How to Edit an Elopement Film

1. Intro: In this course, I'll show you how to edit an allotment video in Premier Pro. Hi, I'm Chris and I'm wedding videographer based in Colorado. Something bad. Something bad. Let me show you what I'm all about. I go through multi-camera sequences, building a story, using audio, B-roll, color grading, and export settings to see exactly where I'll be teaching. Here's the full video. Welcome. We've met in this truly spectacular place who today, I turned the heart of the Rockies and definitely in the presence of God, just liberate the relationship of Morgan Venmo and their Jacob Curry and join their lives together in a marriage, hopes and dreams and love. What a beautiful mysterious alchemy. This is the path of life, path of love from that one cute guy, one q girls sitting in the back row, that college class all those years ago to now, look at you. Until this person on literal mountain tops on your wedding day. From that first, a thirsty Thursday and that first infamous pretend that she liked me to then falling deeply into like and then obviously into love. Unforgettable moment laying in bed, pulling the ring out of nowhere. Quote, Will you always pretend to like me? Beautiful proposal moments to quite literally here. And now in this beautiful and unforgettable moment, I, Jacob, take the Morgan, take the Morgan to be my lawfully wedded wife, to be my lawfully wedded wife. I'm Morgan took the Jacob. Take the Jacob to be my lawfully wedded husband, to be my lawfully wedded husband, to have and to hold, to have and to hold from this day forward the word for better or for worse, for better or for worse, to love and to cherish. 11th, cherish till death. Do us part till death do us part. Because you came here today and tending to marry. Because you've joined hands with someone bows before God, exchange rings minds of those guys every day you are now joined. Partners. Marriage is my great honor. To use husband and wife. You may now kiss the bride. 2. Multicam: Welcome everybody. Let's just jump right into Premiere. Here is my project that I've created for this allotment. We're going to start off by looking at multi-camera sequences. So seek sinking up the different camera angles and audio sources from the ceremony. So just to give you some background, I shot this on the A7 S3, and my tripod camera was an A7 S3, both shot and fork in 24 frames a second. You can see my sequence is 4k resolution and then 24 frames a second. Just getting started making sure everything matches up. First thing we do is just drop the footage in. So this is my A7 S3 footage. This is my second angle with the A7 S3. The next thing we do is grab audio. I use the tascam DR. tunnel for law of mix. I put one on the efficient, then one on the groom, and the groom's Mike will pick up the bride's audio as well. Drop in my files. And now we're all set here. There's two ways to do this. The easy way is a tool called parolees. It's a plug-in that you have to pay for. So just to show you how this works, It's really simple. You just drop your files in, hit synchronize. And this will just take a second. And then what it does is it syncs the two camera angles and the audio files together. Makes this super easy. What's interesting is it actually didn't work. So this red means it failed to sink. Which is actually kind of surprising, but that's good to know because of the other way to do this if you don't have pluralized, we'll also solve that. The other way with built-in tools, just backup here. What we'll do is start over and just delete these. If you just have Premier, you can actually sync your audio without any external tools. The first thing we do is I go find this ceremony file, so it's 1540. Then come back to the main screen, click this list view, and then scroll down. Find the clip 1540. Select that. Then come down and find the audio file. Wherever that is. Here we go. I'm going to sync it with the efficient. So hit Command and then click to select them both. And then right-click and go to Merge Clips. And then hit Okay. Now Premiere will sink the video and the audience the other. So you drag this over. Then this is your camera audio, and then this is the recorded audio. And for whatever reason it sort of duplicates the camera audio. I don't know why exactly Premiere does that. But once they're saint, you select it, hit Command L that unlink them. And then these are my camera audio layers, which I'm not going to use and we'll just delete those and then select them both again and then hit Command L Again, another linked. So if you move them around, they don't automatically or they don't accidentally get off sync. We did that for our first camera. And then we're gonna go back and find our second video file and then also sync it with the efficient. So again command select, right-click Merge Clips. We pull this over and then you can see our second camera is st. So again, select Command L to unlink, delete the camera audio. Command L to re-sync. Now, so we've got camera B, camera a, and both of these are linked to the efficient audio, but we also still need to sync the groom's audio. So the way we do that next. Is we're gonna do it by video. So we're going to again select our second video clip. Then come down here, select the groom's audio command, click Merge Clips here and hit Okay. We'll drag this over. Once again. Select Command L, delete camera audio and Command L again. So now we know that this audio is different than this, but this video file right here is the same as this video file here. It's a line them up, or we have to do is drag this over until they snap together right there. So you know, those video files are lined up perfectly. Now, this audio will line up with this audio as well. So hit Command L to unlink. These are the same video file which you can see a few hide and unhide. We can delete that audio. We know these are all sync together. And then the next thing we do is we know that this audio, the position is lined up with this. It looks like I started the groom's micro earlier. So that's why there's this extra data over here, which we don't need because we weren't recording. So we have to do is just drag this over. All that does is cut out the excess audio that we're not using. And now we know that these two are lined up perfectly. So we can just realign those later. So we can just drag that over here. Now. Now what we've got is our a camera over here, B camera here. This is a phishing and audio on both, and then groom audio over here. We're gonna make it into a multi-camera first, but it's actually easier to do your basic color grade and your audio editing first. So what we're gonna do is we'll start with the audio. Come down here. There's two things I always do with audio. The first is parametric equalizer, and I've got this saved as a favorite. But if you don't, you just come over here and type in Parametric Equalizer right there. Then I have a multiband compressor right here that I have saved as a preset and I'll show you the settings that we use for that. So now if you look at the audio effects over here, we've got Parametric Equalizer, multiband compressor. So first we'll open up parametric equalizer. This is what's called E queuing your audio. This can get fairly in-depth, but I'll just tell you what I do as a baseline for everything. First, I do a high-pass filter, adjust this to 80 hertz, and that just gets, gets rid of your low-frequency rumble helps with some wind noise. If there's any that kind of stuff, it just cuts out all that and there's no vocal range in this area. Then what I'll do is I usually just start off and grab this low end. I bring it down about six dB. Then I bring this down by about three dB. Then I'll usually just bring the high-end down a little bit as well. Just makes it a little bit easier on your ears to listen to. I don't know how well this will come through in the recording, but we'll give it a try. So what are marketed to leave on this row by choosing one another? That's width. Without knowledge, his love and his connection within choice, you next lobe often hits hard without your say. So it may or may not come through in their coordinates. But this is what I use as my default. Just get started. Then the other thing that I use is a compressor. What that does is it just compresses your high and low frequencies. So rather than it being like quiet, loud, quiet loud, I just kinda brings those altogether so you get a nice even sort of range on your audio. Then this is the preset that I have created and actually delete this just to show you how to do it from scratch. Again, instead of my favorites. We'll come over here. So just type in multiband compressor in your audio effects. Drag that over. And then click Edit. Then what you want to come do is choose broadcast for your preset. That's pretty close. The only thing that I changed is attack. You can use that to one millisecond. Release two to 50. And if you want more on the theory, matt Johnson on YouTube has a great video on the theory behind all this. But if you just want the shortcut, this is what I use for my compressor. That's basically it for audio editing, partnership. Wedding that is active as decision in the past. There we go. Now I want that duplicated over here. But rather than doing that, again, you can just click Copy. And then come over here, select this and click Paste Attributes that will paste your effects from the original clip. You see right here multimeric compressor and parametric equalizer. Click Okay, and now your audio effects are applied to that clip. Will do the same thing right here. Audio effects are applied there. Now all our audio is done. Now what will work on is basic color grade. Go to Lumetri Color. And we'll drag this over. Just pick a spot to start with what looks good. And at this stage I just do a basic color grade to get started and then I'll tweak it when we get to the final highlight video a bit later. So come over to the color tab. Go to creative, and this is where you can use your lats. So I use the native LUT pack by forestry films. It's really up to you. I've also used this prologue, UT Austin is really good by Henry Martins. And then these Dolce lots are really good bye. Gamut or white and reverie. For this though, I used this native to. Then the nice thing about doing it over here in the Creative tab as you can adjust your intensity. I think I'm just going to go ahead and go somewhere around 70%. They'll go over to basic correction. It looks a little dark. So I'm just going to bump the exposure about a third of a stop. It lights up just a bit. I think that's a pretty good starting point. White balance looks good. We'll go with that for now. I'm going to duplicate that. So come over here to your effects. Hit Command C, copy your Lumetri Color. We'll paste it right there. Now it looks like this is a little bit overexposed obviously for the A7 three footage, you'll drop our exposure back down and highlights back to 0. Come back to the light. Actually just think leaving it at 100% for this is good. Still a bit. Just going to put in the shadows down a little, box down a little. Then bring the highlights down just a bit. I think that's a good starting point. To have a basic color green. Come back over to the editing tab. Now, you create the multi-camera sequence. Is. First thing we will do is select this right-click and go down to nest. We're gonna call that a KM. Then we're going to select this and call it became. Now what you do is come over here, select your a command click to select B, right-click, and then create multi-camera source sequence. So click that multi-camera one ceremony and hit OK. Run through and create the multi-camera sequence right there. Then what you do is click over here where it says multi-camera, not the process clips. Right-click. Come down to New Sequence From Clip. He drops it over here. And it looks like when nesting and we lost the audio information, but we know this is our efficient audio. Just come back. Audio. Efficient. We can just basically replace that because it's the same exact file. Come back here, this was our groom audio, so Command C, bring it back Command V, line that backup. You can double-check by just playing. So we'll meet this relationship, different stages, trials and tribulations that it's still wind up perfectly. Next step, select this right-click, go to multi-camera enabled just to double-check it is enabled. Then to view it, you click over here toggle multi-camera view. Now we can see camera one, camera two. So these are our source. This is our source, one, source two. And then the one on the right as well will actually be exported. And you can toggle between the two just by selecting on the keyboard, clicking two or one. Camera to camera one. And it's that simple. Now our audio is all lined up. Another little weird thing that Premiere does is if you see this one, it's only playing audio through one channel. You want us to change this back to two. Now it'll play through your right and left speakers. Once we set this to both channels, double-check the audio. This is another strange thing Premiere does. Sometimes it'll change the pan, which is left speaker, right speaker. So at negative 100, it's only coming out of the left. This is just a glitch and Premier, but you just come over, change it to 0, hit Enter, and now it'll come out of both speakers. And then check this audio as well. And it's at 0, so it'll come out of both speakers as well. And now you're ready to go. So you just find your beginning point here. Select everything, hit Command K to cut and delete that. Drag this to the start. If we start at right here, we know this is the efficient audio, this is the groom audio. Since the efficient speaking, we can just pull this over. I remember you don't want to drag because what that does is change the timing, bring that back. You basically just crop it in. Now you hit Spacebar to play. Cool, Awesome. Grading. Both of your sequences are both ear cameras play at the same time. You can see both angles. You're ready to go. From here what I do is just go through the full the full ceremony, then make cuts and change angles where I wanted to. So we're in camera one right now, if I wanted to switch, I would select the video layer, hit Command K, make a cut, select the new layer, and then just hit two on my keyboard. And then we go through and say I wanted to change back Command K and click one on the keyboard. And that's how you go through. And then you can just say, if we say at this cut, say the groom was talking. Again, Command K. Just drag the efficient audio over and then bring the groom audio over. If he was speaking, then it would be playing correctly. They're basically I just do that. I go through the whole video, I changed different camera angles and adjust the audio so that the right person is speaking. One little trick that I found that's really nice too is when I go through this and I hear parts of the ceremony that I wanted to make sure to include in the highlight video. I'll grab an adjustment layer. Adjustment layer. Let's say I wanted this section from here to here. I'll just drag this adjustment layer up here. Pull it over to here. There's nothing, there are no actual effects in this layer. It's not actually affecting the video or the audio in any way. But what it does is now when I go to look through them like, oh, I like this part, I don't have to go through and watch it a second time to decide which pieces I want to use it as just kind of a shortcut to say I probably want to use this piece in my highlight video. It's a nice way to mark that without affecting anything. That's how we do multi-camera sequences. 3. Music and story: Alright, now we're going to jump into our next section, which is choosing music and building the story for the video. I always like to start here. As far as choosing music. It really just comes down to what was the wedding like? What was the energy? What were the couple of? Like? It's kind of just feeling really just finding a song that resonates and it just kinda clicks were like, yeah, that definitely fits this couple on their wedding day. I choose my music through a site called music bed.com. That's where I licensed everything. It's definitely not the cheapest. It's somewhere around $700 a year, $800 a year for wedding licenses. But it's the highest quality that I found. So that's what I like to go with. This. For this particular a couple I found a song I like, which is called when I'm with you, by Ben Rector. Once you have your song picked out, here's how to go about building it out. The nice thing about music bed too, as you get a lyric version and an instrumental version, I dropped them both in here. I'm going to reset my and out points. The full song. That's the lyrical version and here's the instrumental version. I dropped them in together. Now they're timed perfectly with each other. And then the first thing I do is drug grab them both hit G on the keyboard, which brings up your gain. And the first thing I do is set to negative six. Just to give me a little bit of wiggle room. Because I'm gonna be layering in audio as well. Spoken audio from the wedding. I bring the basically bring the volume down a little bit. Then. These allotments or an hour at minimum up to about four hours. I think this one was about four hours of filming. It's not a full wedding day, so it's gonna be fairly limited as far as what you can do with editing. These actually tend to be fairly simple. And what I usually do is I like to start off with some lyrics, some B-roll, which you can see, I'll pull up the final video so you can see, usually what I do is I start off with some B-roll just to kind of introduce the couple and the location and that kind of thing. This is all lyrical audio. Then what I'll typically do is feed that into the ceremony spoken audio and then fade the music into instrumental. Because you don't want the artist's singing while people are talking. Generally it's lyric steering, B-roll, and then instrumental during your spoken portion. Then kinda like what we talked about what the ceremony video after I go through and choose all the different pieces that I want to use to build the story. I'll drop those in. Each of these is a different piece of the ceremony that kind of tells their story. The way I typically do this is it starts off with some kind of the efficient saying, welcome the wedding of blah-blah-blah and just kinda goes from there. So if you can hear this. Welcome. We read in this truly spectacular place here today, the heart of the Rockies and nothing in the presence of God just liberate the relationship. Morgan minima and the Jacob query to enjoy their lives together into marriage, hopes, dreams, and love. Just a little fun fact, if you ever seen the movie Jati tsunami, the efficient is the guy that played him. He needs to be an actor when he was younger. Check that out if you haven't seen it. But I like to grab a piece of audio that just kind of introduces everyone. And then the body of it just kinda depends on the content I just find. Try to find different pieces that tell the couple of story. If they wrote personal vows, I would definitely use that. Does coupled didn't wind up doing is just using the repeat after me. I take you as my husband, take you as my wife, that kind of stuff. So basically we've got intro efficient telling their story, a little bit more of their story. The vowels repeat after me. Then I ended up doing some more of the lyrical part of the music, the song, with some B-roll. And then transitioning back into instrumental and then the pronouncement, basically him saying I pronounce your husband and wife. And the first guess. Then what I like to do with some of these allotment videos. We then fade into sort of the lyrical part of the end of the song again. After he says, you may kiss the Bragg's, then there's no more spoken audio. Then I usually go into one of my favorite bureau clips from the day. Then kind of faded out. So here's what that last piece sounds like. It now. There we go. How to go through and do that is we layered are lyrical audio and instrumental audio. Then let's say. So basically, because they're directly above and below each other, their time the same. If you said you wanted to. And your B-roll here and transition to instrumental. So select it Command K, drag over the instrumental and just kinda move this out of the way. Then as a starting point for the audio level, I hit G. I usually like to do negative 18 decibels. I find that's a good place to balance out. With them speaking. I said it's a negative 18. Then I'll come over here and right-click and go to apply default transition. And that basically just applies a sort of like a fade between this track and this track. But because they are the same and their time the same, you just get a nice smooth transition. And then the more you either pull this out or bring it in, determines how long that transition takes. I usually pull it out a little more, just as smooth it out a little bit. And that's how you do your transition there. If we look at how that ended up working in the end. This is the final piece that I ended up with as far as building my story. So we have our section of music here. Then right there is where we transition to lyrics or SRE to instrumental. So here's what that sounds like. Welcome. We read in this truly spectacular place here today. Then you can also listen and see that you want to make sure that him speaking is the most clear thing over the music and to make sure you can still hear the music, but it's not overpowering. So this is basically Coming up to 0 dB, as you can see over here, the Rockies indefinitely. The President with the music down here at 18. I actually brought it up a little bit so I use that negative 18 is my baseline. But then just adjust it based on the song and how loud he's speaking. It looks like negative 15 ended up being great. So here's that mix and what that sounds like, the heart of the Rockies and nothing in the presence of God just liberate the relationship. Morgan minima and Jacob Curry and join their lives together to marriage, hopes and dreams and love. And then I usually leave a little bit of pause between each piece and then just kind of build out their story. Right now all I'm doing is getting the flow of the song and getting the flow of the ceremony pieces for telling the story. Then what we'll do next is go back through and fill in all these empty spaces with our B-roll. For instance, here is kind of what the flow fields like. Dreams and love would have. Beautiful and mysterious alchemy. This is the path of life and love. That one cute guy when he girls sitting in the background that college, It's all those years ago. It's now until this person, literal, mountain tops, on your wedding day. I usually grab a few pieces that tell their story. Then I always try and get as much of them speaking as I can so they didn't write personal vows. I use their repeat after me vows. I'll play this just so you can kind of see how I do it. A lot of times with these. I'll alternate and then place B-roll over it. And it just makes it a little bit more interesting than a simple read through. So here's how I included their audio this time. I Jacob, take the Morgan The Morgan do my lawfully wedded wife to be my lawfully wedded wife. I'm Morgan. Take the Jacob. Jacob to be my lawfully wedded husband, to be my lawfully wedded husband to have and to hold from this day forward, in this day forward for better or for worse or better or for worse, to love and cherish his chair. So death do us part until death do us part. Again? Don't worry about what it looks like here because we're going to be putting B-roll over all of this. I'm just worried about it sort of being cohesive as far as the audio goes through this section. And then what I did is transition over to lyrics here till death do us part. Then again, we'll fill this in with B-roll. Then we transition to the pre-announcement because e2 came here today and tending to marry, it doesn't join hands with someone dies before God. Again go through this and our last B-roll clip. From start to finish. That's how the music and story piece comes together. I always do this first one. The music is going to determine where all your cuts in the video go. It also builds the emotion. And then the story is the next most important piece. So I always do that first. Now is the really fun part with the B-roll. Or we get to go through and look at all our footage and fill in these sections. So that's what we'll take a look at next. 4. B-roll: Alright, now we're gonna move onto our B-roll section. This is where everything comes together. So basically what we're gonna do is fill in all this empty space right here. And then kinda overlay some footage on these sections where we don't want to see all these cuts in the video. This is actually quite simple. Basically. Here's all the footage that I shot that day. Then all I'm going to do is just run through my footage and kind of grab all the pieces that I want and drag them over here. So say I want this piece, this clip. I just find the section that I want. All my keyboard. I've said I for n. Let's say I just wanted to say something short right there. Stop, hit O for out. Then I click this icon and drag it over here. And what that does if you click this, it drags only the video. If you click this, it'll drag just the audio. If you click on the screen over here and pull over, it'll grab both the video and the audio. Because we're not going to be using any camera audio from these bureau clips. I just grabbed the video, the video layer using that. Basically, we just kinda go through every clip and just find the pieces that we want to use. Again, I for n over out. And drag that over here. Then just repeat that process all the way through this. Drag that in. Then once you go through all your footage, basically, basically what you end up with is a big chunk of sequential footage right here. The processes over this is everything that I shot that I want to use for B-roll. Once you have that, you basically just go through and fill this in. And one thing I like to do is kind of spread things around first. That's the first thing I do. Because you don't want a bunch of clips that all look the same. One after the other. What I'll do is take all this footage. First, just kinda like drop one here and then take the clip That's right next to it, which is going to be a very similar clip and maybe move it here. And then I'll take the next one, put it over here, just kinda go through and spread things out. Go like this. Then you start filling in from these different areas. This is not how things are going to end up, but this will give you a good starting point. So once you go through and get all your eclipse in place, you end up with something like this. Ignore all the adjustment layers because we'll go through those afterwards. But you can see we've got all our B-roll clips and what's, the first thing you want to notice is you get a good variety of sort of medium shot, tight shot, tight shot, wide shot, wide shot, and then also different locations, different things so it doesn't feel repetitive. And you get these sequences of your different clips. Then I also do things roughly chronologically. So like the beginning of the video, I started off showing the couple hiking out to the location where they're gonna do their ceremony. Just kind of like doing you're establishing shots. And then also mixed in with some B-roll them to kind of introduce who the video is about. And then we fade in here. Then one other thing I like to do is also use a couple of different texts layers. So the way I do this varies by each video and you can kind of look at some of the other examples to see how I do that in different videos. But I usually do the names and dates. That's pretty much it really just something to get the video started. We start off with our B-roll again. So just so first just setting off. Again, just remember you're telling a story. I usually like to start off with shots of the location. So you've got this bird here. Her hiking boots. Just kinda showing the landscape and stuff. Some different mountain clips and some different effects and introducing them. The other technique that I like to do is you don't necessarily have to fill all this in. Once I have my rough layout. What I'll do is go and find high points in the song and put really good clips in there that are some of my favorites that kind of, um, help build sort of the energy in the video. This is high point of the song, builds and culminates there and then fades into the ceremony. So here's what this looks like, this little mini sequence. Welcome. That way you just get kind of a natural flow that matches with the music as you move through the video. And then just some other general principles, these big chunks of bureau, you just fill them in. One thing I like to do too. Well, obviously, you want to fill these gaps that we had left on the storyline. So he's below here. Then a lot of times I won't go straight to the ceremony. So like they're speaking here, but I've got B-roll over the clip. Then I cut to them speaking. And usually the stuff that I show is kinda just the better parts of these clips. Like I like this because you get a smile out of the groom and it's a good part of the ceremony. Another thing I like to do, I just find it flows better if you cut the clips. He transitioned from this clip to this and a pause in the audio. So you can kind of see this dip here as a pause and him speaking. And same thing here. There's a pause and speaking here. I feel that it just flows a lot more naturally if you cut the clips in those pauses. Here's what that looks like. Theories, alchemy, this is the path of life. The love that one cubed got just flows better. The next point on make, as you put your clips together is you want to alternate. So you wouldn't want these two clips to be too similar. Or you get what's called a jump cut and it just feels really jerky. You also want to adjust your vary your focal lengths. So this is a fairly tight shot. You can maybe call it a medium shot and then this is a wider shot right here. And then if you go look here, this is a wider shot. And then this is a tight shot. So as you go through, you'll see these variations in the B-roll. So again, wide shot, tight shot. And then like kinda like we talked about before. We don't want to show all these different cuts in the video. I have another sequence of clips going through here. Then another reason I shoot with two cameras, two, as you can make things seem seemless by just switching angles, even if they're not seamless in real-time. He's talking here and it looks like it jumps to her talking, but really this was a different part of the ceremony. But because I switched angles, it feels seamless rather than it just kind of like jumping. If I had this angle but her talking. And then we do the same thing here. You've got this angle and then we cut to this angle. By switching, it helps it flow better. Then again, you've got this other B-roll sequence. Just kind of building a sequence of clips because we're getting towards the end of the video that have a good amount of emotion with them. And then I also do this transition by using what's called a match cut. Basically, you just want really similar eclipse but in different locations. And you cut the clips at similar times. They go in for a kiss, the shock comes into focus. And then they go to basically the same moment but in a different location. They kind of helps bridge that gap. And then we come into our other spot. Just looking at the end. Everything kind of culminates with their first kiss. Then we go to this last Sean. Basically, I just picked my favorite shot for this one. Then as far as timing, There's a beat right here. The kind of signals, the end of the song and that's where I fade to black. So here's what that looks like. Then by doing that cut with the music, it flows a lot better. So that's another really important point. If you look at all these other B-roll sequences, whereas just music, all these cuts in the clip gonna be with a B in the song. You can see there's one here. And I'll just play a few so you can listen. Each. What he saw, more of these clips switches, It's on a beam, the song, so it flows well. Because e2 came here today and I think that's okay. Most of the key points that I use. The only other thing that I like to do with B-roll is they try and find something unique to do with each video. With this particular one, it was this little transition piece here. I just saw a good opportunity. The way I did this is just by playing with adjustment layers. Adjustment layers, but what do you call them blend modes. So basically you have this clip and this clip, right? And then I overlay this one. Here it is. But because of all this white behind them, what's cool with this one is you can change the blend mode to lighten. Then it basically makes them transparent. So what you're seeing behind them on this side is this clip. If you look in here, you're seeing this. And then it transitions clips, so the background changes. Now what you're seeing inside their frame is the next clip, which is this. Then the other little detail that I did with this is as you transition lined up these peaks, you can see this clip here lines up with that right there. Just creates a nice smooth transition and you just got a cool little interesting elements of the video. Here's what that looks like. I kind of feel like it's those little details that end up making a big difference with your video. So now we'll go through all these adjustment layers next and how I go through and do my color grading and exporting the video. 5. Color grading: Okay, and now we can move onto Color Grading. We've got all our different different clips lined up and cuts in the music here. So now we've seen to go through and do our color in. First thing you do, grab an empty adjustment layer. Come over to your effects. Actually, just search for lumetri color. Grab this, drag it here. And then we're going to drag this over our entire sequence. First thing we'll do is we'll just pick a general clip that's a good representation of everything as a starting point. Go to the Color tab. And because we use the native what earlier, we definitely want to do that again so that all of our clips have a consistent look. Native to that's what we used earlier. You can see just that makes this footage look really nice. So again, no LUT with a LUT without and with. Actually, that's a great starting point. Now, that's gonna be applied to all these clips. And what we want to do next is go through and tweak each of them to make them nice and consistent. We're gonna go through these, don't need a color grade. So up until here, we don't need this. Actually, I will go right there. Then what we want to do is just go through and cut this layer so that we can treat it independently for each clip. So grab your eraser tool. Then each of these clips is cut, will make a cut right here. Now, each of these has their own adjustment layer assigned to it so we can go through and tweak without it affecting anything else. These are our Lumetri Scopes. So to give you a better idea, a better example, this kind of shows you your exposure values and your colors. As this goes from right to left, it represents right-to-left. In your clip. Basically, all we see is we've got a good amount of detail on the blocks and shadows, but we're not quite using all the dynamic range. The highlights and the whites up here. We might do is just grab the highlights. As we pull those up. We'll come up with just a little bit. But a lot of this too is just based on look. Also because we applied that what it does have an effect. So you see if we undo it, the whites are all the way up at the top of by using that a lot here, it brings those back down. Then basically all I do is just run through each of these clips and just make some, some adjustments based on what I want this to look like. This looks pretty great, but I think you can use a little bit more shadow. Maybe warm it up just a little bit. Here. The highlights down. A lot of this is just preference to what you want your clips to look like. Actually always were pretty solid in cameras. I'm only making some small tweaks. But basically you just go through one by one tweak things, how you want them to work. That's pretty much all I do as far as color grading. You just kind of go through and then the other thing I'll do to check just because we did a rough color grade earlier. I just want to check that these kind of match the footage here. I'll do another adjustment layer here, but you can see there's no applied here. Look none. They don't have the applied. I'm just making some tweaks because we already put the light on this footage. All I did here was bringing the highlights up. And then I'll kind of go through my different ceremony pieces and make some small tweaks. Like here, I bumped the exposure and the highlights just a little bit. Here, just the highlights, saturation a little bit. Then just go all the way through and do that for every clip. That's how I do my color grading. 6. Export settings: Okay, now as our last piece, we'll just run through export settings really quickly. This is definitely not the most interesting things, so we'll just do this quick. You can just make a preset for this, which is great too. You don't have to worry about it later. We just set our in and out points. Here's the end of the video. So I just hit O on the keyboard. Come over to the beginning, hit I to set in. Now it'll export from my endpoints in my outpoint, go File Export Media. Then you can see I've got a preset saved here, but we're just kinda go through this format H264. I shot this in 1080 P or a fork, but I'm exporting intensity P. It just gave me the extra ability to crop into different clips. If I wanted to. Basically match source, you can see 1920 by 108024 frames per second. This should say progressive and square by default. This is one that I do render a maximum depth makes sure to check that the type of encoding, it's going to depend on your computer. If you can use hardware, I'm editing on one of the new MacBook Pros with the M1 chip. So this allows you to use that super powerful chips export really quickly. If you can't do hardware encoding, that's what I'd suggest. High 4.2. This is just a default. Default. This is probably your most important thing. Is your bit rate. I do VBR one pass, just because that's the only encoding type that works with hardware encoding. If you're doing hardware encoding, you want to do VBR one pass. Then your bit rate is basically the quality that you're going to get out of your video. So the higher the bit rate, the higher the quality of the file, but also the bigger the file. This will mostly depend on your computer because I'm using a powerful computer and I want the highest quality video that I can. I just max this out at 62.5. I think. Really 45 or 50. Anything along that range or higher is great if you're going to be uploading it online. If you're just going to be handing it over to a client on a flash drive or hard drive, I probably do 15 to 20 megabits per second for your bit rate. That would be good. But because I'm not worried about computer performance, I just max this out to get the highest quality I can hear. Everything else here is default audio settings. This is what I use. I think this is all default to AAC, 48 thousand hertz. Yeah, beret 320. I think these were just defaults and I just loved them as is use maximum render quality. That's what I do. Once you go through and set that, just click this icon Save Preset, and then you can name it whatever you want. Let's say ten ADP export preset. And you would click OK and it'll save it there. And then when you come back to it later, it gets saved in this section right here. You can just load your preset and then click Export. And then that's how you export your video. I think that's pretty much all the content. The other thing is I'll upload a couple of examples of other allotments. So you can see kind of how I go about doing this with different videos. I don't follow this exact structure every time. It's not always like B-roll, ceremony, B-roll. And there's different formats. You can definitely come up with your own whatever you think flows best. This is just roughly what I found to work the best. And yeah, if you guys also want to share your work, the group that'd be awesome. I love to see what you've got and if you've got any questions about anything that I talked about here, just make sure you comment on that related video and I'll definitely be checking those and get back to you. Yeah. Thanks for being here and just let me know if you have any questions. 7. Allison elopement video example: When we're gathered here today to celebrate the special loved that the two of you have discovered and to join you in marriage. 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