the futage we need. Remember that we are going to focus this time in this lesson in the soldiers landing. And not only that, but also that this scene is supposed to be different from that of the music video. So we're going to start reviewing the futge every single clip. So we're going to start with this clip, is a kind of wide open shot. And what I'm going to try is to extract some cross section of this clip, a useful cross section because you can notice that in the frame, I'm trying to lift the parachute, and I'm failing to do that. So so we're going to move up to the point where I managed to lift the parachute. I think it's right at this point, no. So I'm taking the parachute off the ground and quickly the parachute folds down to the ground again. That is the reason why I insist that the editor must have a lot of patients to seek for those moments. You can notice that here, there is other moments that can be useful. At this point, the pilot is trying to fold and pick up the parachute off the ground. So maybe if that is not indiscreet from the very beginning, you can add it there by reaching the final sequence. So we're going to select from the moment where I'm lifting the parachute to that moment when the parachute is falling to the ground. So we're going to click here, we're going to type, and then we're going to select the output that is here with, and I'm going to drag the putage to the timeline. We click and keep existing settings. Remember that the clip in the timeline oversizes the frame we selected at the beginning. So we must make it match with the frame. So we're going to move on to the next clip. We're going to look for other moments when I'm lifting the parachute. Fortunately, not in many occasions, I managed to take the parachute off the ground. So we didn't have 20 clips where I'm lifting the parachute. So in this case, this is exactly a worthwhile moment. A useful moment because this action is firm enough to portray the pilot landing on the desert. So I'm going to select this cross section, and I'm going to drag it to the timeline. But the take is longer. So I'm going to look for other moments when I'm lifting the parachute. But I think that that moment we selected before is the best from this take. Because actually you can notice on the screen that I'm striving to handle the parachute, and that doesn't look good for the story. I mean, that pilot is supposed to be an expert doing what he does. So the actor's action cannot contradict the character's core. Additionally, only the pilot is visible on the screen. The parachute is partially visible. And you can notice that I'm striving a lot here. So the prior attempt is far more better. So we're going to move on to the next clip. This one is a really beautiful take. I used this in the music video that moment when I'm fighting the wind to fold the parachute because the wind was very strong. At that moment. Actually, I mentioned in the filmmaking course that this was unexpected, an unexpected weather conditions that we faced in the shoot day. So you can notice that the paragt looks in a kind of slow motion due to the paragt size. But as I mentioned, I used this for the music video. So I'm not that interested in using that moment of the take because I want to create another another story from the same footage. But despite that, we can graph a cross section from this moment, another section or another moment, a special moment. For example, here, I think this moment is special when I'm walking around the parachute trying to fold it. So I'm going to select it only to drag it into the timeline. But I'm going to move on to look for other moments from this clip. We already have moments when I'm landing with the parachute, two moments. I'm going to look for a moment when the parachute is already on the ground. For example, here, it's interesting because the pilot is checking if there is no danger around, becoming aware that he is alone in the place. But you have to pay attention to this. You have to know exactly to what point you are going to cut from the shot, and this is where the details become valuable. If you notice the action of looking around was good. But there comes a moment where I lower my shoulders. And that in the performance is detrimental to the character. I mean that action of lowering the shoulders Dotate fatigue. A fatigue that the character should not have at that moment. So that is a strong signal to cut it before then. So what I'm trying to tell you is that it is not something completely visible. You have to develop sensitivity to notice those details and know where to cut the shot. So I find this part voluable from this tech, and I'm going to select only that part to drag it into the timeline. So we're going to move on to the next clip. Remember that when it comes to reviewing many clips, you should try to remember which moments you already have to build the montage in your mind. So this is the next one. So I'm going to check this from the very beginning. So I'm here moving around the parachute, moving that core. I don't know why is, I think I find it kind of senseless. So I'm not interested on that. And despite the fact that the shot is balanced. I mean, the take is good, but the performance is not that good. But we can continue looking for moments. It's not a problem. And you can notice that later the focus polar missed the focus completely. That was a mistake, kind of random things that happened in a shot day, you know, Okay. But actually, when he gets some focus again, the take becomes more beautiful because right at that moment when the take gets into focus again, the pilot is checking around the place. And that was the prior action that we selected in the prior shot in the prior take. So I'm going to select that moment and I'm going to drag it into the timeline. Okay. But the take continues, so we can select other moments. For example, these moments where the pilot is contemplating the horizon, is checking around also, but from a closer point of view. It's important to mention that those moments when a character is looking at some place. Fixedlythose moments are valuable for cuts. I mean, you can move from one take to another due to those moments and create ellipses. Ellipses, as I mentioned in my art of filmmaking course, are those time jumps, useful to tell the stories. I'm not taking into account the gun detail because because I'm not following that random situation. Simply the gun drop off my suit, and then I turn to the camera operator. So I'm going to select only that moment where I'm looking at the horizon up to here, and I'm going to drag it into the timeline. So we're going to move on to the next clip, and this time is this one where the soldier is doing a few steps into the desert. Maybe he's taking a breath after landing with the parachute. So let's check this take. Actually, there are two takes from the same action. This is the second take. M. But we are going to cut this take right here because from that moment on the soldier is staring at the planes. The fighter jets approaching. So that is the scene of the music video. But this time I'm focused only on the soldier one they're in the desert. So we are going to check the other take from this same action is this clip. So you can notice in this clip that is a closer one. So it's the same action from a closer point of view in terms of scene a patography. Okay Actually, there are some details you can notice, for example, the reflection in the mirror that were the two operators. That is an important detail because you are supposed to fix that in the editing. But on the other hand, I think the performance is almost the same. The same quality, and the same soldier is almost the same action. But I would dare to say that the cinematography is better in the prior take because the prior take is a wider shot. So that detail makes the take more beautiful from my point of view. Let's check the prior take again. Mm. Definitely, actually, the camera operator surrounds the pilot while walking, and that detail makes it a shot more interesting. So once we finish selecting the footage for a specific scene, we can reframe all the selected footage, the selected clip to make them match with the frame size of the sequence. I mean, that frame size we selected when creating the sequence. So from this moment on, all do we need is to get all the clips together. Here, I have a sequence example where I finished all the mendage but we are going to review and clip by clip, you know. This is the first one where the pilot is landing and you know that this action comes from this clip. So we only choose the cross section we need is the beginning of the clip. And then I mix this with the next one. That is just that part when he is touching the ground, touching the sand. So you had to be very patient to cut the exact moment that produces a fluent action between the two takes. Perfect. I think that like this looks very nice and it's fluent. The most interesting thing is that as long as you maintain currents between the two takes to that point of union, the audience are not going to notice that it's not exactly the same place where the action is taking place. Actually, in the sequence I already have, I already created. The second clip was reframed to maintain only the pilot on frame. So I think it's not necessary. I think when the parachute is visible looks quite good. It's not necessary to reframe that. So we continue with the sequence. You can notice that the third clip, it's the same first take when I'm checking around for tener, et cetera. So we simply look for another cross section out of the first take. I think it's in the final seconds of the first take. Okay. So the exact moment we need is when the pilot is facing the parachute, not with his fa, because it's necessary to have that moment to make it match with the other clip, that clip where the pilot is checking around, you know. Here you can see it up close, that the pilot is is with his fa, you know? So this moment, he turned around and he is facing the parachute in the same way as in the other clip. This kind of detail seems very basic, but they are not at all basic details. They are quite difficult details to bring out of the editing. So by practicing a lot, you are going to master this. You are going to hack the secret of taking details out of a footage. Now you can notice that the next clip is the same action, but when he is back, he's turning around and he is facing again to the barget. So I'm creating an action as if it were a kind of choreography previously prepared to this shoot and not at all, is created out of the futage out of the editing. And from this moment on, we are going to let this clip continue until the moment when he stares at the horizon here. And this moment is useful to create the cut to create a ellipses, that moment when the soldier is taking a breath, that moment when the soldier is doing a few steps into the desert. So remember that those moments when a character is staring at some place are useful to create cuts and to create ellipses. Obviously, when there is a sequence shot like this one, it's not necessary to create cuts and necessary cuts that spoil the cinematic appearance of the scene. So this first part ends here. So we can take again a part of the sequence we created from this moment. Pay attention how it looks. It seems very nice to me. I find it very nice this time jump, the psis, and our final shot. That is the soldier walking into the desert to take a breath. So so far so good, we are going to continue creating this editing this montage in the next lesson. 4. Running Away from fighter jets: Perfect, in the last lesson, we stayed in this part, where the soldier is taking a breath and looking at the sky. But what we are supposed to create from this moment on because this soldier is supposed to continue wandering in the desert. But you know that this stake portrays the moment where the soldier is staring at the sky and he realizes that the fighter jets are approaching to him. So the soldier stands up again. So he draws his gun and he is making ready to shut the planes, actually the thing that doesn't make any sense at all. But he's doing that because of his anger, you know, But in the moments, we are not particularly focus on that moment because that moment implies that we must add the fighter jets and visual effects related to the fire gun, and I just want to focus at this moment on portraying the soldier wandering the desert. So here we have two options. The soldier staring at the ground and the soldier staring at the sky. There are two options available to create the rest of the sequence. So I'm going to look for other clips to look for other moments to complement this. Basically, we need the soldier walking through the desert. So we're going to look for those moments. Here I'm trotin but I don't like at all the way I'm trot in here. I'm going to look for other moment. Maybe it is at the beginning. Here, when he is claiming the tune, seems really interesting to me. So I'm going to select this one with the and then the final, the output, with the, and I'm going to drag it into the timeline to have it in the sequence. But I think we can select other cross section of this same take. For example, here, when he is down this dune hill, I find it really interesting. But I know maybe you are thinking you already have an image, a take from that point of view. Well, there is a solution. We can transform this fue this image in another take. We can add and effect a plug in that can flip the image in a horizontal way to create another take. And that is a very important strategy to take your advantage to the next level. I mean, you have the same take. But in that take, there are two moments you want to use, but you need to make a difference in one attempt to make the viewer understand that there are two different moments. So we go to the video x beam and we look for transform beam and we select horizontal flip. Okay. And there you go, a completely new take. Because from that point of view, at that distance, the viewer is not going to notice that he is the same take. I mean, the distance between the character and the camera is long enough to prevent the viewer notice that the images flip. You have no idea how many times I used this strategy to create other takes out for the initial take. And people don't notice that at all. And you can notice actually that even the light direction is the same. Pay attention to the character shadow on the ground. I mean, even though they are in opposite directions is another point of view. So it doesn't matter that in this way, the shadow is towards the left side, and in the other clip is to the right side. Because it's another point of view, as if the camera were in different positions. So we were in this part of the sequence where the soldier is crouched down and staring at the ground. And if it is the final position, the following clips would be ones where the soldier is walking through the desert or maybe toting, like the last one we created, like this one, for example. But I already told you that there were two options. For example, if this take would end here where the soldier is staring at the sky, staring at the fighter gets, we could create another turning point. I mean, you know that in the original sequence, the soldier is realizing that the fighter gets are approaching. So he gets upset. He stands up, and he challenges the airplanes with his gun. But another action could be just to run away from that place, you know, for survival. And since we have another clips where the character is running through the desert, we can use those clips to create that sequence in the story. For example, this is another take where the character is wandering the desert. But he's walking actually. He's not running, but he is a really interesting shot. It's a really interesting take because there are different moments on it, different actions, and they are all very useful. Actually, we are going to use that later on, I'm going to let you contemplate this shot. So I'm going to drag it into the sequence at once to save time. But actually, in the same sequence, there are different actions. For example, this is another action, a moment, and this is the reason why I don't I'm not adding the whole sequence at once because there are different moments, so I'm going to cut another cross section from the same take to create another moment, a different moment in the sequence in the story. Additionally, you can notice that in this part ends here when I'm staring at some place as if the pilot were contemplating all the way left to go. So I'm going to reframe the clips at once to save time. So we are back here again. The soldier is crouched down, and I'm going to put the other clip after it. So it looks great, beautiful, is actually an option to create the story about the soldier wandering in the desert. But there is another option, as I told you, the soldier realizing that the fighter jets are approaching. So I'm going to go back to the first clip where the soldier is crouched down, and I'm going to cut just at the moment when he raises his head. So, just at that moment, we can create another turning point. So I'm going to look for another take where the soldier is running through the desert. For example, this one here seems very useful for me. We can add it to the timeline. But there is an important detail to take into account regarding this clip. If you notice he's running in a desperate way as if the threat were chasing him, and the planes are not chasing him directly. In the case of the music video, the fighter jets were fighting him directly. But this is not that case. This time, he saw the fighter jets from the distance. So he had a kind of time to run away, you know? So the cross section I'm supposed to select is the final section of the running. So when he is not running in a desperate way, but arriving that heel that you see on the screen. So I'm going to add just that moment that cross section, and I'm going to make it match with the prior clip the clip that the soldier is crouched down. So you can notice that it looks very nice. Looks fluent in coherent. And the most interesting thing is that we can combine that clip with this other one. Here, where the soldier is checking the sky to make sure there are not fighter jets around. Remember that this one, the final seconds from other clip we used before, As it was a sequence shot, we can let it flow. So let's continue with the action. Actually, the pilot is going to clean a little bit this heal. He take out his gun and take a breath again on that heal. So here, the camera operator loses control. That is the reason why I'm going to cut just right here. I'm going to drag into the cross section to the timeline. So I'm going to reframe the clip to match it with the sequence. And here we can watch the two clips together with the whole action. I think this is a secret of montage. You are creating a series of actions out of the clips. Of course, there is a good direction behind this project. I mean, the actions performed by the character make sense. And that is very important when it comes to creating new sequences from the original futage. So I'm going to continue reviewing this stake. There is another part where the pilot is aiming with the gun, checking around the place, and I think that is very useful to, you know. So I'm going to select this moment. Actually, it is the moment I selected in the music video. I'm going to drag it into the time also. And as I told you before, there is another moment here when he remains staring at the horizon again. And we can use that action to create another time jump another ellipses. So I'm going to drag it into the timeline in order to use it later on. But this same take continues. So I'm going to look for other useful moments. I know that there are other moments there. For example, here in the same shot later, the soldier is coming back because that take is where the soldier is running away from the micels in the music video. So when I was turning back, I was turning back walking by walking. So that is very useful too, and I'm going to create another frame as if it were another shot with other frame with other cinematography. And that allows me to differentiate this take from the other where I'm running away. So I'm going to combine this one with the other one. The other part of the sequence shot, that one where the soldier is walking through the desert. Perfect. So we are going to check what we have created so far from the very beginning. So here you are. There is a soldier arriving in his parachute. He tries to fold the parachute. He check around the place. He is tired. And we created the ellipses, the time down. Now, the soldier is walking through the desert, trying to take a breath. He crouches down. Then he removes his helmet. He's listening to those fighter jets that are approaching the place. So he runs away from that place. He is checking again the sky. I mean, the difference with the story in the music video is that in this story, the fighter jets are not that close, you know. He is taking he's gone out. He's checking again the place. Look at this detail. The sn spreads out in front of the camera. It looks great. And here we have created another time jump. The psis and we continue with the other scene. The sequence shot this one, that is really beautiful. And we are the other take walking into the desert. And we continue when he is crossing the dunes, but we are going to continue with that in the next lessons. 5. Among the dunes: So we are here again in the Adobe Premiere. Let's continue creating this sequence of the soldier crossing the desert. As I told you, this time we're going to focus on the soldier crossing the dunes. So in the last lesson, we reached this point where the soldier the pilot is staring at the horizon in that sequence shot. So I think that these clips we have selected. I think you remember we flip one of them to create another take. I mean, those clips could be useful to make a transition between the place. He's running away from the planes from the fighter jets to the dunes. So you can notice that there are some little trees over there in the background, branches, and that could be a signal, a sign that you are weighing out from that part of the desert, you know? So you can notice that he started toting. So let's continue reviewing the footage over here in the B. Actually, in your own projects, you can play with the clips, make a kind of experimentation to create another moment. So for example, let's review this another clip. It's a really interesting take since the cinematographer created two takes and one single take. For example, in the first seconds of this take, the pilot is walking towards the background, and you are not able to watch the son. So this is one take. I'm going to drag it into the timeline at once. But later on, you can notice this other frame composition. Once he reaches the background and he starts coming back, it's as if it were another take, another composition, another moment in place in the desert. So we can select this part also. Type in for the in and for the output and drag it into the timeline also. So we can move on to another clip. Let's see, for example, this over here. This is quite interesting because it's a wide open shot. Is the soldier crossing hill. Remember that the most interesting thing in terms of screen writing is that every single cut you make is a time jump. So when it comes to creating a story like this, when you are crossing a large space like a desert. It's very important to portray the passage of time. And I tell you this because we had used sequence shots in this composition. But also we are creating time jumps with these cuts that are ellipses. I mean to represent that the soldier is spending a lot of time crossing the desert. So I'm finishing adjusting the frame, the final frame. Make it match with the frame of the sequence. Because now, I'm going to explain to you something important regarding the point of view. The point of view is one of the most common mistakes made in audio visual language. So by showing you this example, I'm going to make you prevent making this mistake. So you can see on the screen that the soldier is walking or toting. But visually he's toting or walking towards a specific direction. But it happens that there are another clips where the soldier is walking towards another direction. For example, this one. Here the solar is walking towards the left side at least visually. If we mix that clip, that take wrongly with the others. That is going to create confusion in the sequence of events. Because the clips are displaying the sold walking towards the right side. Let me drag another clip of the same action. I think they are quite similar, but I think one of them is the best. I think it's one, this one is the best. I'm going to drag it into the timeline to have it ready. Perfect. So we're here again in this part of the composition. You can notice that the soldier is staring at the son fixedly and the son is located on the right side, you know, is towards the right side. And here, you can notice also that the soldier is walking towards the right side. In this shot. And the following shots are also displaying the soldier walking towards the right side, I correctly, it makes sense. So in order to continue telling about that action of the soldier crossing the desert, you are supposed to follow that direction logically because visually, it makes sense for the audience. But it happens that we have another text where the soldier is walking towards the left side. So what we are supposed to do to make the match. So we have to create a kind of transition to make the match to combine them correctly. So first, I'm going to show you where you are not supposed to do. I'm going to locate this clip right after the last shot in the desert and see what happens. You see, you can notice Isai were coming back, and it doesn't make any sense at all. So we need a shot that represents a transition in terms of point of view. These kind of problems are called axis problem in terms of cinematography. And they are all amateur problems that reveals that you are not a professional, at least in terms of editing. So as I told you, we need the shot transition, and that shot could be this one over here. You can notice that in this shot, the soldier is walking towards the background and slightly to the left side. But since he's walking towards the background, when I mix that shot with the last one in the desert, it doesn't create a problem at all, because the soldier is walking towards the background mainly. But since the pilot is walking towards the left side slightly, we can add the other take where the soldier is walking towards the left side. So I'm going to move the clip, so you see what it looks like. Pay attention. Okay. And it looks perfect because it's understandable that is another point of view, completely another point of view. I have seen this mistake made in so many movies and so many social media videos. And what I want is that you don't make this mistake from now on. Sometimes the cinematography is good, the direction is good, but the editor is not aware about it. So it's something very important regarding the axis. So let's review the sequence again. The soldier is walking through that part of the desert and he finishes staring at the horizon that is towards the right side, you know, is right after this point. This point. This is a time jump. The other take. He continues up in that hell way out of that part of the desert. He continues towards the right side, And he continues up to this point where there is the transition shot that allows us to change the point of view to this take that is toward the left side. You know. So there is another take where the soldier is stirring at the horizon through his vino cos. Actually, there are two shots related to that action. Let's review these two shots to explain to you why I selected this one. So this is the other shot, and you can notice that the frame is not completely balanced. Actually, we missed part of the back side of the soldier. You can notice that the composition is better here. It's almost the same frame, but it's not exactly the same. I think the other one is better. When we are able to watch the body completely. Additionally, when he stands up, he starts troting in this shot. The other one, he's just walking. So it's more useful to watch him throating. I turn that part of the shot in another take basically. Okay. Finally, I finished this part of the montage with this part that I was not performing at all at that moment. I was just going down that hill, and the cinematographer continues recording. So he captured that moment when I was going down that hell. So I included that moment in the montage. So so far so good, we are going to continue with the last part of this montage in the next lesson. 6. Reaching the sea: Perfect. We are here again in the premiere to create the final stage of this scene of this montage. So in this part, the soldier reaches the shore to activate the nuclear bomb. Remember that the soldier is exhausted, and that is what we are going to try to portray also. But what is so special in this part. Conversely to the prior's eclipse, in this part is more important to portray the actor's performance. Why? Because, for example, in the priors actions where the pilot is trying to go through the desert among the tunes. The most important thing is to portray the passage of time and also to portray that he is crossing a huge amount of distance on that desert. So that is the reason why it's so important to create those cuts to create ellipses to create different moments while he is crossing that desert. But conversely, when the pilot reaches the shore, the conditions are different because the performance is in one single place. I mean that part of the shot. So from a cinematic point of view, it's not important to create cuts in that moment because you want to portray the actor's performance to perfection. So this clip you are watching on the screen at this moment would be the final stage of crossing that desert. The soldier is panting and staggering to reach the scene. So, from this moment on, you're going to watch more longer sequences, more longer shots and takes, because the most important thing is to portray that tired soldier. So in order to let the audience contemplate the actor's performance, it's very important to select longer takes. And that is the first one when he is weighing out of the tunes. On the other hand, I think it's pretty important too to talk about style because style changes over the years. So in this stage in this age, 2024, I think that sequence shots are more important and while and cinematic language. Personally, I think this is a kind of art to quarans legacy. This is a kind of style they are installed in aspiring filmmakers, you know? I mean, they play a lot with sequence shots. So after this shot, only three takes are coming up. The first one is this one that portrays the action that happens in the soldier's face when he reaches the shore, pay attention to the bin. There are only four clips left to review. For example, this one is wide open point of view. There are two takes from this. I think this is the first one. Actually think there I was practicing the performance I'm supposed to do. So the soldier had to take off his gun holster, then drink last drops of water from the canteen. But that take, I'm not taking off the shirt at all. So so I was rehearsing the action for the cinematographer at that moment. But sometimes those rehearsals of the performance are important because you can bring out important actions from those kind of takes. So I cut the action here, I think, to create another take. So we're going to review the other clip. This other one is a good one, is the same point of view from a far, but this time the action is complete. The soldier reaches the shore. He is exhausted. He takes off his sun holster. He drinks the last drops of water. He takes off his shirt, as I told you, and he falls on the shore. So the soldier is going deep into his thoughts, feeling the moment. And he goes for his detonator that he is stored in his pocket. So this is also a sequence shot even though the camera is not traveling at all, but the action is long enough to be a sequence shot. So he finishes activating the detonator. He walks into the as again to contemplate explosion. In fact, I used some of these moments to create this posi moment in the music video because it's a very good shot. But I think the most important shot of this part is this one. I mean, the closer point of view. I think in terms of actors performance is better, and the cinematography is also very good. So I'm going to let you contemplate the whole take from the beginning to the end. I think that take was amazing. The cinematographer is contemplating the whole moment in a profound way. And since the camera is closer to the actors, the camera is capable to capture the gestures in detail, and the performance is better, actually. It's more real, is stronger and firm. The way the si is taking out the detonator, he is doing in a desperate way. And this moment when the soldier stands up again, the camera follows the actor quite good. It's a really great cinematographer. I find really beautiful those moments where the cinematographer commits with the performance in a truly way. And that is the reason why creating cuts this time is detrimental to the cinematic language. I mean, the camera is supposed to be submitted to the actor's performance. So I only take out the part where the soldier is taking off his gun holster. And I did that because I wanted to add the general point of view of the action. So I added the soldier's reaction when he reaches the shore. And then I added this shot to create the general point of view, because because we must portray that that desert ends in that beach. So here, there is a mini ellipsis because we don't see the moment when he crouched down. So it's a kind of mini time jump. And I selected this moment exactly because the action of taking off the shirt is better in the closer shot. We can check again the wide open shot to see the moment when the soldier takes off the shirt. Just right here at this moment. So he takes off his shirt, but the performance is not portraying an exhausting state. I think I had mini disconnection at that moment. And that is the reason where I prefer the other action, the other take because in the other take, it was completely connected to the character. So from the moment of taking off the shirt and on, I think it's more than enough to let the second shot flow. Of course, in the music video I did create cuts in this part because it's another kind of audiovisual product. So in the music video, I'm supposed to add the parts when I'm singing. So I must create cuts. On the other hand, I added the part where the missile is soar in the sky and also the draw shot. But what I'm trying to explain to you is when it comes to creating a short film or a feature film, it's more important to select a sequence shot that is capable to portray the actor's performance, the character's performance. It's important to pay close attention to this because there could be another texts that are as beautiful as this one. But perhaps they are not portraying the actor's performance as good as this one. For example, this one, there are moments so beautiful moments in terms of cinematography, for example, this moment, when you can notice the infinite sea in the horizon. And the characters reflection on the wet sand, for example, those are beautiful details in the frame, but they are not more important than the actor's performance in the other take. Actually, this moment is good when I crouch down, But the entire sequence is not as good as the other one. So there is no case to create cuts here. It's detrimental to the cinematic language. As I told you, when it comes to creating films or short films, is more important, the sequence shot. There's another important detail at the end of this sequence that is the detonator. Actually, the detonator is a kind of clock which has a chronometer. We activated the chronometer, and then we put the take backwards. Now the second are counting backwards. Okay. So I'm going to let you contemplate the whole sequence from the very beginning to this moment of the clock. So try to pay attention to all visible details. And if you need to go back to the prior lessons to check again the process, you can do it as well. So let's check the scene from the beginning. 7. Creating the passage of time in Editing: Hello, people in this lesson, we're going to analyze how to represent the passage of time in Mantag. For example, in this music video, it was necessary to represent the down at the beginning. So in order to create that illusion of passage of time, it's not only important the color correction of color gradient, but also incorporate some signs in terms of screen writing that help the audience understand that the entire scene is representing the entire song rise in just a few seconds. So you can realize that in this shot, there is a specific color correction. I would say that is towards blue colors. So even though we are not watching the song rise directly, color correction is representing exactly that moment. So the key element in this part is the color of the sky. You can see on the screen that the color of the sky and this shot is almost the same in the following shots. For example, this one. It's quite similar. But as long as the dog fight begins, the sun rise appears on the screen. So we must pay close attention to the color correction just before that take because just after that shot, the color correction is changing towards screen and yellows, because the sun is now more visible. So this time lapse speeds up time in terms of screen writing. So that is a fantastic stock video. So it's important to take this into account when it comes to creating a montage like this because the cuts in this montage give me the chance to add all those images of the sun. And create an extended time passage in just a few seconds because, in fact, that wholesome rest process could take perfectly 1 hour. I mean in real life. No. Additionally, it's important to take into account the selection of stock videos because not only time but space is important. So if you notice at the beginning, the fighter jets came from partially mountainous area. And in the following shots, we see some fighter jets flying away from A motin. But going back to the lighting, you can notice that by the time in which the character's plane is going to be shut down, the color of the sky is completely different. I mean, the entire sequence is more illuminated. I mean, we were trying to represent that moment when the sun is just rising and then everything is illuminated. I think that just right here, the difference is more noticeable. Let's go back again to the beginning of the video. You can notice the blue temperature. And just right here, the sun has already risen. It's fully morning. So in summary, when it comes to creating these kind of scenes, you must car these two factors, both color correction and the selection of corran and appropriate videos. On the other hand, you can notice the nature of the surface where these people is living. It's a rocky area, similar to that area where we see fighter jets passing by. But I would say that the most important thing is portraying the passage of time in this short period of time. I mean, it's a quite short sequence. But as I told you, due to its nature, due to its cut, those cuts allow me to create this effect. This time transition in every single shot. So I've shown you this example because this part of the music video is mainly created with the stock videos. So when it comes to creating this type of montage, it's very important to learn how to order the clips properly, the footage properly. On the other hand, I had not only used this strategy at the beginning of the video, but throughout the whole music video from the beginning to the end. You can notice here that the music video begins in a kind of cold temperature, then the video goes to warmer colors. For example, here, is fully afternoon. But the video is not only portraying the passage of time by color correction, but also using stock videos again. Because, for example, there is another shot over here where you can see the sunlight representing that is already day. Additionally, at this moment of the video, it was very important also to portray that the soldier was in the desert near the tunes. I mean, it couldn't be any sunrise video. It had to be specifically in the desert. So that perception you have in your mind while watching the video is the sum of those factors together. And in the same way as the sun rises at the beginning of the video. As the music video advances, the sun is supposed to go down. But from this moment on, it was not difficult to portray that because we were shooting at sunset. So the natural representation of light throughout the takes was perfectly connected to the story. I mean, at least at this part of the video. For example, here, the sun is almost hidden behind the clouds and almost in the sunset. So since at this moment, the light is obviously different. I don't need to put the sun on the screen again. Plus the sun is evidently hidden behind the clouds. I mean the sun is not hating the image directly. The light is filtered by the clouds. It's important to mention that there are other factors, other signs you can use to portray the passage of time. It could be maybe a tree throughout every season, for example. It's a kind of glitch that, but it's useful. There are many movies, many great movies that portray the passage of time by representing a natural element in every season. It could be also an important event in a specific year or something as simple as a clock, for example. So you were able to select, choose as many signs as possible to represent the passage of time. So I wanted to finish this lesson by reminding you two important things. The difference between dietic time and narrative time. I talked about this in my art of filmmaking course, but I'm going to remind you this in this lesson. So the dietic time is the time that the story takes place. It can be hours, can be days, yes, for example, a lifetime. But on the other hand, the narrative time is the duration of the audio visual product. It can be 4 minutes as a music video, 50 minutes as a short film or two or 3 hours like a movie. That is the narrative time. So try to remember everything and put it into practice until the next lesson. 8. Ordering Footage Point of view and progression in the explosion: Perfect here again in the Adobe Premiere. The idea is to analyze this scene in depth because it's not that easy. It's not that simple to create this kind of scenes. The first detail to take into account is the attentional processing human being. I mean, when you are reading Adviso product. There is a progression in that reading. And what I mean by this, I have used several images to represent the nuke explosion. So the first video is a real explosion. In white, this is the first one because once you see it on the screen, the idea of the nuclear bomb get installed in your mind. Completely serious way. I mean, in microseconds, that idea gets installed in your mind. So from that moment on, the rest of the atomic bomb videos have to make less effort than the first video did to convince you that it's a real explosion. This is a hading progression that happens in all audio visual works. So this strategy of using the best videos of the explosion is very important to generate the effect of a real explosion in the audience mind. Of course, this must also be accompanied by a progression of correct actions using the cuts at the appropriate times. So what I mean is that the second image we see on the screen, I mean the second image of the bomb must coincide with the progression of the explosion. It seems obvious when reality is not that obvious. I mean, if the first image represents the first stage of explosion, the second must show a more advanced stage of explosion. Not the beginning, and this progression must have coords. So you can see on the screen that there is a coordins. Pay attention to the size of the explosion mushroom in the first images, and then the mushroom is figure later. So I would say that those two points are very important selecting the best images at the beginning and the correct progression of action on the screen. On the other hand, there is another factor, which is the point of view. When you are watching this part of the video, I mean the nuke explosion. The blast wave is supposed to go to a specific direction. I mean, in this case, which is a music video, there is a short period of time to show the nuke explosion. So in the same way, as I showed you in that part, of the soldier scene. I mean, the scene where the soldier is walking through the desert. In some parts of the montage, we had to select to which side the soldier is supposed to walk. In some parts, the soldier was walking towards the right side. In the other ones, he was walking towards the left side, regardless of the fact that he was just crossing the desert. So the same thing happens here. So we are supposed to select to which side the blast wave is headed. So what I mean is that it could be a river, for example, that on the screen is flowing towards a specific side. So on the montage, you are supposed to follow that side to make it courent. I mean, you cannot show on the screen a river flowing to the right side, and then the following shot is flowing to the left side, for example. It doesn't make sense. So in this case, where the new explosion is supposed to spread it out, you must choose to which side that explosion is supposed to expand on the screen. But not also the direction but also on the position the explosion has with respect to the character, you know? In this shot, you can notice that explosion is on the left side with respect to the character. So these details make a understandable reading for the audience. Additionally, if you want to change the point of view of the soldier, as it is in this shot, there must be visible reference points to know where the soldier is with respect to the explosion. For example, you can notice that the C is behind the soldier in that shot. So you know that in that specific shot, the explosion is on the right side. So going back to the explosion issue, you can notice that all the images that are representing the blast wave are representing a wave that is moving towards the right side. So in order to make it, some of the clips are supposed to be flipped with a corresponding effect. In the same way as we did in the scene of the soldier crossing the tunes. And you must pay close attention to this because these are those kind of things that are unconsciously perceived by the audience. And remember that if you don't want to flip the images, Inside the frame, there must be signs. There must be reference points that indicates where the character is positionated. Notice that even the child is staring at the left side. Another reason why in this case, I can put this clip right here. I mean, the clip where the soldier is contemplating the explosion, this one is that previously there are an entire scene where the soldier is contemplating the desert from aft. Just a few seconds after the bomb goes off. I mean, if we go back to the scene here previously, you can notice that the soldier is staring at the desert from that point of view, and you can notice that the s is behind them. So even though the blast wave is moving towards the right side, we have that point of view that make us understand that the soldier is over there contemplating the explosion from that point of view. So in conclusion, I think this example is perfect to explain to you this, and I think this is valuable for you to create maybe a car race scene or a chase in a scene and on A Street, you must always follow the same direction in the progression of actions in a scene. So if you want to change that direction, you are supposed to justify that. And the means you are supposed to use to make it is to justify the change in direction or simply as adding reference point into the frame. As in this example, where the soldier is staring at the desert with the sea behind them. I mean, you may create a scene where a car is tasting another car, and you can play with different point of view in terms of cinematography. But if the viewer is able to understand which is the direction the car are headed in the scene, there won't be a problem. That means that there are enough reference points. So try to remember this, try to put all these into practice, and I see you in the next lesson. 9. Enhancing Sky Lumetri Scopes & HSL secondary: Hello, everyone. In this lesson, we're going to dive into a powerful tool for editing sunset and enhancing the look of the skies in our tage. The HSL Cutter correcture in Adobe Premier metric cutter. But also bid in a dive into how to use properly the lumetri scopes. The HSL color corrector is a tool that allows us to selectively adjust the color of vitage. It gives us precise control over the hue, saturation and luminance of each color in C. When it comes to filmmaking, sunsets are magical moments filled with favoring and changing colors in the sky. However, sometimes our cameras done accurately capture the beauty of those toes. This is where the HSL color corrector comes in. It allows us to enhance the color of the sunset, but adjusting the hue to make the tones warmer or cooler according to our preference. Additionally, we can increase the saturation to make the colors more vivant and appealing without losing natural field of the sea. Lastly, we can adjust the luminance to highlight areas illuminated by the sun and add more depth to the sky. But let's go to the adoble premiere to understand the lumroscope tool and the HSL secondary. Hello again. I think that the main subject, the main topic to tackle when it comes to creating to doing color correction is to learn how to use the Lumetri Scopes. So the lumetri scopes is a tool that allows me to analyze the light spectrum in its nature. I explained this in my other film editing course, but I find very nice to see it again with another example. So here we are going to address this again in order to understand it very well. So here we have the footage, the raw futage of this part of the music video. I'll take where I'm singing. So this first clip is the image with no filters added. I mean, the raw image. And this is another one is the same clip with the color correction. So what I want to do is to show you how is the reaction of the lumetri scopes as the color correction improves by editing. So it's a quite interesting lesson. So let's go for the lumetri scopes over here. You can find it easily, close to the effect control panel. So the limeroscope is a kind of sound frequency analyzer, but in terms of light in color. So I'm going to move the courser on the first the raw clip. So since the image doesn't have color correction, I mean, is desaturated. The colors are not too bright, anything. You can notice that in the spectrum in the lime scopes, there is a kind of a skinny cloud that is spreaded out to the sites. But it's not feeling at all the whole spectrum of light. So this image is only touching some light frequencies. Those colors and frequencies related to what you are watching on the monitor, you know? But you can notice all the space left here. Spectrum. But pay attention to what happens when you move the cursor to the other clip. Pay attention to the difference. You can notice that the stripe is feeling the entire spectrum because throughout the whole frame, the color is saturated is bright enough to feel the whole spectrum. That distortion that is in the middle of the spectrum is the representation in that language of the character in the middle of the image. I mean, the character has a black shirt, and the suit is green, but it is a dark and green, you know? So the stripe in the spectrum folds towards the black tous. But the most important thing is that actually the color correction of the image is towards warm colors, but it has a proper color correction, and that is the reason why it is feeling the entire spectrum. Let's review again the raw image. You can notice that is too pale, and that is the reason why that stripe is too skinny. So now we're going to create a kind of color correction. To this frame to this shot to teach you how to use the color correction properly in an easy way and using as a guideline, the lumetroscopes. So let's start by adding levels plug in, and I'm going to move the input black a little bit and the white input also. I mean, I'm going to increase the amount of light and the amount of contrast to the image. Now pay attention how the lumetrocope changes by moving these parameters. Notice how the stripe widened quite a bit, because by adding contrast and light, the colors automatically improved. I mean they became brighter. So by setting properly the amount of light or contrast that the image may has, we are improving the dynamic range of the image. So, for example, if you cannot afford a good monitor, I highly recommend you to follow the leo metroscopes to carry out a proper color correction. So I'm going to add the rest of the plug ins that this image had. For example, this sunset. I used this to improve the appearance of that sky. On the background. So to the extent that I add effects, the li metro scopes is going to change. So I'm going to look for the sunset here in the being effect. Over here, Perfect. And I'm going to change the default configuration. Let me mention that you're going to see in detail displgin sunset in another lesson. But what I want to show you is the reaction of the leu metroscopes by adding this effect. Basically, displgin helps to improve the general appearance of the shot. It's as if it were a kind of filter, I'm improving the color of the sky, adding a kind of blue bale over there. And I can also add other colors to the bottom of the image. And the most interesting thing is, even if you don't have a blue sky, you can create a kind of blue sky by adding this effect. So it's one of the most useful tools from this bars suite. So for now, just pay attention to the changes in the image to understand the comparison between the two images, the two shots. This one you are improving and another one that is already corrected. So let's go to the lumetroscopes, and there you are. Look at that stripe. So different. So that plug in really improved the dynamic range of the image. But try to pay attention to what the monitor and the program monitor is displaying. We are getting closer and closer. The upper section of the spectrum corresponds to the lights. So I'm going to increase the amount of light of the entire image, and you're going to notice the difference on the liu metroscopes. And there you are. The stripe is getting closer to the upper section of the spectrum. That is very important because if you don't have a good quality monitor, I mean, an external physical monitor, the leu metroscope is going to help you to reach the proper amount of light. But pay attention to this. This doesn't mean that you are supposed to fill the entire spectrum always. This is a kind of subjective. The color correction is always subjective. The color correction is a personal touch. But I think that in terms of dynamic range and light, You're supposed to have a general configuration that can adapt to all devices. So let's continue carrying out this color correction. Now we're going to prove a small section of the sky, that section in the background where the light picks among the clouds. And actually, just by adding that detail to the image to the color correction, the meter scopes, is going to change dramatically. So we're going to add the color corrector HLS over here. We're going to add the lumetri color. As you know it is an original plug in from Adobe Premiere, a very useful tool, actually. So I'm going to drag the fact over here. Perfect. So we go to the top here, HSL secondary. And now we're going to select the S specific color on the sky that we're going to change. I mean, this part of the sky close to the mountains, where the sunlight peaks, you know? What I want to do is a kind of effect as if the sunlight was directly over there. I mean, as if the sun itself was hidden behind the mountains. Actually, in this other clip looks like that. Notice the difference. So as I told you, we go to the HSL secondary. Then we're going to go to this dropper over here. And then we're going to click on the S specific color we want to change. So this plugin automatically is going to create a mask. And actually, we can choose how this mask is going to be displayed on the monitor. So the white section in the monitor are those specific tones that are going to be affected by this color correction. You can see on the blue in that there are three lines. The first one, g corresponds to the gamma tones, the second one to the saturation, and the third one to the light. But pay attention because I'm not moving the color correction. I'm setting the mask with more precision by moving the favors. So by moving this, you can change the amount of light that the mask is going to select in the image. So in a certain way, is a kind of mask, not having to create a polygon at all. So once we finish creating this selection, we can move on to this other section that are the color correction tools. And for example, we can move the temperature. Notice the difference on the monitor. We can improve the color by moving also this wheel over here. You can touch any color you want, actually. You can move to wear reds, to wear yellows and blues. But obviously, you must have certain clans by moving this wheel, these colors. Actually, you can experiment by moving this. There's nothing established when it comes to creating color correction. In another piece of advice is straight to move little by little, every single parameter. Let's have a look to the other clip. Obviously, the other color correction is more bright, more illuminated. But the color correction I'm doing at this moment is quite interesting too. You can notice that the color of the sky in that part where the sun picks among the clouds really looks as if the sun were hidden behind that mountain, you know. Now I'm going to deactivate this last effect. So you can notice the difference, you know. In fact, it's very interesting in this because this image really looks like it has more dynamic range than the other one. I mean, from my point of view, it has more colors than the other one. But the leu metroscope indicates that the other one has more dynamic range. And that is due to the fact that the other one has a better lighting configuration. So it's too important to take into account those parameters in order to have a proper color correction. But don't be too strict with this because the color correction is quite subjective. So what I'm trying to say is that even though the limeroscope is indicating that the image is not feeling the entire spectrum, perhaps your image looks quite good in terms of storytelling. So all these color correction tools are actually filmmaking creative devices that are going to help you to tell stories. So let's have a look again to the raw image. Now, we're going to activate again all the blue gins we added before. I think it is a dramatic difference in terms of color correction. On the other hand, I highly recommend you to use as a source of inspiration paintings, baroque paintings, Renaissance paintings, et cetera. I think there are no better references than those to create extraordinary color corrections. Watching grade movies is a good strategy also. In summary, the HSL color corrector and lumetric color is an invaluable tool for enhancing the appearance of sunsets and its guises in cutage. It allows us to enhance the color in grease saturation and adjaz aluminous to create a stunning and memorable images. So the next time you find yourself editing a sunset, don't forget to make the most of this powerful tool. But I'm going to show you an example of the use of this technique in this scene from the movie Benjamin Button. In this scene, the song was not actually that color. I mean, certain parts of the sunset were modified by changing their color so that it seems that Songlight was exactly there. Proof of this is that Songlight doesn't reflect on the scene or on the objects. However, it looks great. Since the entire scene is beautiful. Plus the audience is not aware about those details, you know, especially when the movie is great, the story is also great. So I hope you found this lesson helpful and that you are ready to apply this knowledge to your round video editing project until the next time. 10. Enhancing Sky Boris Sunset Filter: Hello, people. How it's going on? In this lesson, we're going to dive into sky color correction using Boris effect, an incredibly useful tool in video editing. The idea is to give our scenes a more polished and realistic look by adjusting the color sky to better fit the mood we want to convey in story. But why is this so important? Well, the sky can have a big influence on the atmosphere of Aosine. It can make Aosine feel whiter and happier with a clear blue sky or darker and a more tense with a clothing dark sky. So mastering a sky color correction gives us an extra level of control over the feelings we want to convey in the story in the general project. Boris effect offers us some amazing tools to do this. With things like sunset grading and filters, we can adjust the color and tone of the skies very precisely, giving us a tremendous flexibility in terms of creativity and style. But how does this look in real life in practice? Well, if we take a look at movies like Mad Max Fury Road, we can see how sky color correction can really transform a scene. In that movie, the red dusty sky contributes greatly to the post apocalyptic atmosphere and the feeling of desperation and chaos. So in this lesson, we're going to dive into how to do this ourselves. I'm going to show you a step, step, how you can use bore effect tools to adjust the color of the sky in acne and give it the exact look you're looking for. But let's go to the Adobe Premiere to see this in detail. So we are here again in the Adobe premiere. What we are going to see in this lesson. We are going to learn to use what I call digital and filters by using a specific plugin from Boris suite. So what is the most important thing when it comes to creating a color correction and when it comes to improving the sky's appearance of any shot. First of all, we must learn what is A and filter. And filters were created in the past century when digital devices didn't exist. I mean, digital tools like computers to create digital color correction. So since the montage at that time was completely analogic, in order to create that appearance of the skies that you're watching on the screen that you are watching on these shots. It was necessary to add filters to the camera to create that look that you are watching on the screen. So the filters are like gels that are on top of the lens that distort the color of the image to meet a real appearance directly on the camera on the recording. So you can notice in the diskis for example, that there is a kind of gradient that moves from blues to yellows, And if you had pay attention to the sky in your daily life, you notice that the sky looks like this. I mean, it's completely normal that you can notice all that grading of colors on the sky. For example, you can notice even more this shot where the misses fall down to the ground. Here it is noticeable that there is a blue in the top, and there is another pale tone in the bottom. But as you know, when you are in shooting, not always the sky looks like this. I mean, not always there are conditions that make the sky looks like this. So try to imagine that H eight years ago when there were not all the devices that exist today. So D filters at that time were a strategic tool to achieve an image with high dynamic range of color. So even here in this shot that seems deaturated, there is also this effect to improve the color of the sky. I know it's a subtle effect, but it's there. It's helping to make the image look professional. So nowadays there are tools to achieve this not using physical D filters. On the other hand, it's important to remember a important thing. Filmmaking is an art of storytelling. The most important thing is to tell a story. And it doesn't matter if it's a short story or a big story. So color correction is a narrative tool also. So if you need to enhance the sky to tell a story, a specific part of the story, try to feel free to use this tool. But if you don't find necessary to change the color of the sky, to tell your story, you don't have to. So let's start with this shot. Look at this shot. This is the raw appearance of this shot. You can notice that it has a kind of pale appearance, and you can notice also that there is not a high dynamic range of color on the sky. So this appearance lacks depth in terms of cinematography. So we are supposed to fix that to make this image look professional. So I'm going to show you an example that I had created is not the same as the music video, but it's very good also. So, pay attention how dramatic the difference is. So you can even feel the distance between the last cloud on the horizon and the character. I have not added this type of color correction to the music video because I had to add an special effect over there. I mean the nuke explosion. So the explosion conditions are different in terms of lighting. The entire scene is supposed to be completely enuminated Eentirely burned by light. But if we check the last shot before explosion over here, this one, for example, this one, you can notice that the sky has this color correction in a subtle way. In fact, we can go to the effect control panel. And check that it has the sunset effect. But as I told you, in terms of the storytelling, this music video was different. I wanted to create a second World War effect. So the music video had to be exaggerated in terms of color. So that is the reason why I'm using another example, another color correction to show you how to use this and the filter effect that is actually called sunset filter. But there is a noticeable difference between the image of the music video and the raw footage over here. So the example I'm using here, I have exaggerated the color effect to show you how to use it. On the other hand, try to remember that a good cinematography depends on several factors. And one of those factors are the color correction. So you are supposed to take care about balance and lighting also. So let's start then, what I'm going to do first, we're going to adjust the levels in terms of lighting. So I'm going to use the same clip. I'm going to clear the sunset effect over here in the control panel effect, and I'm going to work on the level effect. So here we have the level from Boris suite, but there is also another level effect from the DoV premiere, so you can use whatever you want. By the way, I'm not moving many details from levels. I'm just adjusting the dark levels from the black input line. I'm just moving this failure to the right where you can notice that there is a proper contrast in the image. I think that like this is quite good. Remember what we have seen in the last lesson with the leu metro scopes, we have to test the levels to improve the dynamic range of colors. So the following thing is to add the sunset effect over here. So you can realize that the fold configuration is like mars. We don't need that at all, so we must modify the settings in order to create the appearance we want to. I think that this plugin is not that difficult to use, you know, criteria is the most important thing when it comes to modifying these parameters. So what this plugin actually do is to add a kind of triple stripe filter. The plugin divides the image in three horizontal stripes. So this frame you see here is the area affected by the blue gin. So this is the upper stripe over here that is kind of red that you can see here. In the middle is an orange stripe, and in the bottom, there is a yellow stripe. So, for every single stripe, you can change both color and intensity. So let's start with intensity. You can notice the difference, you know, and the intensity of yellow and orange. We can change the color also to this blue. Notice the difference. This is yellow. And we can change the upper stripe to blue. However you want, you can experiment actually by moving these parameters, you know. That is what I told you that if you've seen paintings like by rock paintings and renaissance paintings, realistic paintings, you can gather enough sources of inspiration to modify these parameters better. For example, I'm going to move the sky to light blue colors and notice that it seems quite interesting. I'm going to load intensity. And notice the difference. It looks quite good. But since the sun is in darker colors, we can move that stripe to red colors. And you can notice how fantastic this sign looks like because actually, when the sun is wet, it looks like this, a kind of brown, darker brown colors. I think that in terms of high dynamic range, it's a huge difference between the raw image and the image with this filter. It's just an amazing plugin. You don't need a two k dollars monitor to create a great color correction. But using properly this plugins, you can meet a professional result. Additionally, you must remember that even in the same work, not always the lighting is the same. I mean, there are several stages in the daylight. The afternoon, for example, has a specific amount of light, a specific amount of colors, and also the sunset is different, the down is different. You must take into account all these factors when it comes to adding. This filter, this sunset filter. For example, here, in the music video, there are different tones in the skies. In this stage of the video, the story takes place in the afternoon, for example. So the color of the sky is saturated to represent that amount of light. I mean, in this part of the story is fully afternan. So you can notice the sky, and the blue sky is over there. In the upper sons, that first stripe is blue. But when we are reaching the morning is different, is more desaturated, and that gradient is less stressed. It's more subtle. You can notice that over here is towards green, but a subtle green. There is another important detail about this technique and is that you can mix this blue in with masks. I mean, you are able to create a mask in a specific zone inside the frame, thereby affecting only that part of the shot. So let's see an example with the image we're working on. If we want to change only the color of the sky, we can create a mask over here. So we go to the blue, which is this, this one. You click on the pen and we create the mask over the place we want. So point by point, you are going to create the mask. But the problem with this process is that when you want to change the color of the sky dramatically. The difference between the color of the sky and the rest of the image is going to look somewhat strange. So that color correction you are doing in the sky is supposed to be subtle enough to prevent the viewer notice that color correction. So try to move all these parameters, feather, the expansion in the mask to make it real to make it look natural. The sky is supposed to blend with the rest of the image. For example, here, the sunset effect is affecting only the sky, but the border below is not dile. So we must try to diffuse that border. Sometimes it seems very easy, but sometimes it's not because all depends on the type of color correction you're going to put on the s, that entire area down below. I always tell you color correction is experimentation. Sometimes it may look better doing a mask that affects on the sky. I think this is one of the most important blue gins from this Boris suite. But all relies on the decisions behind using this plugin. I mean, the problem is not how complicated it is to use this plugin. The trick lies on selecting the best tone for the sky. I mean, there are movies from 70s and 80s that have better cinematography and color correction than some movies today. Because maybe in that movie from 80s, they are using the most appropriate filter, thereby enhancing better the color of the sky. Of course, not applying anything digital. How many movies have you watched Netflix or any platforms that have horrible color correction. And they have all the plugins and more, but they are not making the right decisions behind the use of this. Whether it's enhancing the natural beauty of the landscape or adding a dramatic touch to eosin. This tool enables us to express our vision in a striking and effective manner. Another example of how sky color correction can enhance eosin is found in the movie jangle directed by Quentin Taranina. Specifically in these scenes where the characters are traveling horseback, a color correction is used as if it were the filters, exactly the same as effect generated by the sunset b lougin from Bors suite. You can see that it looks very good and is quite similar to what we were doing. So by mastering the sky color correction techniques with Boris fx, we expand or created arson as field makers and storytellers, allowing us to take our productions to new level of visual excellence. I hope you found this lesson informative and inspiring, and I encourage you to continue exploring and experimenting with OSs color correction tools to discover new ways to bring your cinematic projects to life until the next lesson. A 11. Restoring underexposed footage: Hello, everyone. In this lesson, we're going to explore effective strategies for recovery and dark footage during the editing process. Often, wind contra situations where footage lacks proper exposure, either due to poor lighting conditions or inappropriate camera settings. But don't worry. With the right tools and good editing technique, we can still achieve impressive results. In cinema, the technique of reducing contrast in dark sins is commonly used to ensure the actions are clearly visible to the audience. When a scene is set in low light conditions, such a dsk or dimly lit interiors, it's crucial to maintain visual clarity so that the audience can follow the narrative effortlessly. So by softening the contrast and lifting the shadows, a more uniform image is achieved in which important details are not lost in darkness. This is especially important in action and suspense scenes where every movement and gesture of characters can have a significant impact on the plot. But I'm going to show you a example about it. In the movie terminator two, specifically in that scene where Sarah Connors driving towards Miles Dyson house at dusk. The filmmakers choose to use contrast reduction to ensure visual clarity at midst the twilight. This decision was crucial to keep the Aliens extension and ensure that Sarah Connor's actions were easily visible in darkness of dusk. By softening the contrast, Sarah's movement and gestures were highlighted, thereby intensifying the sense of danger and urgency in that scene. This is a strategic application of contrast reduction, demonstrates how filmmakers can use visual techniques to enhance the narrative and create a more immersive and exciting experience. Today, we will focus on using the various noise reduction plug in, proper color correction, and smart editing to salvage those dark images. But let's see how to do this in the adobe premiere. Perfect. We are here again in the B premiere. Remember, that is more importantly to prevent these kind of problems, you know. We are supposed to take care of those lighting details of the camera settings also avoiding these kind of problems. I mean, this issue about force the image, force a shot to reach a exposure that the shot doesn't really have, will always be a kind of problem, you know. But let's suppose that you were taking great care to those details. But despite that, this problem comes in. So the first step is to be aware about the nature of an under exposed shot. So let's use this shot as an example. Even though this shot really looks great, at least in terms of lighting in terms of balance, color. Actually, I would say that it was created at the exact down moment. I mean, the light is perfect. It looks great. Despite that, the camera was not set properly. So as a consequence, noise is created in those dark areas, as you can notice on the screen. And this is due to the fact that the camera is striving to capture light. So those phase details are lost in the dark. So under these conditions, we won't be able to set this shot with the lighting that this other shot has. This other shot was created properly. And the most interesting thing is that we can make this shot looks like the under exposed one. For example, I'm going to move the levels in the shot to match the other one in terms of lighting over here. I'm going to take out the light right in this track. Exactly. Actually, I can make it even darker. And even though it was created in brighter conditions, we can meet that appearance by moving the levels. I'm going to ascentrate the blacks on this shot to match the other one. I'm going to go to this track over here. I'm exaggerating a little bit. We need a little less over here. In this way. Perfect. Now you can notice that these both images share the same appearance in terms of lighting. But with the difference, that this shot has more dynamic range in terms of lighting, due to the fact that it was created with the right settings on the camera. But the problem is that in this shot, I'm not able to do the opposite process. I mean, I'm going to try to raise the light in this shot. I go to the control panel effect, and I'm going to add a lumetri color to raise, for example, the exposure over here. Perf. Right here. Like this, for example. Once you raise the light in this kind of shots, you're going to notice a lot of grain in the dark areas. Let me get the monitor closer. I think you can notice the grain easily. And I'm not setting the shot like the other one, you know. Actually, if you pay attention this zone close to the shoulder, you can notice the compression process in the dark areas. So let's do the comparison again. Look at this shot. And look at this another one. It's not the same, isn't it? So if you want to somewhat fix that grain problem, you are able to use a noise reduction plug in. So I go to the respective bin here and image restoration from the boys suite, and I'm going to select this noise reduction plugin. So this noise reduction plugin is going to have kind of default setting that is going to reduce significantly the noise on the image. You can notice, for example, on the cheeks, those little details. I'm going to deactivate this plug in, so you can notice a difference. That is a good example, that's shown on the cheeks. On the other hand on the plugin, you're going to find several parameters. But the one I highly recommend you to use is this one, spatial smoothing. So as long as you increase the amount of spatial smoothing, the plugin is going to remove the noise. But once you reach the upper levels, you're going to start noticing something else. And that is that the plugin is going to start synthesizing the image. I mean, as I increase this parameter, you're going to notice less details in the face, for example. Like the more I reduce the grain, the less details will be seen in the image. So it actually seems like the image lost resolution, like when you set the Tu player to low resolution. So basically, in every single noise reducer, you are going to lose resolution. No matter which brand it is, all of them work under the same principle. But on the other hand, you have other possibilities to prevent the audience notice this. One of those strategies is to shorten the duration of those clips. I mean, if you mix this shot with other ones, with better recording conditions, audience is not likely to notice these kind of problems. For example, hearing the music video, the image goes by quite quickly. So you are not able to notice details, you know. So I find this strategy really great, but you must take into account that you need other well recorded shots to complement the editing, you know. But there is another strategy that is try to justify the use of this type of lighting. So I'm going to turn off all these plugins over here. So you are going to try to justify in the editing in the montage, the use of this dark image. So you can see here in the intra in the intra of the music video. I put all these under exposed images. Trying not to forest them too much. And since I couldn't raise the lighting in those clips, so I decided to use them almost in the raw nature. So I was trying to create a kind of down, you know, joining these shots and adding that sun image racing in the horizon. So as a consequence, when people come across this sequence, they are not going to ask themselves why those images look so dark because it's completely justified. Actually, if those shots had been recorded properly, I still would have had to make them dark to build the sun rise. And lastly, when it comes to using these kind of images, you are supposed to raise a little bit the dark point on the fetage. I mean, you can notice here, for example, in the vest that I have raised the black tones, a little bit to make them noticeable. I mean in the same way as they did in that scene of terminator to, you know, with side a corner headed towards Mel Dysons house. So you are going to increase in levels the output black parameter. So in summary, recovering dark Futage and editing may seem like a child. But with the right strategies, we can achieve impressive results. Use tools like bars noise reduction plug in proper color correction and smart editing to rescue those exposed images and bring them to life in your project. With practice and patients, you will be on your way to creating visual stoning videos regardless of the initial lighting conditions. I hope this lesson has been helpful and that you feel inspired to apply these strategies in your own video editing project until the next time. A 12. Enhancing Drone Footage Cinematic Look: Okay. Perfect. We are here again in the Dobby premiere. This time, you're going to address the drone footage issue. As you can see, is a drawn image that is moving among the buildings. And I would dare to say that the image just like this looks powerful, because it's just the fact that the drone is traveling amongst the New York buildings, what makes the image go to the next level. I mean, it would be recorded with a smartphone, and it would look great also. And that is the reason why I emphasize that what you are shooting, what you're capturing with your camera, it's too important when it comes to filmmaking. Additionally, is the sum of several factors, what makes your video go to the next level. I mean, as long as you are improving little details, those details are going to drive your video to the next level. So we're going to start then. So the first thing to address from this video is being aware about the quality of this footage. So this take, this clip is a stock video. And one of the main characteristics of stock videos is that most of them are not filmed with high quality devices. And that is also the reason why you can't afford them. I mean, if it were a dro footage from a high quality drone, Maybe one single video of that drum is likely to cast one k or two k donors. And that wouldn't be a low budget project at all. I mean, one of the main features of high quality drums is that you can install high quality cameras on them. I mean, the red dragon, for example, or the Sonny FX three. They are actually cameras specialized to work in drums. I mean, the camera rests in a kind of pad or base that is connected to the aircraft. And that allows you to install a high quality lens, for example, thereby capturing a high quality landscape. And the reason what they cost a lot is because not everyone is able to handle those devices to pilot those kind of aircraft. I mean, you need a training, qualifications, official certifications, et cetera. Not to mention that you also need a permit and authorization, et cetera. And that has a significant impact on your budget. Actually, in the other video of the soldier story, I wanted to rent a high quality drone, but that was out of my reach. So we're going to start by making a comparison between the quality of this drone image and the quality of the camera we used to shoot the video. So if you had taken the other course, you know that we used a photography lens, assume lens that ranges from 35 millimeters to 17 millimeters. So here we have two clips, two samples. I would say that the first example is 50 millimeters, and this other one is obviously 17 millimeters. So try to imagine that you can install this camera in a drone, and your drone futage is going to look like this. It would be amazing, actually. Because due to the focal length, all these effects appear on the screen. I mean, the window is blue, but you can change the bluer and make the building on the background blurred also. So this characteristic of a professional camera, this feature is not available in mid range drones, because all of them has an incorporated camera that facilitates record video while flying. And also, the drone size is important in these terms. Mid range drones are smaller, obviously. So we can do the comparison. Let's see the other image. This one, you can notice a difference. The amount of details on the background on the buildings is not the same as in the FX tree. I know that a common user and the common audience is not likely to notice this. But I think that the focal length, the focus, and blurt are significant in this comparison. For example, in this clip of the FX tree camera, you can notice that the background, you can notice a part of the city. But that part of the city, is a little bit out of focus. It's a subtle effect, but is there, and it's the byproduct of using a professional lens. You can notice that the window is focused, but the background is not, at least less focused than the window. And that creates a cinematic effect to the footage. Actually, to the extent that the buildings are farther away, they are more out of focus. But here in the drawn image, the conditions are different. The camera simply focus everything inside the frame This particular feature is always present in non professional videos. It actually is a huge difference because there is a significant distance between the buildings close to the drone and those buildings on the background. So what I'm trying to teach you in this lesson is how to hide that feature. The strategy to create that effect is not that difficult. But it's an important strategy that you must know to take your video to the next level. The result we want to meet is this. Here in this example, the background is out of focus. It's a focus applied in a subtle way to create that effect of the professional lens. For example, pay attention to that skyscraper on the background, the Crisle building, pay attention to how out of focus it is and try to make the comparison with the buildings close to the camera, close to the rome. So what we have to do is to keep those buildings on the sides focused completely focused, and those of the background, Focus. I know you can notice that there is a kind of color correction, but the most important thing this time per this image is the focus issue. So how we can solve this? How can we fix this by adding a simply blue mask. So I'm going to click here in the corresponding effect in the fed control panel, and there you are. This is the mask. Everything inside that mask is out of focus. So the blur is affecting a specific zone inside the frame. And what is that one? Everything that is after that buildings, and you can notice that the mask adapts to the drone traveling. That is very important because to the extent that the drone gets closer to the buildings, buildings change in terms of size. But pay attention, I'm not trying to say that this is the exact appearance of a professional camera of the FX tree, for example. Because with a professional lens, for example, the building in the background, the Chrysler, would be more out of focus than those buildings close to these two big buildings close to the camera. I mean, that would be the focus progression of a professional lens. But by adding this effect, we can try to reach that level, you know, at least in a general point of view. So let's start then, we're going to look for the gaussianm blur. We're going to look for the gaussianm being Actually, the bean is called blur and sharpen is an effect that belongs to the Adobe Premiere setup. The or suite also has its own blur. But we're going to use this because it's easier to use and more practical. So we have added this effect to the clip, and we're going to move this parameter over here to increase the amount of flu in the image. So you can notice the difference. I'm going to assume in the image, so you can notice better the difference. It's very important to remember that you must have good references because you must try to figure out what is exactly the amount of flu necessary to improve this image. I'm playing with this fa so you can notice a difference, but you are going to face this on your own works, you know, so to the extent that you watch many movies with landscapes, with high quality lenses, who are going to figure out and discover and recognize how it's supposed to look the bluer in the background, for example. But let's concentrate and what we want to do is try to bluer the background. After those two buildings. I think that just right here, the bluer is perfect. You could say that you may add some more, but you may not. Because actually the two buildings on the sides are focused completely focused. So there on the background is not supposed to be a dramatic out of focus, at least in those little buildings after these two buildings, including the street. But if it were another case where, for example, here, this window appears close to the camera. The conditions are different because the distance between the window and the background is larger. So if it were in that case, the amount of floor is supposed to be greater. But since this is not that case, the amount of fluor we are supposed to add is not that drastic. So once we have selected the proper amount of fluor, we must create the mask. So we click on this pan over here and we are going to create the mask step by step. So we must try to follow the building H the border to follow the line over here from this point. Then we follow to this next point. And there you are the entire mask. We have selected in the background. Next, we must activate the path of the mask, here the automation. Over here, and we already have the key frame on the automation line. So we already have an approximation of how it looks like. I'm going to activate the mask. I mean the polygon, and I'm going to increase the amount of fluor, so you can notice more the difference. Obviously, I'm exaggerating the amount of fluor, but what I want you to notice is that there is a difference between the buildings on the sites and the background, you know. So another important element is to set the amount of feather to make the mask blends with the image. Over here. But obviously, we must decrease the amount of lure in the background. It's not that natural. I think that the exact point is not that much. It's not 17, definitely. I think it is a kind of 12. Over here. But I insist it's a kind of subjective. If you think it looks better with more bluer, feel free to make your own decisions. They are all creative decisions, you know. Now we're going to click on the mask again, and we must try to create the automation line because the building is changing in size while the drone is traveling in, you know. So we move to a further point and modify the mask following the edge of the buildings. So the edge of the buildings is the guide to do it correctly at each point. Pay attention to what we are doing here because we are making decisions that are not related to how sophisticated the software is. I mean, there are many software that has this kind of effect, a bluer, after x, diving, cheese, sonny Vegas. So the trick is to select what is the most appropriate effect for your footage and even the most appropriate strategy to improve the colors and appearance of your footage. So we're following creating the mask. We must have patience, following the lines, following the building's age, trying not to get over the buildings too much. You have the feather parameter, by the way, to make the mask blends with the image. So don't worry too much to be precise. You didn't have to be exact with this. Perfect. Let's see what the movement of the mask looks like. I find it very nice. But I think we need one more key frame at the beginning over here. So let's see what the movement of the mask looks like. It looks very nice. And also, the amount of lure looks very nice. It's important to remember that when people are watching the video, most of them are going to think that is the same camera all the time. So if you add elements to your futage to your editing that make people believe that they are contemplating the same images in terms of quality. The experience of watching the video will be more recording and enriching. So going back to this image, you can modify this parameter, the amount of fluor. You can choose the amount of uri one. It all depends on your style, your perception, your sources of inspiration also. For me, yours right here in 15 is more than enough. Remember that only the fact that that background is out of focus is going to take your footage to the next level because you're adding a significant cinematic look to your shot. Feel free to experiment. Actually, you can add this strategy to other shot, not necessarily drone shots. If you make a shot, for example, of a landscape, you can improve the appearance of that shot by using this strategy. So I see you in the next lesson. 13. Removing Flicker: Hello, people. We are here again in the AB premiere. What we are going to do in this lesson is to learn how to remove the flicker. And what is the flicker? So pay attention. Sometimes when we are creating scenes like this one, when we are in presence of artificial lights like those lights on the buildings, especially at night and in the end of the day, we must be aware of the light and nature itself. So it happens that sometimes the film camera, for example, or the one you're using, can detect the city lights. It's not continuous. And what does it mean? Usually, the street lights, the light bulbs in houses, buildings, et cetera, work on the pulses of light, which the human eye can detect. But the camera does. So if the camera shutter is not configured appropriately, the camera will detect act and make it visible in the recording. So here in the shot, you can notice the flickering in lights. I mean, in that background, you know? So, ideally, this shouldn't happen. But when you work in low bet conditions, sometimes you simply forget to set the camera in a certain way. A, in fact, I happened to record this scene. So these things happen, and we must fix them. On the other hand, try not to be too much stress about this because sometimes people don't pay attention to that flickering, you know. Sometimes they think it's part of the environment of the light nature, et cetera. But I insist, try to pay attention to the camera settings because sometimes that flickering is very hard to remove. So what you're supposed to do, you're going to duplicate this clip twice. And then you are going to overlap the first clip with these two new clips as if they were the same clip three times, like a sandwich, you know. So you're going to get closer in the timeline until you reach the frames. You're going to get as close as you can. So you're going to notice that when you reach the top, you will be able to move from one frame to another. So what you're going to do then is move this clip that is above the first one one frame forward in this way right here. And you're going to place the other clip also one frame forward. I'm going to duplicate again this second clip, and you're going to place this other clip, one frame forward from this second clip. So here you can notice that this little clip ladder only lasts two frames. The following step is that in this second clip, you're going to open the control panel effect, and you're going to move the opacity parameter over here to 50%. Approximately, you don't have to be exact. And with the third clip, you're going to do exactly the same. Let's now see the result. But let's check again, what was the amount of liquor at the beginning. I'm going to deactivate these two clips over here, and that's it. This is how flickering is without anything. Pay attention to all the details on the buildings, on the dogs over here, in all these windows over here and also in the bridge slide in the bridge. I mean, try to pay close attention to the notice the difference. Now I'm going to activate these two clips, I'm going to check the result. And you can notice that even though it's not completely removed, it looks like so much better, you know. At least in the buildings, it's almost completely removed, you know? So I would say that this technique softens the flickering but doesn't eliminate completely. I'm going to deactivate these two clips again, so you can notice the difference again. I'm going to activate them again. And this is the result. I think in terms of removing that flickering, it looks great. I mean, it looks good enough for me, and I think that the shot comes as perfect as normal, you know? The unique problem you may encounter by doing this is that if you notice when the actors are in motion, there is a sort of trail that surroms them. And obviously, this is due to the fact that there are several overlapped layers. But once they get that railing over there and they are static, that sort of trail is no longer visible, you know? And I showed you this because there will be occasions where this technique is more suitable than others. But I would say that there is a steel flickering in the shot. And if you really want to remove it completely, you must follow the following step. So let's say that what we want from this scene from this sequence is that moment when the actors are leaning on the railing. So in this case, you must do the following. You must click on this button over here to support a frame from this exact moment. And once you click on that button, automatically a sort of photo or a steel will be stored on the project, you will be able to find it in the main being of the project. So I'm going to look for this frame over here and I'm going to drag it into the timeline. Perfect. The idea is that you put this photo on top of the rest of the clips, and you're going to expand the photo across the entire sequence like this. As if it were one more clip, you know, we must make sure ourselves that we are in the exact point we want to. I'm going to deactivate this, and I'm going to advance up to here. So if you pay attention carefully to the shot, you can notice that there is a huge part of the frame that is steel actually. I mean that part of the city. And the sections would be the water that is in motion. And also the actors performing who are in motion also slightly, but they are doing actions. So what we are going to do is to activate again that frame, and we are going to take away all those sections in the frame that are in motion. So we need to create an opacity mask to nail that. So I'm going to click here and I'm going to start creating this mask. It doesn't have to be perfect at all. We just want to create a selection of the space we want to. And that space is the city on the background, you know. If you think that the mask is getting into the water, for example, we can move the expand parameter to get the mask smaller a bit. Like this. You can also move the feather as you want. Remember that it is an important mask feature. Now we're going to see the result. I'm going to expand the program monitor right here again. Now you can notice that there is no fleuring in the background at all. So you can notice that the image is visually perfect, at least in terms of flickering. You can notice the cars over there. And I would say that there is only one single detail over here in this part of the docs. So we can move the mask to cover that space. I think we need to expand a little bit more that part of the mask. Yes, I'm going to expand a little bit more in the mask. Here again. And we can move this point. A little bit down like this. Perfect. And there you are. You have a completely fit shot from that flickering. I think this is a great way to fix it. I think it really looks great. At least great enough for me. But I highly recommend you try to prevent these problems from the very beginning, you know, from the shooting. On the other hand, you must take into account that in order to fix these kind of shots, the shots must have certain conditions. In one of those conditions is that the background or the space that is flickering is still. So I'm going to show you the results step by step. This is how it looks like with the two layers. I'm going to deactivate these two layers. This is without removing the flickering. You can notice all the flickering over there, and I'm going to activate these layers again. So it's in your hand, that decision. If you want to use the layers, if you want to use steel frame, but you must pay close attention to those details that are in motion. I mean, try not to touch those parts of the frame. Additionally, you can also eliminate these two clips and use only the top frame. And I would say this is exactly the same. It all depends on the shot nature, you know, I mean, since the part we want is this one, where the actors are in the same place, almost steel. So in those occasions, you will be able to fix the background, creating a steel frame. Well, so far so good. Put all this into practice and I see you in the next lesson. 14. Boris Beauty Plugin: Perfect. We are here again in the Adobe Premiere. We are here to learn how to use the Beauty studio, a Boris effect tool to smoothen the skin appearance to improve the faces appearance on the screen. I mean, this tool is useful for those occasions where the makeup is not properly applied. Additionally, this plugin is useful also to reduce the actors. Actually, I've seen over the years that these kind of plugins are used in advertising, you know. So I'm going to use this time, these two clips, these two images, videos with two different lightings. And this example is excellent because the date of the shooting, she has some acne that day. Her face was a little breakout. I mean, that was not a critical breakout, you know? So I'm going to use these two examples, as I told you with different lightings, because the Boris beauty is going to react different under these two different circumstances. And I think that is very important because you are going to be aware about how important it is to care about the lighting. And basically, because the better the lighting, the more details the camera will capture. So I'm going to start by this image. This is a slow motion footage. It was created with 60 frames per second, and it set a 50% speed. So overall, she looks great. She doesn't have anything wrong in interface. But you can notice that in her face, there are some spots, some details, little shadows that are the byproduct of the interaction between the lighting and the irregular nature of the scheme. And it happens also that usually in shootings, to the extent that the shooting advances, makeup is going to diffuse, is going to disappear over the hours during the day. So at least you have a makeup artist paying attention to those details every single second of the shooting. You won't be able to have a perfect result related to these kind of things. So what we had to do is to go to the video fix folder and then to this one, image restoration and select Beauty studio plug in. I'm going to drag it into the timeline over here and there you are. So I'm going to activate the plug in over here because the Beauty studio has a kind of default configuration that fix the image automatically. So I'm going to assuming in the monitor a little bit. But pay attention, don't get me wrong. This is not a plastic surgery at all. This plug in just improve the skin appearance. So I'm going to activate it. Pay attention to the upper side of the face around the eyes, the forehead, the upper part of the cheeks. All this section over here is softened. But this is a subtle difference, and that is the reason why it is very important this begin because it's subtle So I'm going to close the monitor over here, and I'm going to increase several parameters of the plug in. Over here, the master amount up to this point, the smallest details. Also, all these parameters are detecting details on the face. Actually, we can activate this parameter over here, the quality to precise and set the details levels to five. So I'm going to deactivate this plug in again before opening the program monitor. There you are. This is the raw appearance of the footage and pay attention to the difference. With this configuration is more stressed than before. And the reason why is softening that upper area of the face is because that area is more illuminated than the others. You can see that in the raw state, there are imperfections over here, and when you activate this, those imperfections just disappear. But even though we are improving and the skin appearance over here. I think it's not that noticeable because in this occasion, that video has a kind of sunset lighting, it's not that illuminated. So I'm going to move on to the other example, this one over here, which is basically recorded at noon. I think it was in the morning actually. But in this another shot, you can notice more the little breakout on the cheeks. So I'm going to apply the same plug in over here. I'm going to drag it into the clip, and you are going to notice the default configuration on the screen. You can notice a difference. I think it's more noticeable with this example. But I'm going to increase the parameters over here. I mean, everything I did in the previous example, the master amount to here, the small details up to here, the small details. Here in this section below, the quality to precise and details levels to five. In here, you're really going to notice this terrific difference. Her skin looks just perfect. And I'm going to deactivate this bluin over here so you can notice a difference.'s dramatic difference. And that difference is due to two main reasons. First of all, the lighting, the lighting allows the image get more details. So the beauty studio has more information to work with. And the second reason is the image resolution. On the other hand, you must pay attention to the other detail. You can notice that this Boris plugin is affecting the entire frame. So the color of that building in the background is affected by the Boris plugin. I mean, the plugin is not recognizing faces by the entire frame. So maybe if you have several faces on the screen, I think the best option is to leave the bars plug in affect the entire frame. But in this case, we are losing details on the background. So if you don't want to lose details and other sections of the frame, you are supposed to create a mask over the section, you want to fix, and this section obviously is the face. So I'm going to create a mask around the girl's face. And the mask doesn't have to be perfect at all. I mean, you only need to surround the face, the head with the mask. In fact, if you have several phases on the screen, you can create several mask also to improve them separately. So now the body's effect is affecting only that phase. The most important thing is that since the mask hasn't to be perfect, you can create the automation track, and that task is not that difficult, you know, because you didn't have to follow a perfect shape on the screen. So you can notice here that the body's effect is not longer affecting the background, only the girl's phase. I think she looks really great with this bluegins really professional. Another important thing about this result is that it looks real. I think it's senseless when you are trying to fix those kind of things on faces. And the result is kind of exaggerated, you know? I mean, with the dent of social media, people around the world is able to notice those kind of filters, you know. So being saddle is one of the most important things when it comes to improving the faces appearance. So take all of this into account and until the next lesson. 15. Cinematic Look Lumetri Tint: Hello, people. How are you doing? I hope this lesson finds you well. In this lesson, we will explore how green color can be used to achieve a more cinematic look in our work. Often, film cameras have a natural tendency to capture green tones in images. This is due to the spectral sensitivity of the camera and other technical factors. But how can we leverage this to our advantage? When it comes to filmmaking, film cameras are designed with different spectral sensitivity characteristics. Some cameras capture more light in the part of spectrum corresponding to the green color. As a result, images may have a dominance of green tones. Additionally, filters and lenses used in cinematography can ainate green tones in images. This can be intentional to achieve specific aesthetic effects or may be an inherent feature of certain optical equipment. Another important topic is that natural and artificial lighting in the film and environment can also influence the tone in images. In many occasions, natural outdoor environments have an abundance of green tones, which can further contribute to the presence of the color in images. On the other hand, during film processing and subsequent digitization, certain changes in color may accord to the technical factors. These processes can influence the final color resection of the image, accentuating or attenuating certain tones, including greens. In summary, the dominance of green color in cinematographic images can be leveraged as a creative tool to achieve a more distinctive and cinematic look in our work. By understanding these factors contributing to this characteristic, we can effectively use green color to enhance the visual aesthetics to our productions. This effect can be further accentuated during color correction in post production, giving us the opportunity to create a unique and memorial visual style in our films. So certainly here are two examples of films whose color appearance tends towards screen due to those characteristics I hadn't mentioned before. First of all, the matrix. This film is renowned for its distinctive visual style, featuring a color palette dominated by green tones. This effect was achieved through the use of green color filters during filming in careful color manipulation in post production. So the green aesthetic of the matrix contributes to its dystopian futuristic atmosphere helping to establish the film's unique visual tone. Another example of this is the movie seven seven is another film that effectively uses green color to create a dark and oppressive atmosphere. The cinematography of the film exhibits a tendency towards green tones, achieved through lighting filters and film processing. This use of green color contributes to the sense of tension in the permeate entire movie, perfectly complementing its dark and sinister theme. These two examples highlight how green colors can be creatively used to influence the atmosphere and visual to of the film. Let's now go to the double premiere to see how to do this properly in boss production. Hello, people. What we are going to do in this lesson? We are going to learn how to use the tint parameter in the limeric color. Generally, tint parameter is used for adding a cinematic touch to the color correction. For example, here in the music video, you may notice that there is a kind of green veil that covers every single shot. In the first volume, I did mention that the source of inspiration to create this cinematography in this color correction was that movie Dunkirk. So you may notice all those stones on the sky that are towards green. And here in this example, you may notice that the sky also looks like that. But that green atmosphere is not only affecting the sky but the rest of the frame also. So what I want to show you is how to nail this properly. So you can see here that it has the cinematic look, towards green colors, but I'm going to add this effect again to show you how to make it. So on this metric color, you're going to go to the tint parameter. You're going to start moving this parameter toward those tones you want to. And what is the reason why I'm recommending you to use this parameter is that to the extent that you only move the tint parameter, you are not going to spoil all the color correction you have created so far. And also that dynamic range you have reached so far. So pay attention to this shot. I'm going to delete the tint here. In this lumetri color. So you may notice the difference. I'm going to clear this effect, and I'm going to add it again. Now, I go to the tint parameter over here and I'm going to down this favor a little bit over here, and there you are. You have a green veil over the frame over the shot, not distorting the color correction, not spoiling the dynamic range. Of course, that veil can look exaggerated like this. Let's review the difference again. It's quite different. But over here, there is another option, a more subtle configuration. So the problem is that when you start editing your start exploring all the plug ins in the color correction tools. So if you don't know how to add a color atmosphere properly, you're going to end up adding blue in after plug in, not being aware about anything. So one of the mistakes you're going to make at the beginning is this one. I'm going to deactivate all these to show you this example. Here you can see the raw image. And in this call image control, you can find this effect called color balance. And perhaps you are using this because the blue gin names is related to color correction. And so you move the green track like this. So you're going to come across this amor result. So at least you want to create a effect as if there is a kind of green fog or you want to create effect that the air is polluted with some green substance, for example, you are not going to nail the dunker color correction. And even if you are changing the level parameters, the shot is going to look the same. So I highly recommend you to see this as an example to prevent doing a not proper color correction. I'm not telling you that you are not supposed to use the color balance in this way. But that you have to be aware about the dynamic range about the color correction before adding a general atmosphere that affects the entire image. So the right way to nail this color correction is what we have created so far. So I'm going to activate all the proper color correction. And you can notice here in the Lumetri scopes that the dynamic range is feeling the entire color spectrum. So try to use all these tools, try to put all this into practice and ICU in the next lesson. 16. Nuclear Bomb Nuke Footage: Perfect. We are here again in the Premier, what we are going to do this time. We are going to create a new visual effect. So you know that part of the strategy that I used to create this music video was the montage. So what we are going to do is a mix of editing with color correction and mat painting. We are going to focus on this one, where the soldier is contemplating the explosion, and he wanted to focus on this one this time because once you master this, you will be able to master the rest. So I think one of the most important thing is the Montage. I mean, I was telling you in another lesson that in order to create these kind of effects, it was necessary to join short duration shots. Thereby preventing the viewer notice too much the visual effects quality, you know? So, I wanted to use this one also because we have worked on this in a previous lesson. So I'm going to start by remembering you that what we are going to use to create this effect in this shot is a stock video. So selecting the right one is one of the most important things when it comes to creating effects with this strategy. So we are supposed to study in detail the nature of the shot in which we are going to apply in the visual effect. So I'm going to show you the stock video. You can notice that there is the stock watermark. So you are supposed to find the most appropriate on your stock video provider. And it's very nice because they are going to let you try it, test it in low resolution, of course, before paying for it. So I'm going to show you how to mix this stock video where your footage in order to create these visual effects of the nuclear bomb explosion. So I'm going to work with this stock preview because it's a kind of proxy. It has low resolution, you know? So the first subject to tackle is what was the criteria to select this one to select this stock video. And the first criteria was that it was an explosion on a desert. So since our story takes place in a desert, this video is suitable. On the other hand, another important thing is those mountains on the background. I mean, if we go to the shot we have created, you can notice that there are mountains on the background also close to the horizon. So when we were looking for that stock video, that detail was very important for us. And you can notice also that that is not any desert. I mean, it's a plain desert. So once you find the most suitable stock video, you have to try it with the bland modes. Bland modes are actually opacity modes. You're going to find all of them over here in the control panel effect in intpacity section. I'm going to click here. And I'm going to look for it over here, right here. It works quite similar to the blend modes in photoshop. And basically, they're going to help you to mix the layers, the layer colors in a special way. And I teaching you this strategy because it's not always necessary to create entire visual effects from scratch. Actually, today, there are AI tools, AI services, AI providers that create stock videos for you with the elements you need for your project. So you can see here that I'm changing the options in the blend modes. So the goal is to find the most suitable for this case. And we must try to find a specific mode that clears the background. I'm going to try them one by one. I think that this one is so interesting. So once you find a mode approximation, we're supposed to change the image size. I mean to confirm that your mode is suitable to what you're need. So I'm going to move all these parameters little by little. To make it match with the background. We have several reference points as the horizon, also the surface in which the explosion is happening. They are all reference points. Also, we must take into account the size. What is the precise size that this explosion must have in order to be placeable. So the last steps when trying to positionate the nuclear bomb are the most important because they are very subtle. For example, when I approach the nuclear bomb to the horizon, I think it looks better from my point of view. Because it seems that explosion is happening farther away. And that is the reason why you must resort by rock paintings, Renaissance paintings. As you can see in this cloud painting, those elements that are farther away are the elements that are closer to the horizon. So it's exactly the same principle over here. So we can try other modes like this one, for example. Actually, this one is far more suitable, but we can try the rest of the modes because you must take into account that explosion implies a process, a process in which explosion is going to look more brighter, for example. It also depends on the nature of the color correction you're going to use. This example doesn't have the same color correction of the music video. So there are important considerations when selecting the most suitable mode. So you can see here the example of the music video is more brighter and a little bit more saturated. But don't get confused yourself at this moment because there are still several steps left. I mean, throughout the whole process, you can change the mode whenever you want. Additionally, you must remember that you are supposed to add effect to the background futage. I mean, the image with the soldier and the desert. And once you add effect every single mode, it's going to change. But let's say that this option is the best one, the most suitable for us at this moment. So we must try to make the background image. I mean, the solar image with the desert matches with that of the nuclear bomb at least in terms of lighting. So I go to the B effect be And I'm looking for the color correction bin, and I'm going to select the liumetric color. Okay. We are going to move the exposure parameter. Step by step little by little, to make it match with a nuclear bomb. But pay attention to this because once you move this parameter, the mode is going to change. I mean, even though the mode selected affected was suitable at the beginning. Maybe as tifect to the background video, we will realize that that was not the most appropriate mode. But you must pay attention that maybe the mode is suitable for a specific part of the frame. For example, this mode makes the explosion looks great. But perhaps the problem are those borders around the explosion. So we must try to fix that. We can do it by creating a mask, for example, that crops only the explosion. So I'm going to go to the opacity parameter, and I'm going to create a mask. I'm going to isolate the explosion. It doesn't have to be perfect because we're going to use the rest of the parameters. I mean, the feather, expansion, et cetera. So you can notice here, it looks much better because explosion light blends with the background. Now, the following step is to make the background video look even more similar to the nuke video. And in order to make it, we are going to create another mask around the explosion but in the background video, and we must try to get closer to the explosion edges. As closer you can. We must try to patients with this stage. You are supposed to create as many points as you need. Also, you must click the box invert in the mask. Now you can notice that they both have almost the same amount of light. But let's continue creating the mask. We must try to follow the explosion ages as we can. As I told you, try to be patient, step by step, enjoy any points. Now we're going to increase the temperature parameter in the background image in the background video over here. Once we have created those masks, it's time to play one more time with the modes. So we are going to change the bland mode one more time to find the most suitable for our composition. So I'm going to change to this one screen. I find this one quite good. It looks amazing. I think the light looks much more incandescent. But we can try another one to test other mode. For example, this one. This one has nothing to do with what we are doing. This another one is not good either. Let's see this overlay. This one is really great because you can even notice that the color of the mountains behind the explosion matches those mountains on the background image. So finally, we must add a last element. And this element is a kind of g, a general glow that is supposed to be on the sky, and we are going to create this on the background video. So in order to add this globe, we are going to create another mask. We are going to add a Lumetric color to the background video. We press the pen, and we create this mask. Let me mention that this mask doesn't have to be perfect. Actually, it can be a kind of irregular mask. Perfect. And the reason why this has not to be perfect is to the sky's nature. I mean, there are clouds over there. And those clouds are completely irregular in terms of shape. So this glow is supposed to follow that feature. So what we are going to do now is to determine what is the exact moment in which this glow is going to start and end. So we can review the music video. In the music video, you can notice that explosion follows several stages. The first stage is this kind of shining this explosion of light. I mean, you can notice here in this first stock video, that explosion starts with this light burst. So we're supposed to follow that process, you know? So in the shot, we're working with this, it happens the same. So we had to create a kind of automation line to create this light burst and then turn it down. So we go to the mask we had created, and we go to the lumentary color, And we're going to move the exposure parameter. You must pay attention to this because as you move the exposure, you are supposed to move also the feather in the borders to blend it with the background. But you must take into account that we haven't created the tracking for that nuke explosion. I mean, the explosion moves on the background video. It's not supposed to move. It's supposed to be stick to the background video, you know. But I'm not going to diffuse all the edges yet. I mean, I want you to notice the presence of that mask. So you can notice the difference. If I move the cursor that layer that mask this appears blends with the background slowly and smoothly. But so far so good. Don't worry for now, we're going to leave this lesson up to here, and we're going to continue in the next one with tracking the movement of the bump. 17. Nuclear Bomb Tracking: Hello, again. We are here again to continue editing this visual effect. So the following step is to stabilize the background image. I mean, the shot we created in the shooting where the soldier is standing contemplating explosion. So before adding the rap stabilizer, we need to nest this clip. So we click on the right mouse button. And we click a nest to create this subsequence. So the reason why we need to nest this clip is because the wrap stabilizer requires that the clip matches the sequence frame size. So once you nest the clip, the subsequence is going to match the frame size of the sequence you are working with. So the following step is to select the exact snippet from this nested sequence. Remember that we only need a small part of this clip. Remember that that was part of the strategy to create these kind of visual effects. So I'm going to squeeze this subsequence, To select this small part, I think that this part is exactly what we need. Additionally, if you choose only a small portion of the clip, the software will take less time to stabilize the shot. So I'm going to go to the defect folder and I'm going to go to the distort M and I'm going to drag this rapid stabilizer into the clip. Over here. V is already stabilized. So from this moment on it's easier to create the tracking for that bomb explosion. I mean now there is only an up and down movement, but the vibration disappeared. And that is crucial because the less movement the shot below has, the easier it will be to adapt the explosion video to it. So you can use the auto tracking tool to fix this. Both after effects and Adobe Premier have this tool. But this doesn't always have the best result. So in order to have the exact result you want, I highly recommend you to think about visual effects from the very beginning of the project. I mean, from the shooting itself. You may notice that the video where the soldier is is almost static to facilitate incorporating that visual effect. But by the way, to understand how automatic tracking works, we can use as an example and effects over here. So I'm going to disable the bump layer. And I'm going to create a kind of mask in the soldiers video. So on this cliff, I'm going to go to this lumetric color effect, and I'm going to create a mask. This is only an example. So I'm going to create an irregular mask here. So for example, you can notice that this mask moves irregularly around the soldier. I mean, it's not perfect. It moves because the shot moves too. So in this case, tracking would be used to keep the mask in the exact position we want for the duration of the clip. So if we place the cursor, for example, specifically at this point, and then we click over here on play, so the software will create an automatic path that the mask will follow throughout the clip to try to keep the mask in that exact position. The problem with this is that the result is not always exact, and sometimes it does, it makes everything more complicated. So you can see the automation here. You can notice that it has imperfections that are difficult to repair because there are too many key frames to fix. And sometimes even when the image is stabilized, tracking errors will be generated, complicating the final result. So that is the reason why even though from the beginning, we thought about visual effects, I mean, from the direction, we are going to do the tracking manually. So we go to this contraband effects. We're going to deactivate this automation path, and this effect also. I'm going to get enable again, this nuclear bomb layer, and I'm going to try to find a specific moment where the Nuk seems in the exact position in the perfect position. Remember what I told you that the Nuk is supposed to be close to the son to make it look farther away. I think this exact moment is perfect. So I'm going to click here on the position to create the key frame, and I'm going to study in detail the image. We are going to look for those little details on the background image that we can use as a reference point to keep the Nuk video in the same position. So you can notice that as the clip advances, the Nuk goes down. So we must try to get it back to the same position. So this second key frame is to achieve that. So then we must continue analyzing the movement of the image. For example, you can notice that only by making two key frames, the bump movement completely follows the background video. Something that wasn't going to look completely right by tracking. So using this method requires a lot of patience, but the result is much better. So let's continue figuring out what is the exact position of this third key frame. I think I should move it up a little more. Up to here. Remember that the gap between one key framing and another, it's almost as if it were an automation. And as I told you, that is not going to be that difficult because the background video is not that shaken, you know? Perfect. It looks great. Now, I'm going to create the other key frames. I mean, those ones that are supposed to be before the first one. Right in this part. Pay attention to those details on the desert surface. I'm following them always to take the nuke to the right place. Pay attention to this part because the background image is moving a little bit to the left. So we must follow that movement also. So always you're going to spend a lot of time doing this kind of path. And that is the reason why visual effects take a lot of time to make them. So don't rush yourself if you put a wrong key frame, what you have to do is to take it out, and then you go back to the point you are trying to fix. Actually, I find this like drawing. When you are drawing, you make some lines, and then you rat them. And then you go back to that part you are trying to portray on your canvas. You can see on the screen that we are approaching to the result we want step by step, little by little, with a lot of patients. I think I'm going to lead some key frames over here. I'm going to fix this one over here. And I think just like it is, it looks great. You can feel the explosion development. It's almost perfect. I'm going to keep going fixing it. There is another detail that we must fix in this visual effect, and that is that lighting mask we have created over here in the background video. We have created a kind of mask that produces light, this one. The problem is that this mask is supposed to be as steel as as as the u we must try to fix that on the automation path. Pay attention that I'm using as a reference point the soldier's head to keep the mask in the same position. So we have fixed that light now. The following step is to select the exact portion we want from these clips. I mean the snippet from this visual effect. Remember that the strategy is to join several portions of video to create the entire nuclear bomb sequence. But before cutting this clip, you must take into account that this clip is stabilized. So you have to nest the clip again before cutting it. If you don't, you're going to be destroying all the stabilization process. Thereby spoiling also all the work we did on the nuclear bomb automation. So we nest the clip again, we rename it, and then we are ready to cut again this clip. So this nuke visual effect is already created. Actually, we can add an extra feature to this visual effect. And that is that due to the distance between the soldier and the nuke, the nuke is supposed to look more blurred. I mean a little bit more out of focus. For example, let's see the raw image in detail. I mean the nuclear bomb image over here. You can notice that the image has actually blur. But in this video, the explosion is closer to the camera. So it's not supposed to be that out of focus, you know. But here, the explosion is farther away. So in order to enhance that effect, we can add this extra blurre over here. We go to the Calcium blur and we drag it to the nuclear bomb layer. So we can play with the amount of lure. You can see over here the result by moving this parameter. I think that just right here looks great. There you are. The nuclear bomb effect actually looks better than that one that I used in the music video. I think it's due to the color correction, actually. This color correction is better. Also remember that since I'm using this low resolution stock video, when I export a file, the system is going to use the original video, the four K video. Thank you very much and I see you in the next lessons. Okay. 18. Missile Impact: Perfect. This time, you're going to analyze this scene where these missiles crash down here. So it's basically the same process. With the difference that this one is even easier. I mean, those explosions you see on the screen are perforated and prepared videos to be incorporated into a visual composition. I mean, you don't need to do an extra effort to make those videos match with the background. And all you have to do related to those explosions is color correction, basically. By following those steps we learned in the previous lessons with a nuclear bomb, you will be able to nail these smaller explosions. And that is the reason why I have approached these visual effects by editing the nuclear bomb, basically. For example, let's review the control panel effect over here, and you can notice that I'm not using the blend modes to make these smaller explosions match with the background. So by using a proper color correction, you can nail the visual effects. So I think that the key lies on the background image. I mean, that desert video. As long as that video keeps steel on the background, you will succeed creating these kind of visual effects. But don't get me wrong. I'm not telling you that the background video is supposed to be completely steel. But rather it's movement, it's supposed to be smooth enough to make this visual composition easier, you know? So I have stabilized this background video. Where the soldier is running through the desert to eliminate those little vibrations that are completely detrimental to create properly decomposition. Another important detail to nail decomposition is pay attention to the character and the visual effects. I mean, you must try not to overlap the character with the visual effect. I mean, the character is running through the bottom and explosions are located in the upper size. But I would say that the most important thing in this lesson is the missile. Those missiles that crash down and produce those little explosions. So I'm going to look for my image is a PND file. Of a missile. I think you can find this kind of picture surfing Internet. What you need is a P&D file like this one over here. You can notice that the background is empty, so you can drag these pictures into this software in anything you want. And I'm going to use as an example, the sequence we have created with the nuclear vamp. So I'm going to add this missile here randomly. I don't mean to create effects of the missile producing that nuclear explosion. Not at all. What I want to show you is how to create this kind of effects. So you can see the missile picture that is perforated. You can see the missile and you can see the background also. So the first thing I'm supposed to do is to shift the horizontal direction in the picture because I want that missile heads towards the explosion. So I'm going to look for the respecting Over here, horizontal flip, and then go at racket into this clip. Perfect. You can see that the missile tip is aiming towards explosion. The following step is to analyze what is the exact size that the messile is supposed to have to represent that is falling down into the desert. But you can notice that even though I'm moving and distorting the missile size. It's perspective nature doesn't match with the traveling we want to create. So we are supposed to distort the missile appearance to create another point of view in the missile. So we go to this folder over here perspective, and I'm going to select this basic three over here, and I'm going to drag it into this missile. So in the contra panel effect, we are going to move the Swivel parameter over here. With this wheel. And you can notice that I'm changing the object perspective. And that is very important when it comes to creating these kind of effects because this messyle is supposed to have a traveling through this desert. So to the extent that it moves towards the horizon, the messyle is supposed to change in terms of shape. So what the blue gin does is to change the missile shape to make it match with the perspective we want. So I'm going to set the two points of the traveling. I mean, the exact point on the desert where the messle is going to crash down. So let's suppose that the messyle starts over here, out of the frame, and then he gets into the frame, and then he crushes down just right here. For example, over here. So you can notice I had changed the position in the missile size. And now you can see how the missile flies into the frame as if it were engaging in the frame. And you are able to increase the missile size at the beginning to make it more dramatic. Now you can notice that is as if the missile was passing by next to us. The following thing I would add is to change the missile color. I mean, from this point of view, we are against the light. So the missile is supposed to be darker. Additionally, turn this missile into helps the visual effects seems convincingly. So we can simply low exposure parameter over here. And this object is going to turn black. But it all depends on the color correction of the general frame of the uneral shot. I'm not using the nuke explosion as an example because it's very far. I mean, you're not supposed to see a misle at that distance. It's not plausible. The missile is supposed to have a proportional size to that explosion. I mean, if it were that case, you know. So I used exactly this technique over here. We incorporated this missiles over here. They are almost unperceptile, but they are there. And actually, those little details are those one that take your projects to the next level. So we must try not to underestimate those kind of details. So I highly recommend you focus on composition visual compositions rather than visual effects because actually, you can find any visual effects serving Internet. So the challenge is going to be to incorporate those visual effects into your projects. So I see you in the next lesson. 19. Gunshot reviiew: Perfect. In this lesson, we're going to address the gunshot issue that is even easier than everything that we have created so far. So basically, these gunshots are action essentials. Visual effects upon an empty background that we can use to create this kind of scenes, you know? So what I did is to place this gunshot in the gun barrel, you know, over here. There are four shots, and I have incorporated this gunshot four times. So the gunshot is so fast that you don't need to create a track in, neither manual nor automatic. I think one of the most important things to create this effect is the actor's performance. When you are firing a gun, the gunshot is supposed to push you back a little bit. It's supposed to cast some pressure on your hands. So the actor's performance is supposed to create that effect to portray that effect. But going back to these visual effects, in this case, I use a little bit of the basic three D since the gun is aiming towards the sky. So I distort the perspective in the gunshot and the rotation as well. You can see that the original shot is aiming towards the right side. You can see these right here. So I had to change the rotation towards the sky. A second is aiming towards the sky. So I think it's not that complicated, you know, it's very simple. It is one of the most simple effects to add to a project. But actually, I think that this very recent that is simple makes most filmmakers fail to nail the kind of effects because to the extent they think it's easy, they underestimate some details that are important to make this gun shot look real. And those details are the perspective and the size of the gun shot, the scene itself is supposed to be realistic, authentic. And even though it's a nonsense firing to fighter jet from the ground, the action itself is supposed to be clear enough and real enough to engage the audience. So create this composition is not as difficult as we did in the nuclear bomb example. I would say that the most important thing related to this is the color correction. If we go back to the control panel effect, you may notice that it had added some limtry color to distort the saturation on the gun shot. So let's review the saturation parameter is in 48th, and the default value is 100. So since the entire shot, the entire composition is desaturated, the gunshot is supposed to be like that. On the other hand, there are some things that happens randomly in the shootings that can make your visual effects look better. For example, you may notice here in the watch that is a kind of shining, a glow, that is a sunlight reflection on the watch. You can perfectly take advantage of these kind of things because it's as if it were a kind of gun fire reflection. So try to be aware about the frame nature itself. So as you noticed so far, all the visual composition over here is a byproduct of all these strategies. But I would say that the most important strategy is to make the viewer believe that your visual effects are real things happening on the screen. In order to achieve that order in the futage is the most important thing. I insist several times on this example, once you watch that real shot of the Nuga the rest of the shots will come as real also. So by following and respecting the attentional process on the audience, you will have more odds to nail these kind of visit effects. So try to put all this into practice, pay attention to every single detail, and I'm completely sure that you're going to make it. So I see you in the next lesson. 20. Understanding the Frame: Perfect. We are here in the Adobe Premiere. What we are going to do this time is to create a kind of sound design very quick and very easy to understand. So we're going to use as an example, this scene from the music video, much Tiempo, where the pilot is about to activate the detonator to the rocket that rocket you are watching on the screen. And then the rocket explodes with the nuclear warhead. So in order to have a comprehensive understanding of this, it's necessary to understand the layer topic. And what is the layer topic? When I say layers, I'm referring to the fact that every single element on the frame inside the frame is producing sound. And the most interesting thing about the following lessons, we are going to create those sound layers with all the files found on Internet sound effect. And a great place to find sound is YouTube. To create your own sound design, completely professional. But there is one exception that is the recording of the actor's performance, you know, but we are going to create the rest of the elements inside the frame with sounds found on Internet. Another important thing related to the following lessons is that by the end of these lessons, we are going to review the same sound design, but created on QVse. I'm not going to create a sound design on Qvase. I'm going to create it here in Adobe Premiere. But it's for you to have an understanding about this. So let's start then. So the first thing you must understand is the timeline nature. You know that the upper side is the video section, and the other side below belongs to the sound mixing. But this very audio section below is divided into tracks in the same way as the video section. But there is one notable difference is that when you are creating an editing in the upper side in the video section, That layer you are supposed to put above is the layer that is going to be visible in the monitor in the program monitor in this way. I know that you have very clear this. But with the sound design with the sound section, the audio mix section is quite different because every single audio track is going to play at the same time. I mean, that is very important because you are supposed to overlap audio clips while editing. So when you are overlapping audioclips it's as if you were mixing video clips whose opacity is set in 50%, for example. I already have another sound design course focused only on sound design on this platform. You can resort to that if you're interested on getting deep in this topic, you know. But what I really want at this time is to teach you how to do it easily and professionally at the same time, using AB premier. So let's start by analyzing this image of this frame. You can notice that there is a character, the pilot interacting with this environment. With a beach also with the sand. He's kind of activating this device, the detonator, and he's also panting at this moment. Additionally, there is this rocket that is coming out from the ocean, from the sea, and then the rocket is soaring the sky from the distance, a distant point of view that is very important to take into account those details. And then the pilot walks slowly towards the desert, to contemplate the explosion, you know? So the pilot continues breathing and panting until the end of this scene, you know. And also, you must remember that that detonator is counting down, and then the nuke explodes, you know? I'm trying to list these details because I wanted to make you understand what is the nature of the frame. In terms of sound design because you must remember that sound design is a narrative device in terms of storytelling in terms of filmmaking. One of the main purposes of these lessons, especially this lesson is to make you understand one of the most common mistakes when it comes to sound design. Even in the professional level, I came across this problem many times in my film school and even amongst professional filmmakers. So when it comes to creating sound design, you must be aware about that distance between the camera and the object that is producing the sound. The nature of that sound is supposed to relate that distance. And what I mean by this, when you watch this frame, this shot that is a kind of medium shot. And you are going to use these two shots in the same scene. You are supposed to use a different point of view in terms of sound design. I mean, on this frame, the character is farther away, and another one is closer. So all those sounds produced by that character are supposed to be related to the frame nature. I mean, you can see the character is manipulating the detonator. But in some shots, you can see the detonator farther away, and this is another shot, the detonator is closer. So the sound nature is supposed to follow that pattern, you know? You have no idea how many times this mistake is made in f making. Even in a professional level. On the other hand, you must be aware about what is really happening inside the frame. If you notice on the screen. At this specific moment of this action unit, the C, the waves are not touching the character completely. I mean, there is distance between the character and the waves. So you're supposed to represent all those details in the sound design to be able to do it properly, you know? For example, in this another shot, you can see the waves approaching. So you are supposed to represent that also at that specific moment. So if you're not able to detect those nuances when it comes to creating sound design, you won't be able to create a sound design properly. I'm using this specific part of the music video because I didn't want to go on too long with this. I mean, this part begins right here. Yet. But there is an earlier part where the character is crouching almost crawling on the beach. And you can see on the screen that the waves are engaging in his arms, his hands. So what I mean is that the sound effects of these little waves are not supposed to be the same as the previous shots from a distant point of view, the white shot. So the audience is supposed to feel the water closer here. I mean, the main goal is to create a kind of immersive experience by listening to the sound design. So when it comes to creating sound design, there are only three ways to achieve that distance. I mean, that distance or a mix that represents the distance between the camera and the object that is producing the sound. So the first way would be paying attention to that moment when you are recording the und. I mean, if you are recording the sound of the beach. You're going to position a the portable recording device to a specific distance to that beach. So the byproduct of that recording would be a specific point of view of the beach in terms of sound. The second way would be try to recreate that distance with reverberation. You are able to play with the amount of volume also. And the third way would be to find the exact sound on Internet. So I'm going to give you an example. I'm going to open the browser. I'm going to look for a sound on YouTube. I'm going to type right here, Oshan sound effect. And the browser is going to display all these sound effects. You can try anything you want. We can try, for example, this one, right here. It's a quite interesting sound effect. You can notice the distance between the camera, that would be the recording device and the beach, you know? So you must try to be creative with this. Try to understand your wrong scene, your own frame, your own shots, the very nature of your shots. And you must try to look for those elements, those sound elements that match with the image you are displaying in your montage. There is another aspect very important when it comes to analyzing the proper sound effect. And it happens that, for example, when you are recording the beach sound, you are capturing the air sound also. I mean, the sound beach is the sound of the environment. And that environment includes the air. When you say, I'm referring to the wind, you know? So let's try another kind of sound. So I'm typing here fighter sound effect and the browser is going to display all these options over here. For example, this one. It's quite interesting. So this is a path when it comes to finding the exact and the proper sound effects for your montage for your sound design. So make ready for the following lesson when you are going to start creating the sound design. 21. Adding Ocean Sound effect: Perfect. What we are going to do in this lesson is to create the background sound. I mean, the ocean sound, the sound of that beach. I have my own audio bank and I already have this sound effect. I think it matches to what we need, you know. So when it comes to selecting the proper sound effect, you must contemplate your shot while listening to the sound effect. I find this perfect. But I also have another one. Let's try it. This one. But I think this sea is more turbulent, more moved. You can not just easily the wave size, for example. So the other one is more suitable for this sound design for this case, you know. So I'm going to drag the file to the timeline over here. And what we are going to do next is to cut a kind of snippet of that of the file and positioning in the exact moments we need. I mean, those moments where the soldier is on the beach when he's doing actions, basically. We don't need the ocean at the beginning because there is the t. But next, the soldier appears. So here we need the ocean. So we're going to cut here. Up to here up to here. We can do the next cut over here, and then over here, right here, for example, we are going to delete this part and this part also. We're going to create the other cut up to here. Perfect. So you have selected this scene up to that second before detonating the bomb because what we are doing is more complex, you know? So the next step is to divide those sections we have selected. For example, over here, you can notice that there is different point of view of the same action. I mean, the soldier is closer here, and then it's farther away here. So since we have to make the sound design match with that feature, we must create different point of view by changing the amount of volume. So I'm creating these cuts over here. And I'm going to change the automation line on the clips by modifying this line over here, I'm modifying the amount of gain in this specific clip. So to complement this, I'm going to add the other sound effect where the waves are more noticeable, and I'm going to mix this with the other one. So what we are going to do is position a the wave sound in the specific shot where the waves appear on the screen. You must always try to pay attention to the nuances, the subtle differences. I mean, those differences are going to take your work to the next level, you know? So I'm looking for the specific snippet of this audio that matches with that wave on the screen. That way behind the character, you know? For example, here, it sounds really interesting. I think it's suitable this part. Let's check it out. Perfect. You can notice the difference. It's perfect. And I think by doing this, I'm really enhancing this scene because every single cut that you are watching on the screen is a kind of ellipsis. I mean, this montage is portraying that moment where the character is activating that device in a desperate way. And also the cuts are representing that he's spending much more time activating that device, that the time you see on the screen. I explained a lot of this in my other film editing course, especially the topic and the issue of ellipsis. So so far so good. I think it sounds great. So let's check this out one more time. Okay. So as for the missile part, I'm going to leave this background, the same background of the s, but I'm going to decrease the amount of gain, the amount of volume in this specific clip. I'm creating this cut over here to change the amount of volume, the amount of gain over here, you can notice a difference. So it's the same ocean, but from a distant point of view. Here we can increase again the amount of volume they gain to make it match with the scene. And across this action unit, we can leave this clip all the time. What I'm going to do in this part at the beginning of this action unit is to add an extra C layer. Because when the soldier is down, we see the waves a little. So I want to add that sound effect at the beginning, and then it fades out. So I have created a kind of automation line on the clip directly on the clip, and now the wave sound effect is fading out. So we already have our background, our sound effect on the background, and we are going to continue in the following lesson with the clothing sound effect and the characters sounds. So until the next lesson. 22. Adding Character Sound effect Adobe Mixer: Perfect. We are here again in the AP premiere. What we are going to do is, first of all, try to understand that all these tracks over here in this section below, I mean the sound section. Every single track has a kind of representation in a mixer in a general mixure in the Dp premier. You can find this mixer on the audio preset, or you can find this one over here, accessing to the window stop and finding audio mixer. So as I mentioned, every single track of that section in the timeline has a specific representation in that mixer. You can find A one, A two, three, and you can find also on the mixer the same tracks. And I'm mentioning this because we are supposed to handle two types of tracks, mainly stereo tracks and also mono tracks. Generally, when you are recording in a portable device, you are using a microphone, one single microphone that is capturing a specific sound of the environment. So when you are using one single microphone connected to one track, a mono file is created that corresponds to one track. You can notice a difference here. Over here, there is a mono track and those other ones above are stteriotracks. They have two tracks, two sound waves, you know? I mean, the ocean sound effect is supposed to have anterior recording. I mean, it's necessary to create a surround effect. So in those cases, that kind of environments are recorded with two microphones. But it's important to remember that that has nothing to do with quality. I mean, you are able to use one single microphone. And if you are using a good quality microphone, you are going to capture a high quality sound effect. As in the case of this recording, here we have a monopile that belongs to the actor's performance, and it's going to work perfect to what we need. It's a kind of painting, you know? Yeah. So that is what we are going to add to this montage. So I almost forget if you want to add a mono track, you must go to the sequence stop, and then you are going to put zero over here, we're going to type zero because you don't need video tracks. You are going to put right here a number of tracks you want. And over here, you're going to select the position the track is going to be on the timeline. You can select here the nature of the track. If it's standard, standard is stereo and the other one mono. You can select other options like 5.1 that is surround. I mean for those kind of mixs, you know. So I'm going to move this clip close to this montage. We already have the characters panting. Another important thing is that when you are using a mono track, you are able to create more efficient panting. I mean, the panting is more noticeable in a mono track than a stereo track. But pay attention, I'm not telling you that you are not able to create panning in a stereo track. But in the mootrat is more noticeable, more efficient. So I'm going to try to make the panting match with the performance. We can play with the volume with the game. Okay. In the same way as the previous example with the waves, if the character is closer, we are supposed to increase the volume of the panting. I mean, for example, in this other shot where the character appears farther away, we are supposed to decrease the panting volume. You can actually take it out, but I prefer to decrease the volume. So in this other shot, we can increase again the volume, and we can create a cut right here. Here we can take it out. Let's check it out again from the beginning. Here with the right mouse button, I'm going to increase the volume of this clip over here two points. Sometimes you are going to need to do that because the sound wave is not big enough. It's important to remember that when creating the sound design, it's important to modify the amount of volume of each clip on the time line. I mean by modifying the ad or by modifying the automation line, noting the mixer, because the mixer is going to modify the amount of volume of all those clips inside that track. For example, if I move that failure that belongs to the track where we created the ocean sound effect, we are going to destroy everything. I mean, every single track has several clips that has a specific configuration, you know? A specific amount of volume of gain, So let's continue with the following part. This one, where the character is standing up. I try to make it match with the movement. I'm increasing the gain. Yeah. We can leave the panting also right here, even when the character is on his back, you know? So let's check it out from the beginning. So let's check this out from the very beginning right here. Perfect right here. I must try to diffuse the cuts, creating a kind of fade in over here to clean the beginning of the clips. Perfect. So far so good. We're going to continue in the following lessons with the clothing sound effect and the steps until the next lesson. Okay. 23. Addiing clothing & Steps: Perfect. We are here again. What we are going to do. Now, I'm adding the clothing sound effect. But I'm going to add also the characters steps. But for now, I'm starting with the clothing. So I have found this sound effect on Internet is a very interesting sound. I mean, once I found the sound effect, I immediately machine the pilots suit. I don't know why. I think it's the fabric nature. What do you think? So I'm going to extract a snippet of this sound effect, and I'm going to drag it into the timeline. Let me check other parts. This one also is interesting. I mean, in order to play with these two sections. And I'm going to try to match those sound effects, those snippets, with the characters movements, with the gestures. So the character is looking for the detonator in his pocket. And we must try to portray that interaction between the hands and the suit, you know, that pocket. But pay attention to what I'm doing here. This sound effect, this audiophile is stereo, but I'm working on it in a mono track. So it's going to sound as if it were a monopile it's quite interesting because we already have that background of the sea of the ocean that is quite immersive. But we need to focus that sound produced by the suit in a very focused way. On the other hand, in the same way as we did with the CA sound effect. We must try to make those clothing sound effects match with each shot. I mean, we must be aware that in this shot, the clothing is supposed to be heard from a distant point of view and the other shot from a closer point of view. So I'm creating the respective cuts and modifying the volume in this case, is the gain, you know. So I'm finishing this. I'm going to add clothing sound effect in this part, this close up shot. Okay. Over here. I think sound design is not that difficult, but you have to be very patient by paying attention to the sound layers, you know. Additionally, you must remember that the most important thing is the storytelling, the screenwriting. For example, in one of the shots. Even though it is a more distant point of view. We need to portray that moment using sound design. So if you think it's necessary to increase the volume of this part, I mean, the volume of the clothing sound effect. You can do it perfectly because you are enhancing the screenwriting. You're enhancing the action unit, you know? I think here, we can take out the clothing sound because he's only moving the hands, you know? So we're going to move on to the next part. That is when he's standing up, And I'm going to make the clothing sound match with the performance, you know. It's important to be saddle way doing this. Try not to stress that kind of sound effects. The most important thing is the actors performance. I mean, the painting in this case, is the most important thing. We must pay attention to the critical moments where he's standing up, I think is a hint in terms of sound design. So you must enhance that moment using the sound effect, the fabric sound. So I think it's up to here. So I'm going to clean the ending of this click here since the character is no longer in motion, we don't need to add an extra clothing sound effect. So we can review this again. So let's check the whole thing from the very beginning. Okay. Perfect. It's done. So let's move on to the step sound effect. So I'm going to look for the file in my backcaps a quite interesting sound effect because he's walking on the sand. I have found all these files on YouTube, you know. But there are a lot of pages that provide this kind of sound effects, you know. But anyway, pay attention to the sound effect. It's just perfect. So what do we need is to extract some steps from here. We only need a few steps. You can easily notice that are quicker steps than what we are doing here. But we can easily fix that. I mean, in this sound effect, the steps are quicker. You can notice you can count the steps on the performance, for example, over here. One, two, one, two, one, two, one. And the performance is slower. So what we're going to do is to strike every single step of this snip bed, you know, creating cuts. And you can notice the steps, those little heels in the sound wave. So I'm going to create a cut over here, just right here and the other one here, and dividing the steps by doing this. I think that is enough. So I'm going to order in all these steps to make them match with the performance, you know? So from the very beginning, I'm going to add this step right here at the moment when the pilot is standing up. Then the next one. Here, It's not that difficult. We just try to follow the actor's performance, you know? Try to feel the moments where he is stepping on the sand. And you must pay close attention also to the amounts of strength delivered in every single step. I'm referring to the sound, you know, because at the end of this walking, he is stepping strongly, you know. So the sound effect must match with that. So I'm looking for one more step. I just need one more step that matches that exact moment. So let's check it out the whole thing again. Okay. I think I need to be more accurate with this. So I'm trying to fix these little problems over here. I think the steps the sound effects are quicker the movements. So I'm going to fix this. I'm going to move this over here and this other one over here. Perfect. But there is an extra problem right here. I would add an extra feature to those steps. And that is that in terms of frequencies, those steps are sounding in high frequencies. So we need to enhance the low frequencies also because those steps are too important at that moment. I mean, they are the final seconds of his life. So we need to stress every single step in terms of storytelling in terms of screenwriting. So I'm going to go to the exact track in the mixer that correspond with this one right here. I'm going to make sure that this is the right Okay. So I go to this panel over here, and here above, where I'm able to add effects. So on this panel over here, you're going to click on this little arrow. I'm going to add this equalizer is a 20 band equalizer. And on this equalizer, you're going to find the whole spectrum, the sound spectrum over here. So the left side corresponds to the low frequencies and the right side to the higher frequencies. So in a subtle way, we are supposed to modify those faders over there, and little by little. One by one, you're going to increase the amount of flow frequencies in those steps. I think like this sounds very good. Okay. I think you can notice the cuts, you know, the cuts between every single step. But it doesn't matter because those steps are sounding above the background above the C a sound effect. I mean, you are not able to notice those cuts. And that's it. That would be the clothing sound effect and the steps sound effect. Let's check this out from the very beginning again. So, so far so, let's continue in the next lesson. 24. Rocket & Jet: Perfect. You're here again. What we're going to do this time is to add the jet sound effect and also the missile sound effect. So we're going to start by creating a missile sound effect. So the first step is to analyze the frame nature, what is happening on the screen. You can notice that the missile is coming out of the water. Then there is a kind of explosion, and then the missile starts flying up. But there is an extra detail when the missile is coming out of the water. That action is producing a sound. But let's start with the missile that is actually a rocket, no, a kind of rocket. I don't know exactly what is the difference, you know, I'm not an expert at all. But let's check this out. I think this is quite interesting. At least, when the missile is flying, the sound effect is quite good. Let's check this other part. It seems that it's flying away, you know? This other one is a rocket sound effect. I really find this fantastic. Let's check this out again. Additionally, in terms of quality is a high end sound effect. It has more resolution than the other one. So I go to the sequence step. I'm going to add other tracks. But this time is going to be anterior track. It doesn't matter, you know, because that sound effect that I found is interior, you know. So I'm going to press right here. Perfectly. You can notice that there is not this sign that identifies mono tracks. So I'm going to drag the rocket sound effect into the timeline over here. So the following thing is to make this rocket sound effect, make it match with the missile. We can use as a hint the moment with the explosion happens, you know, this explosion. Perfect. It looks perfect. Now I'm going to add another audio track. Another track over here. Perfect. We press. And I'm going to drag the missile sound effect into the timeline also to create the sound trail of that missile. So what I'm going to do is to complement this part of the sound design. I think at this part it's necessary for the missile flight, you know? So I'm going to drag this over here. I think it looks really great from this distant point of view. So here we have to create a kind of transition. We have to blend these endings with a fade out over here. And if we need to create a fade in in the other clip, we can create that fade in. I think it's not necessary. We just have to cut at the exact. So I'm going to take out this part of the missile sound effect in order to no overcharge this part. Perfect. I almost finish. But there is one element left and is that we must create the sound effect of that moment when the misled is coming out from the water. So what we need is a kind of splash sound effect that matches with that action with that moment. So we must select snippet from this. A very simple splash sound, you know. I think this one is perfect. This part. Perfect. I'm going to drag this part into the timeline right here and I'm going to make it match with that moment. Just right here. So, so far so good, I found this missile sound effect. Perfect. Let's continue with the jet sound effect. I've got several jet sound effects over here. We're going to review each one of them. I think those ones are not that suitable, you know. Let's try another one right here. For example, this one over here. This one. I think this is more suitable than the other. Because it's only a simple flight, you know, I mean, the other sound effect looks like a supersonic fighter yet, you know, and that is not what we are looking for. I mean, actually, it's a kind of dro, you know, a military drone, but it's not a fighter yet. At least not a tripulated fighter yet. So what I'm doing is that since this sound effect is longer than the shot itself, I'm shortening this. I have created a cut in order to squeeze this sound effect. So let's check it out. We have to add a kind of transition over here to blend the two cuts. So we go to the effect folder over here and all the transitions folder. And I'm going to select constant power, and I'm going to drag this plu over here, this transition. And there you are. Perfect. The presence of that fighter jet is created. We could add an extra atmosphere and mean a wind atmosphere to that moment. I think it's not necessary at all, but we can try it. So, so far so good, we are going to continue creating the detonator sound effect in the following lesson. 25. Detonator Sound Effect: Perfect. Let's continue then creating the sound design. I'm going to add an extra atmosphere to that moment where the jet appears on the screen. I'm going to create another track over here. This time is going to be in a stereo track. So I'm going to select a standard here and clicking. So I'm going to look for that atmosphere on my bank over here. This is a desert sound effect. So it is an ambiance. I'm going to drag it over here. Is quite simple, but I think it's going to work quite well. So I already mentioned in the previous lesson that it was not necessary to add an extra atmosphere to this moment, but we are going to try this to let you know how it sounds with this desert sound effect. I'm going to make it sound in isolation. It sounds interesting, doesn't it? And then cutting this atmosphere right here because the a sound effect already has that wind layer, the air. And I think in the missilesin is also necessary this wind. So I'm going to put this ambience right here also. So when doing this, you must pay attention to the transitions, you know? You must pay close attention to those moments where the atmosphere begins and the atmosphere ends. So for example, right here, this cut. We are supposed to be precise with this transition. For example, we must set that C atmosphere to the beginning of the shot to make it plowable, to make it sound real. And also to blend that transition, you know. Perfect. Let's now move on to the device sound effect. I mean, the device is the detonator. You know, it's a kind of detonator. And I'm going to look for those sound effects, the digital sound effects on my back. I found this one is a kind of electronic sound. Let's review it. Supernatic sounds. A kind of activation sound, you know. They are really useful. I'm going to drag this over here because we need different moments because once a soldier takes that detonator out of his pocket, he start activating it. And then he enters a kind of goth on the device in order to activate the missile, you know? So I'm going to drag this one here. It is a kind of cache machine sound effect. We must try also to experiment by doing this, you know? There is not any recipe to create this from scratch. You must try to experiment with the sound design with the sound effects and be creative. I'm going to test another part of the sound effects because we need the device reaction, you know, once we enters the code. I think this part is good. I'm going to drag it into the timeline. We go in to this scene where the solar is taking the device out of his pocket. I'm going to create the first moment. Once he takes out the device, he's kind of activating it, you know? You can notice this moment right here. So I'm going to move that cybernetic sound to this moment, the first snippet. Exactly. And then we're going to add the cash machine sound. The pin. Perfect. I'm decreasing a little bit the volume of this part of the pin. I think it's a little loud and I'm going to put the other spherntic sound. And there you are. I'm going to move this first sound effect more accurately, right here. Perfect. Let's check it out again. Now, let's move on to the C down because the bump the detonator is supposed to have a kind of clock, you know. So I'm going to add another track, a mono track this time. I'm going to select right here, mono and press k and I'm going to look for that sound effect over here in my bank. And pay attention to this because in order to be precise by setting this part, it has nothing to do with the sound design, but with the montage, because we are supposed to make the down match with that image, you know. We must strate to be very patient with this. I'm moving little by little design effect to make it match with the numbers. So, the can down is not necessary in the first part. Just in this part where the soldier is standing up and doing a few steps into the desert, you know. So since I have set the detonator properly on the montage. I don't find any problems setting the sound effect to that detonator. I mean, the second slides always the same, you know. Another important detail is that in terms of screenwriting, that can down is supposed to be heard louder. Even though that detonator is away from the soldier because he left that detonator close to that beach, you know, to the shore. He moves into the into the desert. But we need the presence of that c down all the weight in terms of screen writing. I mean, it's much more dramatic like this. And of course, you can also add a kind of music if you want to this, an atmosphere, musical atmosphere that matches with the mood of the scene with the tone of the scene. I'm going to show you the original sound design with the music. John, I'm gonna see. It's important to let you know that in this part, there is also the nuclear bomb sound. Actually, I'm going to show you that one in the next lesson, but it's quite interesting to see how this evolves, how this sound design grows from the very beginning. And the reason why I'm not adding the nuclear bomb here is because that sound effect is mixed with the music, actually. But I think that the most important thing is everything we have created so far. Yes. And I know you can say that you are not adding equalizers. You are not adding any compressors to the mix to the tracks. And the reason is that when it comes to creating sound design, the mix is quite different from that mix of a sound track of a song or music. First of all, we can use equalizers. We have used equalizers to enhance the steps, for example, if you notice that in your sound design, there are that are colliding in terms of sound design. You can use equalizers to move the frequencies to different areas of the sound spectrum. I mean, in this sound design, we didn't find any critical problem, you know. But if for example, that svernetic sound effect, we're colliding with other sound. We can increase the high frequencies to take that sound away from the other one. I mean, that is what we have applied on the steps. I mean, the C environment was covering the steps. So we enhanced the low frequencies of those steps in order to be noticeable to make them noticeable in the sound design. But that is not the only way to make a sound noticeable in the mix. I mean, you can use compressors, for example. But to pay close attention to this. I think This is one of the most important things when it comes to creating sound design. When you are using compressors, you are destroying the natural in the real nature of the sound because in our surroundings in the real life, the sounds are not compressed at all. That is a feature of the music, that is a music feature, a soundtrack feature, for example. I mean, when you are doing an action, for example, that action of taking the device out of the pocket. That action has a specific nature, a irregular nature, and the sound is supposed to match that nature. I mean, the very nature of an actor's performance is irregular. You cannot compare an actor's performance with a guitar or a drum set. I mean, when you are creating music mets, for example, in a drum set, when you are mixing a drum set, Every single beat, every single heat on the snare, it's supposed to sound at the same volume because that is a professional feature of professional music. But pay attention to these steps, they are completely irregular, and that is the byproduct of the performance. So if you add a compressor to those steps, you are spoiling the real danger of a work. So at least you are talking about the general mix, you can add a compressor to the general mix, a multiband compressor. We are talking about that in the sound design course available on this platform also. But in terms of the creation of the sound design, what we were doing so far is not necessary at all to adapt to the editing process. And finally, the unique element you are going to need to add a compressor is the actor's voice. So if you have a voice, you can add a compressor right here, this kind of compressor, this single band compressor, and you can choose this voice leer. It's a subtle compressor. Because the actor's voice is a very important narrative device. But when it comes to sound design, those compressors apply to the actor's voice are not the same as the compressors applied to a singer, you know? They are quite different because the actor's voice needs dynamic. I mean, the actor's voice needs to convey that real impression, and we need to portray the motion nuances, you know. So I remind you if you're interested on sound design in a more professional level because what we have created is professional also. But you can resort to my other sound design course available on this platform. We're going to continue reviewing the Q based session in the next lesson where you are going to see the voices compressed on the tracks. So I see you in the next lesson. 26. Cubase Review Compresors: Perfect. We are here again but this time on vase. I'm not teaching you how to use Q vase at all because there is another course focus on that, the sound design course available on this platform. I'm just showing you the regional session on Q vase of this sound design. Because I wanted to make you understand the nature of this style that is not that different and then the Adobe Premiere, that session, and those tools we were working with. So you can notice here that there is a video track that helps you to create the sound design. This is the reference monitor in the same way as the Adobe Premiere. And what you are watching on the background is the dashboard, the time line. I would say that is almost exactly the same as the time line in Adobe Premiere. But only focus on sounds, you know, all the tracks. And of course, you are able here to use more useful tools when it comes to creating sound design to editing sound, you can add over here the tracks you want of any nature. And I really wanted to show you the beginning of the video because in the beginning of the video, there is a voice over. Via For come back so you at nouns. You don't and to the. You don't red five should down by an s. So I wanted to show you those tracks where there is a voice over. If we open the track settings, we can see that there is an equalizer, is a more professional equalizer, more sophisticated. This is a par metric equalizer. Those equalizers we used in the previous lesson where graphic equalizers are different. Graphic equalizers have favors related to a specific range of the frequency. But the parmetric equalizer works with these lines. On the other hand, we have the compressor. This is a professional compressor set especially for vocals, you know, and you can add also reverberation, professional reverberation. So you can see the sound wave in more detail over here. You can notice that this voice has irregular nuances. So the compressor is supposed to level those little differences that you are noticing in this sound wave on the screen. But you are able to use the compressor in a way that enhances the actor's performance, not destroying the dynamic of the actor's performance. So it must be a saddle compressor. Come back now. Nuts sight you got to the N s hundred five shut down by or. And you must know also that in the same dough, in the same Q vase, you can create sound tracks. I mean, digital soundtracks, dital orchestration. I'm going to show you a little bit. This is a kind of atmosphere sustained. I am a film score composer also. I'm creating always the sound track of my works. In the same way as the Db premiere has its sound mixer. There is a mixer over here. This is a professional mixture. As I mentioned in the Adobe Premiere, all those favors are the representation of those tracks on the timeline. Obviously, this though is designed to create sound design professionally. It has more useful tools. It has blue hills, especially created for sound mixing. That is a very important deal, you know. Two. In the song I really wanted to show you the nuclear bomb sound effect. It's this one. But you can notice that I took out all those low frequencies related to that explosion because it was colliding with the song mastering. I mean, the low frequencies in the nuclear bomb are not supposed to be more powerful than those ones on the song, you know, and that is the reason why I have decreased the low frequencies in that range of the spectrum. And gentlemen street So, so far so good. I hope you enjoyed all this sound design and learned a lot. I remind you that if you want to know more about this sound design issue, you can resort my other sound design course available on this platform. See you later. 27. Filmmaking and Video Production VOLUME II Ending: Hello, everyone. We had reached the end of this course. I hope you have enjoyed it a lot, very much. Remember that if you want to delve deeper into film editing and learn how to use AV premiere, you can also go to my film editing course available in this platform. On another note, I assume that you had come from Volume one, where we saw how all these materials was shot. If you haven't taken that course, you can go directly there as well. I wanted to ask you something important. If you had made it to the end of this course and you had liked it, you should know that it was made with a lot of efforts for you to try to share the best with you. I would love to continue making a course for each of my productions. I really love that, but it depends on you. There are another courses on this platform, and for me to continue doing this, my course must be highly valued. If you think my course is good, and as I mentioned, you would like to see other courses on other productions, for example, one in an indoor space, et cetera, I need a very good review. But it all depends on you. You are the ones who must rate my course. Thank you very much for getting this far and I love you a lot until the next time. Okay.