How To Edit Your Videos Using Premiere Pro

1. Introduction: Hi guys, My name is Michael. I'm a photographer, cinematographer, and a physicist. And then this cost today I'll be sharing with you guys some tips and tricks that you can definitely use to up your video editing skills. In this course, we'll be breaking down the most fundamental things that you need when editing a video and the more complex things that is, things like color grading and all of that. And this course is definitely for people of all levels starting from beginners who might not even understand what, you know. Editing is all about to, the more complicated and too, the more experts in the field that we might have. That is especially when we start dealing with things like color grading and using different techniques for grading footage, right? So I definitely look forward to seeing you in the next course. Cheers. 2. Importing Files & Fundamentals Of Editing: Alright, so the first thing that we definitely want to do is we want to open up our editing software. Bear in mind that there are so many editing softwares are there. We have the likes of Premiere Pro, which we'll be using today, the spinal cord. These Da Vinci resolve that there's so many, some people even go as far as using iMovie to edit their videos. You can feel free to choose any of those things that will feel free to choose any of the software's personally, like I said, today, we'll be dealing with Premier Pro. And I have it right here on my Mac. And this is where all the editing and yeah, let's go right into it. So the first thing that we definitely like want to do is we're just going to go right into Premier Pro. So open Premier Pro over here, I had made games open over there. Let's go into Premier Pro. So here's Premiere Pro. And I'll just select that. And it will start loading and normally will show like a screen loading screen and just give it time, allow it to definitely open up. Here still loading, loading, loading. You can go for I subscribed version of this Adobe Suite in general. But otherwise it's it's entirely up to you which software you want to do. And there we go. We have that screen lording over there. This is the 2020 version. Have an artist over there. Law. This is the interface over here that we're working with Premier Pro. And as you can see, a definitely have a lot of projects going on over here. That's awesome clients that I was shooting and had the privilege of doing some work for them. But in our scenario over here, you will definitely just want to go over to the new project, select New Project over there. This is where you simply named the project file. Now bear in mind that the project failed is not. This is in the name of a video or anything like that yet? No, no, no, no. This is the name of a file or that simply that the file that will be used to store all the tweaks that you want to do. This is a four month file of Adobe itself. It's not really a format of a video. Alright? So we can call it tutorial, for example, to Turiel one for example. And over here you get to choose the location where you want this to be saved at. For our case over here, how about we choose to solve that? We choose that it'd be saved in documents. We can even create a new folder for it if you want. Feel free to do that just to have your work more organized. Let's call it tutorial for cost. Example. Turiel freight costs. For cost. Yeah. It doesn't matter what platform that is, but just to L4 costs. And you can select and just save it in here. Once it's saved in there. Ben mind that the rest of the settings here are not that fundamental because we're working our way from beginning all the way to the more complicated things. So for now, don't worry about all of these things. Usually the default settings like the video rendering playback here. The settings, you might definitely not want to change any of those things. Usually the default settings are the ones that work best for you already. I wouldn't recommend that to change any of these things like I say, especially if you don't understand yet much about video or in audio and capture. So you want to go right into his clicking on, okay over there. Of course there are other settings over here and all this things, but you want to go right into okay over there. Once you have clicked on, okay. It says previous audio device configuration is no longer available. Do you want to open the audio hardware preferences? And this was the case because usually whenever I do my edit, I have my headset on and you know, and for me to do that, usually there's like, let me just say no. Usually I'd have to come over here Preferences and trues on audio hot way. So currently since my head sets are not connected, cleaning my Bluetooth is out. So it has to ask me that. That's why we have that popover. That's why we have that pop up over there asking me if I want to Open and configure it again. It's already configured itself, I want to believe so let me just verify that. It should have already configured itself. Alright, it's still, it's still rather a configured to work with my headset. The other A7 90 Bluetooth headsets over there, but also scroll over to build an output. Output. Output and okay, and it's alright. So this, you shouldn't, normally, you shouldn't have this pop-up showing up for you because My case law to explain does doubles because I had like a Bluetooth headsets going on over there. If you do have audio devices plugged in, maybe you will have that pop up. But under normal circumstances, you want experience such a thing. Alright? So the next thing that you wanna do is you definitely want to come over to just have a look at this interface. With this interface, as you can see, this is the overall interface of Adobe Premier Pro, right? And there's the learning section over here. I highly, highly recommend this, especially if you are getting out into Premiere Pro, you will have this Premiere Pro Tools here where you can just, um, you know, click and get started into learning a few things, some basics here they are as well, some skills and projects in order for you to just find your footing overall in the whole editing space, I highly, highly recommend that. Then once you are done with that, we also have something we call the assembly. And the assembly what it's basically about, it's just a place where you assemble all the footage that you want to use, right? So let's say that we have food taste, for example, in the footage, maybe in the document and this footage, I find it. And let me let me make an example with an actual piece of footage. So I could have footage like this one here. This is a footage that we had for one of our clients. See this one. This is a footage on myself. Actually. I could just import that file over there and datas. This essentially is what the assembly does. It's just a place where you collect all the footage. You just dumped the footage, and then this is the footage that you will be working with generally to come and edit. Once it's an interstate, it means it's ready for h to be edited. But you can't really start editing it yet unless you put it in sequence. What is the sequence of sequences? Is this interface that you see over here. This is a place where you get to now tweak and change and play around with your footage to the extent that you want to write. So if I were to take this footage, for example, and just click and drag. Let me try that again. I click and drag it and just literally put it over there. What happens is I have this sequence popping up over here and incomes and a screen over here showing what's literally there. And I have this key that I can drag around like this. Or some people even call it a cursor. And I can drag it to the left, I can drag it to the right. And to the extent that I drag it, as you can see, it coincides exactly with what's happening on the footage. And if I just wanted to play at normal speed, I just press Spacebar and it just goes on and just plays by itself. And I can increase my audio was perfect. So that is very, very interesting way of doing things. And yeah, definitely it. And that just two sides to this as well, just for you to be aware. And there's this part of it that's on top over here. This usually is whether video file is to display file that you're looking at is this one that you see on top over here. And then the audio that corresponds exactly to whatever it is that you're seeing is given by what you see below over here. So audio spectrum and the video is just about that. Ideally, whenever you want to get into your editing, what you want to do is you want to come over to editing over there. And in editing form over here. You can then have the flexibility to have a larger screen. As you can see when I click on assembly, I'm limited in the space I could, I could have, meaning. That's because the assemblies meant especially for this, it's about the footage you assemble, but then editings generally about this, you see that? So essentially this is the most, probably the most, the most, probably the most effective or the most is probably the most active area where you will find yourself being in, in Premier Pro, either collecting footage or editing. And later on, of course I did mention that will go into the coloring and then the effects and audio as well, even graphics as well. But for now, these are the two major, major areas that we're going to be talking about just for now as we start off. Alright. Now, now that we've seen how the whole editing process, even the whole editing interface looks like and how things function over there. What we wanna do is we wanted to take just this very footage that we see here and just try to explore some of the things that we see written over here or displayed over here. There's this toggle track output over here, represented by an i. Bear in mind that this eye, it's just, again, just to reinforce what we said in the previous lesson about how it represents what you see visually. If you were to click on that, as you can see, it goes off. You can see anything. But if you turn it on again, now you can see that, right? This, again, might be the most important thing that you'll be dealing with over here. Again, the rest of the other things over here, whether it's the source patching for inserts, or it's this total traffic logs or the targeting for this track and sink lock. This are other areas or other features as well that you can definitely enjoy, but which we won't be going on in this course because they are slightly, we don't hardly ever find ourselves using them in daily editing, you see that? But as you advance further, you can definitely pursue further to learn more about this. Then we can also look even below here on the audio part of it, the puppet just below the video, above here. And there's a microphone over here. This is in case you want to put like a voice-over record of yourself doing something over there. If you do that, let me make an example. If you do that, bear in mind that you just click on less normally if you click on into account or from three to one, 321, and then it starts it starts doing the recording as well, whether it does, if you click on that now, you might want to make sure that there are no interferences to cause any interference over there is I believe that was in my case over here. There's a spectrum. Now it's doing this because there's an interference that's going on here, probably because of the microphone that I'm still using as well right now. So I'll make sure that everything is on point in your case so that you don't experience such things. But otherwise that that really is the case. And there's a solid track over there as well. One feature that probably you might not be using too much or might not be to engage with are super effective. And then there's the mute track as well over there. Mu track does come in handy and we'll be using that in this course a lot. This is because maybe you want to, as I played this over here, as you can hear, there's the audio over here. I press on mute track and all of a sudden voiceless because it's muted, audio is completely mutate and whatever that relates to this video over here, no sample will come from. And because we have just simply muted all audio from this bain mind that because I'm Premium Pro is one of this linear ways of editing. What this means is that we take advantage of this grid lines that you see over here, this lines that you're seeing over here. They say a lot about what happens. For example, if you were to unmute this and mute this part over here, since your audio is not on this horizontal section over here, it won't affect at all the audio. That's why I can stolen this console literally hear my voice over there. But what if I mute this one? And I admit that one, all of a sudden device has gone. Saw Bane mind, always bear in mind wherever you are. Your, your, your audio section is that makes sure that it's in a section that is high that has been highlighted on that is, if it were in this case and not in this case for one reason or the other. Let's say you did want it to be there instead and you wanted to use this section. Let's use this section to be the one that's going to be highlighted. What you wanna do is you want to just hold this audio down and click it like that and drag it and pull it down. And voila, now it's gone low. And now it's muted in that area C that you can do this for even the video as well. It can take it up, you can take it down. It's up to you. Take this one up, let me take this down like that. So it's entirely up to you. If you're flexible, feel free to do it the way that you want to do it. And ultimately this is what will make and contribute rather to you making amazing edits. Right? Now, of course, most of the things that you'd be editing one probably be as simple as this piece of fruit is over here. Probably might be more complex than that. But this does come in very handy. Alright? Alright. Then the next thing that we want to look into is this. Now the next thing that we want to look into definitely will be this. When you double-click this footage over here, you are now able to then use the second screen over here. So this screen on the right will show exactly what's going on, on this interface over here. But then this screen on the left will show on what's going on, on what you double-clicked over there, which might not necessarily always be worth here. Now bear that in mind, it's very important. This is like a secondary screen that you have in order to have more flexibility on whatever it is that you're editing. If you want to be working on something here and still be in control of something here and you can do that. This comes in super, super handy, especially sometimes if you are keen on maybe understanding better the audio that's involved in something. For example, if I were to just double-click on this audio that we had over here that was recorded a few seconds ago with some high frequencies. Of course. I can study that concurrently with this going on, on the side over here. See that? Um, so that's, that's really, really cool thing, that really, really cool feature about this second screen over here. And with this second screen over here, you can have this flexibility as well of just moving it literally one frame at a time, one frame at a time, one frame at a time. Or you can just let it go and press space the same way that we do whether it goes forward, you see that it's entirely up to you how you want to do it. But in our case over here, let me just reduce the volume here. In our case over here, probably we just want to focus on that and sticking my time out here. And I could move this like this and maybe have it like that, for example, right? Now, this pretty much is what is here about using this secondary screen. But then with this secondary screen, there's more flexibility, like I said again, because now you can also just come over here where it's like Effect Controls. And over there you can be able to control what is going on with AC. You can be able to just move this thing to the left, to the right. And this effect controls Bain man, did they connected to the source, which is this guy over here. That's why if I drag this guy to the right and I drag this castle to the left, then it's causing a concurrent. In fact, on this screen over here, this is where the real tweaking happens. This is where all the amazing things that you wanna do definitely happened right here. Because this is where we talk about essentially there is motion, these opacity, there is time remapping. There's an audio, there is. In the audio is the volume, that channel volume and there's a painter, right? Probably will use them all the way to just channel volume over there. And we'll start off first of all with the motion. When we talk about the motion of an image, they are just so many aspects to consider over here. Sometimes we could talk about how the object or whatever footage that you're working with can be moved to the side, that is to the left or to the right or upward or downward. It's entirely up to you. You can do all of that and still be flexible to do that. And these are some readings already here that are corresponding to the, let's see. This has got to be the horizontal movement. You can imagine this almost as if like you have a mathematical x is the x, the x-axis, and the y-axis, and you're dragging it along the x-axis or the y-axis, that's what it literally corresponds to, right? So if I move it this way, it goes this way. If I'm moving to the right, goes this way with some values over there. And I know how in the beginning when I genuinely, we're starting off into all of this as thinking to myself, whoa, wasn't necessarily why didn't they just say left and right? But then with time I got to learn that not just numbers are very important because as time goes, you get to do some more complex things and you need some way of measurement for these things, right? And let's say you were able to tweak them like I just did. And you were not sure if they are properly placed and if they're at the original place where they were before you started moving them, you can always come up too. This arrow over here, come back to this arrow over here that says reset perimeter. When you click that, it goes back to the original state in which it was prior to me moving it about. The second way in which we can move our footage over here is gonna be the vertical way. And if you take it, you can move it to the right, which will make it go down and move it to the left, which will make it go up. And once you are done moving it around, you can always click on reset perimeter. This comes in extremely handy if, for example, you are shooting your footage and let's say that objects were not properly in the center. And of course, there are things to consider here like at what resolution where you shooting at and things like that. But then if you were shooting at a high enough resolution, you can always be able to play around these things to fix that, right? Of course, there are other things to consider in that area, but all these things will still talk about much later a VM on how to deal with shaky footage and all of that. The second thing that you definitely want to look into is something that we call a scale. Now, what is a scale? A scale is simply how zoomed in your footage is. Do you want your footage to be really close to you or really far away from you. And we can be able to do this with this toggle over here. You can just press on that and move it to the right and it moves this way and move it to the left and then zooms out right to left. So we can zoom in just based on whatever it is that you want to create or whatever it is that you want your audience to feel through your footage, right? But Ben minded this, again, counts especially on what kind of footage or what kind of device you are using to collect or to create your footage, right? If the device that you're using does not have really high megapixels and is shooting at a really low resolution. The more you zoom in, the more you start losing information, right? So let's try, let's try and just zoom in and see to what extent would our footage still look sharp and crisp. Let's just do that and keep zooming in, zooming, in, zooming in, zooming in. We're now starting to lose a bit of some detail. As you can see, this information is starting to get a bit blurry over there. And I keep doing that a bit blurry and more blurry and more blurry and more blurry and blurry. And at this point you can't even tell that those are individual hairs trends. You see that it's getting it's gotten who blurry. And why is that? That's probably because we're zoomed in way more than we probably should write. So in such scenarios, you want to definitely keep in mind at what resolution you're shooting at and what megapixels can your device or your camera be able to collect right? At what device that you are. Right? Then the next thing that we want to look into would probably be this that has got to do with the rotation over here. Then minded rotation is simply the measure of turn, right? Bain, mind that rotation is simply the measure of turn right? It's what are you are rotating into the right or to the left? You're turning it to the right or to the left about the center. Right. And the center would be right smack dab in the middle of this footage over here, as you'll see later on as we discuss about the anchor point. But as you rotate it, you can see our footage. We're rotating about the center. So you can rotate it and how many degrees that you want, it doesn't matter. And when it gets to 360, it gets back to 0 degrees. Why is that? Because 36010 literally means that you're going in circles. That means you're studying here. You go back and you come back right at original point. That's why it gets back to just saying times one. I'm one times 0, command 0 degrees, right? So I can just do this. And it looks identical because that's 360, which corresponds to, it's like saying, I had a complete turn and I'm back where I started, right. So you can do it anticlockwise, so you can do it clockwise. It's up to you genuinely speaking, it's up to you and your flexibility. 3. Motion, Opacity & Audio: Now the next thing that we want to definitely look into is called the anchor point, right? As I was explaining just a few minutes about it. The anchor point is simply a point of focus. You can think of it more like an ankle on a boat. Anchor would be something that heavy stuff that we put in water and then the boat goes about it. Right. So it's more like the center of activity if you want, of your footage. If you noticed in the previous scenario when I was moving my scale, like if I do this, it gives us, you can see it starts focusing over here. But what if, what if I wanted to Zoom but not the very center of my footage over here. What if I could change the center of activity? Well, that's what the anchor point is all about. It allows you to change the center of activity. And in doing this, I'm changing it. And now when I zoom, notice what happens because my center of activity has just changed on my fruit is right. So the anchor point is essentially all about that. Choosing the center of activity of your footage. Most times you wouldn't probably have to tweak this. That's if in camera, you are shooting everything with grid lines perfectly and you were shooting everything arrived with center of activity happening right in the center of your footage. Normally wouldn't have to necessarily touch about the anchor point and all of that. But in a scenario where you did do something that that you know, you shouldn't have done or even were shooting things, not using properly the grid lines and the rule of thirds, then probably you might need to play around with the anchor point, right? Then the anti Flickr filter would be in a case if your footage was flickering a lot and you wanted to counteract that. But in our case here, this is definitely one feature that I hardly ever use, but could be handy for you if, if if, if you want it to be. And then we'll go right into the next section. Now for the next session, we have opacity. And with opacity. Opacity is all about how visible is your content, how visible is your footage, that's essentially what it is. You have this flexibility when you can even create masks around. Like if I create this mask over there, just me precedent that have a look while it creates over there. That's because there's a mask that I've just created. It means, and this mosque, it's made in such a way that I see everything that's inside of the circle or ellipse if you want, and everything that's without, I cannot see. If I wanted to see everything that was without and not see only what was inside, all I have to click is on inverted then all now that I can see is everything that's without the ellipse and audits within the ellipse. I can not see. So it's entirely up to you. It's all about your flexibility at all. And bear in mind that as you do this, this can be used as well even for tracking subjects if you want to color something and then like you have a boy and you want a colored ball, change the color of the ball to maybe green. If it was red, you could track it using this preferably maybe an ellipse and then go frame by frame, literally meaning that going sideways one by one by one with directional keys or were they and being able to follow that using this mask over here. So there's that element of flexibility I can definitely use. But this definitely comes in with some people who are more experienced as well. But I do think it's important just for you to know how that is there, how that exists and how that basically functions. And just coming back to it again, over capacity over here, as I mentioned, you can definitely even choose a square over here. There's a polygon mask over here. You can even choose a free draw bezier, where you are able to draw for yourself. What is it that you want your max to be around? You see that? So it's entirely up to you essentially how you want to do it. Feel free to be creative or free to do that. So I'll just press Control Z just to get back and remove all that I have just done. Perfect. And the mask feather opacity and expansion of got to do with that mass that you've just created. Whether you want it to be very strong in terms of its effect being very strong, or you want it to be spread out or concentrated. And how visible should your effect be? And your mask expansion, how large should it be, large or small? All those things when inverted, definitely, we already spoke about that. And opacity overall has got to do with should should we even see the footage in the first place? You see if I go all the way to 0, we cannot see the footage. You see that. But if we go all the way to a 100, we can still see that. So that is definitely something that you want to keep in mind. And this watch icon here has been activated. This has got to do with some animated features, which we'll talk about in the next lesson. But for now, I'm just going to delete them because we're not there yet and we're yet to cover that. And if I cancel this and come over to the audio section over here, this is where you get to tweak the audio or how large should it be, how not allow this should be. You can increase the level over here, you can reduce the level over there. And it's entirely up to you. We also have a channel volume where we can speak about how your audio should be balanced. The left derived, should the left be greater than the right? If I had two speakers, one on the left, on that, on the right, would I want the left one to be louder than the right one? Such details definitely do come into play over here, right? So I will just remove this as well, because this is not something that we want to have for now. And go back to remove the audio over here and just leave that at that. Essentially these are the most, essentially the Survey Effect Controls that you'll be dealing with whenever you're editing any of your footage. Then we also have this audio clip mixer panel over here. If you get over here and press over here, you are able to see that this essentially does pretty much something that we already saw with the Effect Controls and the volume over here. It's just that here it's more detailed and allows you to have a different display format. And in case you haven't had other audio devices, you'd be able to have control over them as well here. And you can definitely select on that. As you can see, this is already muted. This is because this is representing the three sections that we see over here. So here is audio one. There's nothing there. Here's audio two, which is the one that's active because our footage is right over there. If I move off footage to do number one, as you can see, it shifts and this is now the one that's active because that's where the audio is. This is the one that's life. And this one is inactive because there's nothing, there's no activity at all. It's completely dominant. And it's just a reflection of what's going on over there. Alright? And we also have another section of metadata. Metadata is simply all the things that I've got to do with the hidden code or the written code about the food taste. Whether it's the information about the frame rate, the starting it. What time does the footage start, at what time does it end? How long is it? Such such points are all here. You can even find information about the resolution of your footage. This definitely does come in handy if, especially, you know, what frame rate that your video is that because this is able to allow you to be flexible in your tweaking and directing and control over how fast and how slow your footage is sometimes right? Then we also have this last one over here. Lumetri Scopes and the Lumetri schools have got to do with the color that is involved in your footage. And if you don't have this scope showing in your Adobe Premier Pro, what you can always do is just right-click and select them on one of these things over here. That's if you want to see something there is a waveform over there. And if I press on it again, there it is, it's back, right? You can always just right-click and then have them pop up. There's even more. There's this as well as a histogram. There's a parade is so many of them. But essentially what we are going to use is just this waveform and this waveform RGB over here in the vector scope HLS. And a vector scope HLS essentially is something that ends this wave form this out. Essentially some things that we're going to discuss in more depth, especially when we start talking about color grading, which is our next lesson. 4. Color Section: And now we move on to the color section with the color section, essentially what we're going to find is that through scopes over here, just bear in mind that if you're color section over here does not display the Lumetri Scopes. You can always just activate them by coming over to the window and making shelf cost latrine Premier Pro and coming over to the window, coming over to Lumetri Scopes over here and activating that. Make sure that there's a tick on the side over here. And when you come over here, these are the two scopes that you'll be using. And if you want to know what exactly these two scopes are, you can always just right-click. Or in a case whereby you're not seeing this two scopes that i've I have here, just right-click or double-click on the case of a Mac. And makes sure that the vector scope YUV and the waveform RGB, or activated the waveform RGB is what you see on the right here. The one that's displaying the different forms of colors over there as waves. And the vector school. Why you a YUV, or it is displayed over here, right? I think this is one of the really, really amazing tools that I love about Premier Pro. It's the fact that all this information is displayed right here for you. So you were able to actually know all the colors that are in your footage over here, right? As we can see that our footage is mostly dominated by the color blue. Hence why in our waveform over they can see that the waiver displaying their spectrum or the color blue is the one that's the most dominant one. That's because our background is mostly blue. That's the reason why it is the way that it is right now. And then also the color green, which might not be that easy for you to see on the eye. But otherwise, if you notice closely linked to the color blue is a bit of some bright greenish color popping in this background as well. That's why we have the color green and then the roots are definitely from my skin tone. All humans skin tones have some reds in them and then the whites, I want to believe should be coming from this Nike logo and the teeth. Anything that's white and a bit of the ice, I believe, as well, should display a bit of some white dots where we have very little of that. And then when we come over to the vector scope YUV over here you can see there's a bit of some of these Cloud ish like tools here or object here. And bear in mind that this object is very, very handy, especially when we talk about doing skins and grading color schemes and all of that. Proper human's skin should always have this cloud-like object here, well aligned with this line, this line that I'm highlighting right now, it should always be just placed on top of it, right? On top of it. What you ideally want is for you to be thin and spread over. This is a bit wide, but otherwise you want it to be a bit thin and just be on top of that as long as it's on this line, you okay. Okay. It means that looks definitely like human skin. And then mine that if I drag this slider over here and I move it to the left or to the right. You're going to have all of this that changing here because all of this is happening in real time, right? So that's a really, really cool thing about this is the effect that you can literally drag it wherever you want. The vector scope over there is responding. So that's really, really cool. Then what we want to do is you definitely want to come over to the basic correction over there. We have some input LUT over there, Bain minded Input LUT. Lot itself is a lookup table which is simply, you can think of it more like a filter, right? Think of those image filters or photo filters that you have on your phone. But this is that of videos. So we already have some that are already coming with Premier Pro, especially direct seven or nine, which is ideal for log footage. Log footage is footage that does not contain color in it. It's been stripped of color. In an attempt to ensure that the user has greater flexibility in how they use color for themselves. So that's really something that you can use. Not all cameras able to have this feature of log, but the ones that are able to have this, it's definitely something that's very, very handy to have right now. The footage that we have here is already colored. It's substandard footage, so we won't be using any of this lots over here. Rather, we can come over to the white balance here. And white balancing has got to do with ensuring that color cuts are definitely handled well, you see? So what we'll do is we'll just come over to the white balance selector over there. And you always want to make sure that you pick the brightest white spot that you find in your image. And Premier Pro will automatically adjust the temperature and the tint for you, right? So if we press over there, it puts it all for you, right? As you can see, it wasn't that far off, right? And this comes in very handy if you just take out your camera and you start shooting and you didn't even set up your white balance settings well, and all of that, this is very, very helpful. And then we also have a tone over here. This is where now you get to tweak individual settings In your footage, right? So we have the exposure over there where you can raise the brightness or decrease the brightness to your liking. You have the contrast over there, which basically functions like this. When you increase it, you're simply saying that the dark areas, should I get even darker? Only the dark areas when you decrease it, you're saying the less dark areas should get even less darker, right? If that's a word. But essentially that's it. That's how it looks like. It gets a bit pale. You see that? So that's the contrast over there. And then the highlights have got to do with areas that were already well, let us simply increasing just how well-lit they are or decreasing how well that they are seated. Then there's also the shadows which have got to do with the areas that are already less bright. And then you'll just want to maybe increase only the paths that are less bright as you can see the effect on my hoodie over there. That's Doug. You see that? Then I can reduce that, but bear in mind that there's always a limit to how much you can do this before you start losing information. If I do this, see, I'm losing information here. Here it's bleeding, getting black nine, I don't know what's happening. I'm starting to lose information on my skin as well. And I can always just double-click and returned to its original place. Double-click, double-click. And then we have whites as well, which are focusing only on the wide part of my video. And I can either take them up or take amount as well. It's almost a similar feature to this we had with the highlights, except that it focuses only on the white spots. Now the effect might not seem to be that significant here. That's because we don't have too much of a white color going on. But if I had like your wide shot, it would be well evidenced rate such as the case as well with blacks and shadows, blacks would just focus on the color black only the color black and tweak only that. That's the case over here. It's quite similar to the shadows as well. But here as you notice, it's focusing especially on the black color and the black color it alone. You see that? So that's pretty much it about the whole toning aspect. 5. Color Correction Vs Color Grading: Now, bear in mind that basic correction or color correction and color grading are two different concepts. Color correction is about the fact that maybe when you were shooting with your device or your camera or whatever it is that you are shooting on. Maybe your white balance, meaning the color cast that your device puts on objects. Maybe it was wrong. Maybe you had selected a color balancing of a cloudy day when it was actually a sunny day that lead toward maybe everything looking yellow overall, everything looking a bit purplish or any of those things. So when you color correct. It means you are bringing back your footage to what I originally saw. So that's what color correction is all about. It's about you fixing maybe even the whites and the highlights and the dark spots to fit them with what your eye naturally. So on the day of the shoot, right, color grading, on the other hand, is all about you mixing the colors. Now. This is where now you get creative and then you put beyond what I could see. You put what you want to see. Now, you have that flexibility has got nothing to do with some sort of a standard that's expected. It's got to do now with your creativity and what kind of feel do you want your audience to have? For example, with a lot of horror movies, maybe the mood would be very gloomy and a bit dark and all. But then if it's something that is maybe a comedy, it's gonna be very bright. If it's something that's like maybe Christmas or anything that's a festival field is gonna be very bride generally, that's how the colors and the mood of the footage would be like. So that's essentially the difference between color grading and color correction. 6. Getting Creative With Color: Right, and so the next thing that you definitely want to look into has got to do with this saturation over here. Saturation essentially it's about the colouring of your footage in the sense that the colors, how that depth as colors, how vibrant and exotic our day. So when you increase your saturation as you see over here, the moment it goes up, all the colors that are in your footage, I enhanced rate. If you take it out, they are all D hands, meaning that they are striped of richness. That's why the overall image gets to be what gets to be black and white. So I'll just double-click on that to return it to its original state. Then when we come to the creative side of things over here, there are some overall looks that will definitely be there. And this looks they're already coming with Adobe Premier Pro, and it's up to you to decide whichever you prefer. Usually I'll usually go for this product 2395 sometimes. And then the intensity here, you can decide just how intense that effect will be. You can reduce it just to the right measure that you feel that would be ideal for whatever it is that you are dealing with, right? In this case, I think it's over done. So I'll just try it and this one over here and see if I can increase it or decrease it and increase it and decrease it and just find that sweet spot. Why I find that? It looks good for me. But in this case, let's say I take none, I'll take none of them. Then even intensity or just double-click and go back to the default setting over the faded film. Over here, I get to even decide just how faded my image looks. Bear in mind that the more faded your footage looks, the more cinematic looks like. And if you double-click, it will go back and then sharpening it is all about just how crisp does the image look and how blurry does it look, the more sharp it is, the more crisp and sharp it is. But the less sharp it is, essentially going to be quite blurry, very smooth, of course. And it all depends on you and what image or what type of approach are you trying to get? Then with the vibrancy as well over here, vibrancy versus saturation. This is a big question that I'm always asked about. What's the difference between the two? Vibrancy essentially is about, it's about, um, how vibrancy essentially works like this. When you increase the vibrancy with your editing software, what your editing software does is this, that it recognizes areas that are under saturated and then lifts up the colors of those only under saturated areas. But then the oversaturated one, it might or might not increase them. Usually it hardly even does any change on them. But then the saturation evenly increases every color that in your image you see. So most times that's why I prefer working with vibrancy compared to saturation, because I find that vibrancy is way more effective for me and doesn't overdo colors for me compared to the saturation. If I increase saturation to the same extent, for example, turn to five. You see that there's a quiet, a drastic change compared to it being there and saturation being at 0, right? So I'll just double-click, double-click and double-click. And overall as well. Over here I can also have a Ways of Tintin them. But here the flexibility in the ten years effect that I can just tint the shadows or the highlights, that is the dark areas of my image. I can tend them to look the way I want them to look like, alright? If you overdo it, it gets to be too harsh. So I always recommend just you clicking and then dragging into just a little bit of extent, not too much. And then on the highlights as well, you doing a similar thing, dragging it just enough for us to identify that there's something going on over there to balance out the tens. If you feel like one of these tints here, whether it's the shadow and the highlight, we feel like one of them is overdoing it. Or if it's dominating one, the other type of ten that you have, then you want to use this tint balance over here, right? You can just play around with it as well to determine which one is going to terminate this, the highlight, or is it the shutter, or will it just be perfect balance in between? You see that you can always just double-click to go back to what you had initially. And then, and then now we come to the curves. And thank you very much for it in this course. If you enjoyed. I thank you very much for watching this course. I hope it has definitely helped you. Thank you very much for watching this course. I hope it has definitely helped you. For your class project. I want you to also get on and find some footage for you to edit, edit it, and put it together and put it in the project section as well. I'd love to see what you guys come up with. Chairs. Then for the curves, we essentially have the RGB curves over here, this other red greens and the blues. And we have the hue saturation curves over here. The RGB curves are all about. The red, the green, and the blue curves. It's about whether you want to tweak any of those colors in there. All, all of them at once, which means the color white, Alright? And the moment that you are taking the color white, it means that you are tweaking essentially light, right? And this is the interface that you have over here. And if I click on one of these things, you see there's a dot that pops up over there that comes in very handy because if I were to tweak this and just take this up, everything in here gets tweaked, everything goes up. But I don't want that. I wonder flexibility in order for me to just tweak areas that I want to tweak. So what I do is I just click on this for a square, come over to the middle and come over over there. They mind that this is similar as well to photo editing in the sense that this area represents the blacks. This area represents the shadows, this area represent the mid tones, this area represents the highlights. This area represents the white face. Just lift this area over here. It means I'm just doing what? I'm just lifting the blacks. Alright. That's why my image will be less, less dark in the dark. In the black areas, you see the black areas are getting a bit brighter. And then if I play around with the shadows, it means I'm Jane. Over areas that are dark, I'm playing with them. I want them to be bright or dark. You see that? So it's up to you to play around with. It usually are recommended to have something more like an S kind of figure with a curve, something like this. But bear in mind that this still depends highly on your eye, on what your eye considers to be. Good. So don't just go all automatic, automatic on it and just say that No, as long as it were an S, It looks good. No, not really. Sometimes. It depends on what footage that you are. Depends on what footage that you have that you're working on. And you can always just double-click to eliminate that. And in the red areas, well, it's a similar concept. It's just a matter of this poorest areas where there is R or the super bright areas where there is in the shadowy areas, the mid tones of the red color and highlights of the red color. And you can tweak them equally as well in the same manner. And you can do the same thing for the greens and the blues. So feel free to explore them. Don't be shy. Feel free to explore them because you know that even if you do mess up, you can always just double-click and go back to how you are. All your settings where originally. And I will just move on from here and get onto the hue saturation curves. On the hue saturation curves you normally I just use three of these curves. I knew the Hughes versus sad Hue vs Hue and Hue vs Luma. The first question is, what is all of this right here versus said? This is essentially where we talk about the colors and desaturation. So the way it works is if you just click on this and drag it up and down, all the colors are being very saturated, right? That's not what you want. What you want to do is you want to select, restrict only the area that you want to tweak. So we have restricted I'm trying to trick under my skin, so I'm restricting it in-between areas that are defining my skin, which is gonna be the reds and oranges. And then I'm going to take it up. Take it down, right? And this bay mind is my skin, right? As you can see, there's something happening on my skin that's getting a little bit redder over there and a little bit pale over here. If you can see that too. Well, let me just drag this restriction slightly more here and then tweak it like that. So if you see that, take it down here, let me take it again here. Down. See the difference? Difference. Yeah. So that's the saturation over there. And I'll double-click that Hue vs Hue. This is where I want to play around with colors. I want to mix colors, for example, right? Because essentially what hue is, is a color. So if I can take this, it means I'm mixing colors. So since I'm focused on my face, it means I'm choosing the color that should just be on my face. So that's so powerful because it gives you flexibility to decide on which colors to change in an image. So that's just amazing and only that color changes, right? So that's why only my face is changing in this case. We'll just double-click that. Then on Hue vs Luma. This is just how bright my face is going to be. I'm still selecting the section representing my face. And I choose. And if I do this, it gets bright. And if I do this, it gets really, really dark. I do that it gets bright. So it's just a matter of perspective. Don't overdo them. Preferably just work within measures that are still reasonable enough. Wants to sit that way human being. And let me just undo that. And these are the main ones that I use. But of course there's luma versus saturation, the saturation versus saturation. But this one is, I hardly ever use one. Go into detail about them for the sake of our exercise that we'll be doing today OR project that we'll be doing together today and over. And this really is it about curves and hue saturation curves. The next one that we'll be looking into it has got to be the color wheels and match. What color wheels and match is all about essentially is about you having the flexibility to control the colors in your image to your liking. You can tweak them however you want to trick them. You can just focus only on the shadows, the mid tools or the highlights alone, and have the flexibility in order for you to move them and blend them as you want. So you can just move this as you want. And here you are essentially controlling the intensity of whatever it is that you are doing over here. Same thing, right? And wish you had done doing that, just double-click and goes back to its original state. Alright, so that's a really, really cool view, really, really cool thing to do even here, make sure to double-click just to make sure that it's in its default state. And then on the HSL secondary. Hsl secondary is one of the most powerful tools that I love about Premier Pro. It allows you to tweak second area of your footage. For example, you could just tweak your skin tone and make sure that your skin tone is in a particular color way, in a particularly colored way that you want it to look like. All you could just literally just focus on the background that you want any couldn't do this for as many objects as you want in one footage. You see that in this case over here, all I have to do is just literally click on this and then select my skin over there. And once I do that, I come over here on color versus gray and viola. And when I have this, it's only highlighted a portion of my screen or my skin in this case. And what I have to do is I need to help it identify that this is my skin, so I need to have the sliders move until it represents and shows the most part of my skin. So I do this, I can increase this and there it is. There's my skin popping up, starting to pop up now. Starting to pop up more now. Once it starts showing something that's more than my skin, then I need to make sure that I eliminate that. For now. I think it's okay. There it is. There's my skin showing more and more. We bid out over there. I think this might be it. And once it's done this, what I can do is I can apply this D noise here and just take it higher or lower. What a de-noise does is that it removes noise, those grainy things in an image from my skin completely straps them away and allows my skin to be as smooth as possible. And so does this blurry filter here, this blurry slide over here. It allows two, it makes my skin look more smooth, which allows for whatever tweaks of color I do or whatever I do on my skin, it won't be too pronounced. It won't look too artificial. It would show that it might have been looks so natural. My skin, which is something that I want. So you can always click on this correction tab over here. And on this correction tab, normally we'll start off here. And once it's here, if you double-click, this is how it will actually look like. And with this color wheel, you can decide what type of skin tone you want to have. I could make it look like that. I could make it look like that. And Ben mind that I can just literally if for example, it looks like this, I can just do this and it's only my skin that has gone that way, right? I can make it this can make it look like that and make it look like that and make it look like that. I can make it look normal, like it should have been in, in the first place. And then I can tweak this temperature settings here, the tint here, it's entirely you, It's so much to explore over here and the contrast, the sharpening and the saturation, as we mentioned, of even for greater flexibility, I can come over to these three dots over here and choose the shadows, the mid tones, and the highlights. And I'm able to tweak directly whatever it is that I want to do. So I usually work with a mixture of these two over here. I usually personally prefer using the shadows and the mid tones usually on my skin. But at the end of the day, the most important things that your skin, as we see on this vector scope over here, should have this feature here. You should have this cloud looking like thing here aligned on this line over there. If it's not most probably, it's not really representing two well as a skin of a human being. You see that, but all humans skins fit in this area right here. You see that? So that's a really, really cool thing that you can have some flexibility that you can exercise with your HSL secondary. And like I said, you can have as many, many options to do this as possible. You can even just tweak. If I wanted to tweak just the color of my hoodie over here, I'll just press on that and click on my hoodie. And the moment I do that, I do again, color versus gray. And then I tried to locate where my hood is with the sliders and just see to it that only the hoodie shows up. And then I do the same process again, but I'll just click on Reset and remove that and everything will be back in its normal state. So let me just put this in normal format again. And voila, the last thing that we'll be showing about here has got to do with the vignette. The vignette, just like in photo editing, is all about just this. Areas around the borders of your image. Do you want them to look dreamy or you want them to look dark? This helps the viewer be able to have their focus grown to particular areas more than other areas. So if I have a more dark like that, as you can see, gives more focused on the face. This is entirely up to you. You can even decide just the midpoint meaning. To what extent should this pred, the roundness in the shape of the vase itself? And how pronounced must it be massless, be as pronounced as that, or should it be a bit spreading out like that? Usually the kind of videos that I do, I usually have it spread out like this because I find it to be sourced cinematic. It's entirely up to you, Phil, flexible and feel free to do so. This really is it about color grading. Now, the next thing that we're going to do is we're going to go into the effects panel. And the moment I click on the Effects panel, this is what I get. The most important thing is definitely this that I'm sure that I'm shown this side over here. This is where you get to put an effects like how your audio should go or should it be going up or down? You can feel free to explore these things. There are some presets here. Presets of how even your footage should look like they're already there. There's some video effects over here. Whether it's stabilizing your image, whether it is shaking it out, it should be blue. All those things that definitely in here. What, how you do this or how you apply any of these effects is you definitely just want to make sure that you take it, whatever it is. Let's say we have this crop one over here. You just take it and put it on your footage. You click it and drag it onto your footage like that. And once it's applied, make sure you come to the effect controls over there. And normally it's now represented here crop because I took the crop one. And since it's over here, this is one of my favorite effects, by the way. Well, just come over to the bottom here and click 12% and voila and the top part over there, 12%. And voila, it has that look that we see in movies. Those two things that are shown in between the dark areas and it looks more like a movie. So this is one of the effects that I, I personally use and this is how you do for any of the effects that I hear. Whether it's you having a transition of a video and you want a video to transition into some dark thing. You can always come into the dissolve. Things over here, cross dissolve. And at the end of your footage, literally as your footage ends, it will just have this thing where it very smoothly disappears. You see that? Disappears. Just like that. You see that compared to it just going dark. Just like that. You see that. So that's the beauty of effects. They allow you to have some really, really nice stuff. You can even put it in the beginning, usually with some of these things, especially if it's transitions, they need to be either the beginning or at the end of your footage. So you can always just click that and voila, there it is. See that there is short. But it's like a reveal. I loved that and I use this in almost all my videos. When there are so many of these effects, you just need to be creative enough for you to use them. And with the audio as well, the audio, this is where you get to control pretty much all that we explained before, but I still think it's important just for you to see the interface here. If you have some music in the background, you can even just tweak the type of music that you have. And overall the volume and such details. Just feel free to explore them. Feel free to be creative if you want to add texts and all. Just feel free to also take some of this things and drop them on on your footage over here. I think I have some missing fonts over there. But yeah, should be something around this. And there's some image caption over there. This is where you get to select. So you just click on it if you want to write on it. And here's where you write it. You just come over to the text. Come over to wherever the text is, and try to write a wet, I just double-click on that. Call it two to o. And voila. That's how it looks like. Now, all of a sudden you have a text over there. See that. So you just click on that. And it looks red like this because it means that the PC needs to render that if you press enter, it will start the rendering process just to accommodate for this new piece of information in there, some features or some effects like adding tech sometimes do this where your PC might need to refresh a bit and understand properly What's going on over there. So it's entirely up to you at your discretion to do that. And it depends as well on the strength of your PC. Usually what I advice is if your PC is not that strong, you want to come over to the resolution over here and make sure that you are shooting at the least a quarter. It will reduce the quality of what you see here, but it will make the playback much, much smoother. If your PC is quite okay and strong, you can always function at full resolution. The quality tool be crisp to the DOD, literally the way that it will look. And then you can just do that and everything will play around smoothly. See that. 7. Exporting: Once you're done, once you're ready, all you have to do them with your footage is just make sure that you come over here and come to the file, come to export over here, click on Export Media. And then this is where you get to select how your footage will be exported. In our case, that's in your case, if you'd want to spot the whole footage, you just come over there. Alternatively, what you could do is just press Command M or control if you're on Windows. And usually the format should be an H.264. This is the one that's mostly recognized by most devices on a high bit rate and output name. This is where you get to select the name of the video itself in way it should be saved. Let's call it tutorial. And if I click on that and click on Save, then it makes sure that you have the export video and export audio tick. That's very, very important. And you can even click on render at maximum depth, which as you can see, it improves the videos quantity but increases how long the encoding takes. And I usually click on maximum render quality. The rest of the things that I hear are not that important for standard videos that you'd be making or editing for Instagram and all of that. And then all you have to do is just come over to Export. And the moment you click on that, you have this exporting thing going on over here. Might take awhile as you can see. But overall, yeah, guys, that's how it is. That's how it is. That's how you start and go all the way to the finishing process of your editing. 8. Quick Project Together: Alright, you guys saw right now, what I want us to do is that I want us to do a project together. We're going to import something and then you're going to watch me. And we're going to import a project and then we're going to do this project together and we'll start with a religious short video. And then we edit together and go all the way to the finishing process of that. Alright, so we're just going to start off here. We're going to first of all, delete this one and make sure that we come to the assembly section, remove everything, move everything, and then press double-click on here to import. Then we'll come over to my files here where everything is. Alright, so we're going to do a project together. And in real time, we're going to just try and see if we can edit a really, really shot, shot video together here. So I'll just take three of some clips that I did for a certain high profile celebrity. And we'll just once they're in this assembly section, we'll just make sure that they come to the new sequence. Let's just right-click, come over to New Sequence From Clip. And once it's here, we just click on the edit and section, come over here. And once we're here, what we're going to do is we will just make sure that our footage is well aligned. So here it is. A good loud Marine vanishes. Smiling here. Here she was rotating, just turning around like that. Really, really cool. So we're going to measure all of this together and make it into one. And to cut off some clips, Let's say we have a clip and then we wanted to break it up into smaller pieces. What we'll do is we'll just press C. And we have this razor tool here. And with this razor tool, we can cut some things. So what I'm gonna do is since he or she is working, we need to make sure that she's I'll take it as she's literally just moving her leg like that. And then I also take it away. Literally maybe here where she stops like the swishes about hip or step down like that. And then the rest of the footage, I don't need that. Move this and I'm going to put this here and then this one, I'm going to drag it like this, click on it and drag it to the right like this. And have loved the way she does that thing. She just takes a hand like that. I'm going to just have eraser over there and click on that as well. And let me see what other piece of footage I can use. I'm going to see I love that look and love that. So I'm going to take this as well the rest of the footage. I don't need it. I could press backspace and remove it, but I could alternatively do this. If I press ripple delete, not only will I remove it, but then my footage will still be connected. Ripple delete so that it is there is. Then I can drag this one over here. When I drag him over here, I'll see just how to do it. I think that looks really, really good. I love that. I love that, I love that. I love that. That looks like a piece of footage are used to conclude my videos. So I'm going to use this to conclude the video. Now the intro of the video, how do I wanted to start with hair working or with head doing hair look like that. I think that's so I'm going to drag it. Click and drag, and then I press on command to make sure that it's the one that starts the footage and displaces the other footage, not get on top of that of British. And then I bring this other ones and I in, drag them to the back like that and go all the way to the very beginning again and try to move it and see how it looks. The other thing that I definitely want to know about this footage this day as well, what frame rate was shot and was it shot at 60 frames or what frame rate? So I could either go on the properties or I could come on the metadata information here. I think I double-click that to hard. See. Yeah. So I think I'll just metadata here. Okay, You are shorted 60 frames per second, right? So that means that I can just slow down my footage to half of that speed. And I would still the footage would still be smooth enough for us to see it as a video. So I want to do everything at super slow motion and probably have this whole foot is going less than a minute because it's too long. It's way too long right now. So let's see. That looks cool. I'm going to reduce that. Does That's one Second. Say I wanted to hear and then I cut that one out and move that come here and have her Do that. I love the way that linked list. So I'll just cut that, remove this as well with backspace over where drag it along. I could have done a ripple delete as well over there. This, i makes me wonder, should this IB at the beginning or at the end? So let me just take it, drag it. I think it might be better at the end now that I think about it. And then this gets to start as well. Let me just move it again properly and have her start right here. Yeah. Just when just before she raises those hands. And I ripple delete because I want it to automatically merge. And Alice, she's turning. And as she does that, I wanted to cut and I wanted to be creative. As I'm doing this things, I'm thinking about them. There is nothing that I had preplanned for this. The whole idea was that I do this in front of you. And with you, you can always pause if you feel like I'm going too fast. And I just do this. So here it is, right here. I'll just take it back here. And I see how to merge this. Alright, I see something here. I think what can be the case is this guy can come over here and then I can drag you over here. And then this can actually be concluding. Yeah. So hard on this. It goes, That's all we're all learning them, is that the problem is the sound. I don't want any sound. Okay. I don't need, so I will just reduce that like that. And voila, and I kinda wonders to go a bit slower than that. So I'm gonna come over to the speed and set it at 50 per cent to make it go at 50 per cent. The speed saw that S is at 50 per cent speed now. And I love that. I love that. I love that, I love that he or she goes. Maybe I could also do this. Maybe I could also reduce the speed of this because it's a bit too fast. Maybe I could make it work, maybe 70%. And see how it looks like. Here There's wishes walking and she is. Yeah. I think the whole thing I'm going to make it a bit slower because I think it's more cinematic that way. Bain mind that this changes and differs according to what project are you doing? I'm going to do this as well. I'm just this as well to about 70%. I think that it should be okay. So here is a beautiful, beautiful, beautiful, beautiful. I love that. And that is generally how you can do it as well. The next thing that I want to do is work on the color. So when it comes to color, I'll just come to the color section here. I will take and select on that adjustment layer. And it is. And then I'm going to take this adjustment layer, drag it and put it on top of my footage, and drag it all the way to the other side, right? Then normally what I should do is I should do something called color correction, which we already spoke about. So I'm just going to color correct and make sure that things are in place there. I'm going to make sure that the whites raised all the way until they reach about a 100 and the blacks are lowered all the way until they get to about 0. I need to spread that for each of my footage that I'll be seen. Here. I'm gonna do that. There it is. The blacks are really close to 0 here, so I don't need to know too much. I think it's okay. Don't overdo it. Otherwise you're losing information. And then here the whites, again, close to a 100. And the black Sol K, I think I don't even need to shift that. And then here as well, the whites close to a 100 and the blacks are close to 0. That here as well. Everything is okay here. I don't need to do everything. I can just even remove this redundant information here. So I'll just cut that out. And then now I can color grade when I collaborate, what I'm gonna do is I'm going to add color. This should be enough about a 125. I reduce this, the white balance for me, it looks okay. And so because it looks okay, what I'm going to do is that I'm just going to continue and Move on to the creative and just maybe I think it's already faded. So I'm not going to touch on the faded aspect of things. Not know. Am I going to touch on the shadows or anything? Why? Because I'm going to go straight into the curves and touch on my RGB curve, mark my points, left the blacks just a little bit. Make sure that I raised the y. It's a bit more just so that it doesn't look too artificial. And there's some depth coming in or whether there. And I'm going to come to the color wheels. I love the color wheels and on since I'm going for that orange until Look, I'm gonna go take this shadows down towards the aqua. Raise my mid tone slightly. Ever so slightly, not too much. Not too much. Not too much. Yeah. Just over there. And then have my highlights as well going little bit blue. Just enough for it to look. Yeah, I love that. I love that. Look, I love that. So I can just click and toggle this display for you to see the difference. Look at the difference. Look at that difference. Wow, it's just amazing. And then I can just come over here. Hsl secondary. Well, in this case I don't have a problem with their skin because I feel like her skin is dope perfectly. Alright. Let's see though. Let's see though how his skin looks like. Well, it doesn't look that good over there, so I'm just going to try and reduce the intensity of that. So I'm just going to click on Scan and Go on color and gray and see if I can get just a skin in the and I think her skin, her skin as well refined. So now I'm just going to refine it, makes sure that it is in blurred. And I remove the noise. I come to the color wheels and see as you can see how it is, It's slightly wanting to go out of direction. So I'm going to try and restore it back to the way it should be. How do I do that? Well, I can see that it's slightly more yellow than I want it to be. I wanted to be more red. So what I'm gonna do is I'm going to try and point slightly more to the red. To the red. I shouldn't overdo it. But as you can see, the rates are going up now. And even in the shadows, I'm going to try and just see that it goes to the reds. There they are. And I'm going to try and see if I can sharpen it a bit more as well, just to reduce the size of the cloud. I think it's a bit too much. And if and on this contrast, I'm going to try and move it over here because the colors felt a bit to pronounce for me and see how it looks now. Now it's a bit rate. Looks like she's not human anymore. So I'm going to reduce that again and see to it that it's we choose but still going slightly to their rates. So I leave that yeah. This was how her skin tone was that That's for sure. And then I'm going to just have this as well. Cyan, just reduce them like that. And voila, perfect. Perfect. Okay. I'm going to remove the HSL and a vignette, a vignette in this case. But overall, this is something that we're able to create. Now, you can put some music if you want, but in this case I don't need music, but this definitely is what we're able to create an, a really short time. Just have a look at the difference between that. That's just phenomenal. It's just out of this world. Amazing. Just amazing. Alright. Alright. I'm glad you guys were able to follow along. Thank you guys. Thank you guys very much. 9. Conclusion & Class Project: Alright, thank you guys so much for joining me and I really hope that all of these lessons have been upgraded grid value to you. And for your class project, what I want you to do is I want you to also work on a video project. Any video that you can get your hold on and try to work on some edits and apply everything that we just learned today and definitely send me those project files in the project section. Alright, and look forward to getting them shares.