iMovie Editing Essentials: iPhone and iPad video editing in iMovie video app - NEW FOR 2022

1. Intro: iMovie Video Editing: Hello and welcome. My name is Rob Montgomery and I'm coming to you from studio a of the smart film school in Berlin, Germany. This is a course in iMovie essentials and it's exclusively recorded for Skillshare learners, just like you. It's also new for 2022, which means it's going to feature some of the new updates in iMovie that only work on some of the newest devices like the iPhone 13 Pro Max and the I pad M1 Pro, Do not be concerned. I'm not going to focus so much on those new features. I'm just going to include them because I'm movie actually works on every iPhone and iPad since the very beginning, iMovie is the go-to video editor. I'm going to teach you some advanced filmmaking that will make this experience just a lot more than learning the tools. You're going to learn the techniques of how to put shots together wide shots were in certain ways, as well as some of the cool little hacks for using iMovie that I use when I make films. I think you're really going to like this the way I'm also going to be sharing all of the project files with you that I'm gonna be demonstrating with. Actually in the next segment as we get started, I'm gonna guide you to getting those on your iPhone and, or iPad so that when I'm demonstrating something, you can do the exact same steps on your device. I think you're really going to like this course and I hope to see you inside real soon. Thanks very much. 2. PROJECT FILES: iMovie Video Editing: Let's get you set up. I want to make sure you've got your iPhone and iPad. And if you've got a Mac, it's going to be maybe a little easier here. The first thing you're gonna have to figure out is how to get the project files from the Skillshare course onto your iPhone or iPad. If you look at the course, you could see the resources are over there. I have a link to each individual movie file, the dot MOV file for hands and action is the first one listed and then EST car enters dot MOV. Each of these are short video clips that we're gonna be using in the project I'm gonna be demonstrating with. If you option click or tap on that, you should be able to download that file and get it into your photos library or photos app. That's ultimately where we need to get this material. Now if you scroll down further, you will see that I have actually a zip file where I've put all of those individual clips and there's ten of them into an archive. And you can DIY archive that quite easily and expand it if you'd like to. Your your hard drive. When you do that, you'll get a folder that says like exercises. In that folder, then you'll see all of the individual files. So that's pretty simple. These are the files, so we need to get the easiest way to do that is to just drag and drop and do an airdrop. Now if you don't know how to do that, you can just open a separate window like I've done here on my Mac. Go to the AirDrop control that's in the sidebar on the left. And then you can just say, I want to drop that to my iPad. Over here on the iPad, it'll just come over and it will start playing. Of course, we can stop that from playing. Anytime we want. If you wanted to take all of the files at once, we can do that as well. Now, let's say I'll take him to my iPhone Pro Max or the iPhone success plots. Like I said, this will work with all older iPhones and iPads. This is AirDrop. It's been around for a long time. We just want to get the project files onto your phone. If you've already done that, you can skip ahead to the next lesson. I'm just going to show a couple of other ways how that might work. Here we are on the overhead cam now, see all of those came over right to the iPhone. Now all of the clips are right here. They are in the photos app. You can see them at a glance. That's where we want to be at the end of this segment. I want you to get them there. But either unzipping the zip file, air dropping them over. If for example, you take the folder instead of the individual files, what happens? Let me just show you another way. Well, basically they're going to go into the files app of your iOS device or your iPad. So if you take the whole folder and now so we take the whole folder and we drop it over to iPad. Let's look over here. Now it's going to say, Oh, I've got a folder of stuff. I don't necessarily know to put that into the photos folder. In fact, it won't even give you that option. So the best thing to do there is just if you wanted to get take the whole folder over, just go to the files app and it'll say where do you want to put it? This folder called exercise. You can just save it right there on your iPad. That's what I'll do. And now I've got all the folders, all the clips as well, right here in my files app. And then from here, of course, you can move them with the shear tool into saving the video. And that will also then just save it into your photos app. If you need to watch this tutorial again to get the projects files on your iPhone or iPad. Go ahead and do that. Because when we start the next segment, I'm gonna be taking you through building an iMovie project using those exact files. 3. ALBUMS: iMovie Video Editing: Let's get started with looking at the clips that we've got on our iPhone or iPad. Or maybe you're like me. Maybe you say, Hey, I've got all my clips on my iPhone, but actually I think I'd rather use iMovie on my iPad because it's a little bit larger. Since I'm gonna be creating this course for you, I want you to have the best experience in seeing all the details and all the tools and techniques. So I'm also going to do my project on them, on the iPad and not the phone. So I will select all of the video clips that I just air dropped onto my phone. Now I'm gonna go an airdrop them right to my iPad. And what's cool too is like oftentimes I'll actually start a project on iMovie on my phone. Let's say I'm still in the field doing a documentary or a mobile journalism report. Then I want to be able to airdrop the whole project where you can do the same thing with iMovie. And I'll show you that later when we get to the end of this course on sharing and exporting. So depending on your workflow and your style, you may just prefer to edit on the larger device net. And that's what I'm gonna do here. I'm going to just now use the box with the up arrow, which allows me to AirDrop it right to the iPad M1 Pro. Now all ten clips are being sent over wirelessly. And we can see them here in the imports. We can see the ten clips. Now we're done with the phone. We can see these ten clips down here. They're just there, but it would be better to work with them in iMovie if they were in their own named folder. And you can see that that is a good habit to get into whenever you start doing any video projects, you can find all your original media here. Did you going to use in iMovie in one handy location? They call them albums. So let's do that. I'm going to now multiple select by tapping on the Select. Now I will just 123455. There it is. Make sure there's a blue checkmark there that indicates that each of those clips have been selected. All ten clips are selected. Now I use the box with the up arrow. And I can either add them to an existing album. I don't have one yet, or I can create a new album. Yeah. The way we do that is we will say add two album and then go to new album. In this one we call this a cable car adventure. This takes place in San Francisco. The project files that you have, if you haven't already peeked at them are video clips from a ride honest cable car in San Francisco that I filmed in December. It was actually a little bit colder and it's not really ever warm and San Francisco. And now they all exist here in this album called a cable car adventure. That makes it really easy for us to find them. Let's say we shot maybe more than ten clips of our cable car adventure when we review our raw material and we decide, okay, what shots are going to go into the final movie or should be first considered. Basically you want to weed out any bad shots, all the shaky ones, the ones that maybe don't work or are repetitive. And you put your first cut, you're just your best stuff, your selects, they call them in the film and broadcast world into this folder. So it's kind of even before you get to your iMovie project, it's good idea. Review your shots. Yeah, puts the best ones in a named folder that we can reference in the next step when we start our iMovie project. 4. START PROJECT: iMovie Video Editing: Okay, so now it's really time to start the eye movie project. Now that we know we have our clips that will work and they're all put into their own album. Let's go ahead and launch the movie app. You see, I like to just focus on having the iMovie app open. No other apps or close off all other apps. And I like to have ready access to my photos so I can find media to put into my projects. In this case, we're gonna have a iMovie project. We tap the Plus button and here's the thing. You've got a choice. Do you want to create a trailer or do you want to create a movie? We want to create a movie. Creating a trailer kind of is like a cookie cutter experience. It's kind of fun. I could show it to you perhaps as a bonus tutorial to this course. But it's probably, it's, it's its own separate course. Because you really are doing more kind of following a script and writing a storyboard and having to shoot shots that basically drop into templates. If you've seen one, you've seen them all. Basically, the idea with movie is that this can be yours and yours alone. So let's start with movie and let's go and create that project. And it's going to ask us right away, which media, what media do you want to put into this project? You see, that's why I had you organize all your clips into an album so you could find them. Basically want to go then navigate to albums. And we want to find and scroll until we get to the album that has the name that we're looking for. The name that we're looking for is a cable car. Now if you don't see it here, don't worry. It's probably just going to be right down here at the bottom. If you don't see it in alphabetical order, we know that that cable card venture, hey, there's our ten clips. At this point. I just want you to take all ten clips. Ten clips is okay. They're short clips there. Between 515 seconds long. They're pretty easy to work with all normally I say just work with a few clips and then add the ones you need later on. If you've already got a paper storyboard, you already know on paper and that's always a good tip to which goes first, then you can just select them in that order and just build your project in iMovie if you haven't done that, Don't worry. We're just going to select all of these clips here. And then I can move them around, trim them, edit them, modify them, and that's what I'm gonna show you in the following tutorials. Right now, we're just going to grab all ten of those clips from the project files. And then tap down on the bottom here where it says Create Movie. Once you get there, if you swipe to the beginning here, you can see that all the clips are there one after the other. Now they're not really in necessarily an order that makes sense. And that's really the work that we want to focus on. If you take two fingers and pinch together or Zoom, you can basically zoom in or zoom out of your movie project. And you can see basically a group of pictures here that you will then be working with. And these are we call clips. And so for each clip, we have tools that we will use to modify them. We can move one clip at a time. We can work on transitions between the clips. And we can even reorder the clips. And I'll show you how to do some of those things in the following tutorials. Once you get to the point where you've created an iMovie project here. You've got all your clips on the timeline you've pinched to so that you can view basically thumbnails of each one. Then I want you to stop, then start the next lesson. 5. IN & OUT EDITS: iMovie Video Editing: Let's go into our iMovie project and start our focus on video clips, things that we can do with each small piece of video that are gonna be included in our movie into our final production. So I like to show the overhead view here because then I can use pencil and then I can show you in a little more detail exactly what we're looking at. Again, at a glance, is at word zooming in as possible with two fingers. On each of these clips, you can see that the audio waveform is showing. If it's not, you can go into the wheel up here, the gear. You can also look at some of your settings here. Do you want to see the soundtrack from a theme? Do you want to apply a theme? I like to keep things simple at the beginning here and have no project filters. Those are things I definitely want to include right at the beginning. No special effects, no overarching theme. We just want to work on the material here. The material is our Eclipse. If I tap this clip, I have, you noticed what happens is as soon as I clicked on it, I get to yellow handles, one at the beginning, one at the end of the clip. The clip appears into what's called the preview pane, the preview window. We're looking at our project at a glance here and then in detail. Now, when we get into the clip view, we have tools for trimming it, for adjusting the speed. We can adjust the volume level. We could add an overlay title to that, or we could do color corrections or filters. Mostly filters. I generally avoid the last filters thing unless I'm doing something like a music video and want to have some fun with this clip again, if I go in and now really expand the clip out, I can see all the sounds there. I can audition the clip. This white line here is wherever that white line is, that vertical white line is over your clip. That's basically a playhead. That's what's going to be showing up here in the preview pane. That makes sense. So as you go through your movie, whatever is at the white line that cuts through all the clips. That's what's going to show to your viewer as we're working on this clip. And you see if I tap on the background, the clip gets de-selected. I tap on the clip, the tools come up, the yellow handles, these yellow handles, Let's talk about these. These are trim handles that can trim the, what's called the endpoint where the first few seconds of video shows and I kind of liked that he's waving his hand there. And then the out point, I'm just long pressing and tapping and then readjusting where the out point is for that clip. So I liked that he's raised his hand and then he glances. That's usually a good choice as an editor would tell you. Glance objects, sequences, then maybe show what he's seeing for that clip. For each clip, I just want you to adjust the endpoint and the out point just to find the good seconds in each of these clips. As you start to put them together. Don't worry about changing the order yet. I just want you to go in on each clip and just trim the endpoint and out point. Moving on to this clip, Let's just audition that clip by scrubbing. This is scrubbing. See how I'm just dragging up here in the black. And I'm basically scrubbing that white line across the clip so that I can see what's happening at the beginning there and at the end. Basically do that for each clip, set an endpoint and an out point. And then I'll show you some more editing tools, such as cropping and then reordering the clips to start to build our visual sentence something we call a sequence. 6. SPLIT AND CROP VIDEO CLIPS: iMovie: Let's go in and edit a clip and see what some of the tools are and how you might use them to improve your video projects. So here we are looking at a clip from our San Francisco cable car scene. And this is of course the star of our movies. I'm scrubbing to see the beginning and end of that clip. Make sure I've got the timing that I want for it. If I tap on it further, then I can do some editing with it. If you tap on it. One of the, one of the things that you find right away that you might want to do with it is see the sound file for it. And so that's what this little icon over here does. Is it toggles the associated sound track that's with that clip. If you don't want it, you can also just turn it off. And maybe since we're just working on the pictures right here right now, that's what we'll focus on. If you split the clip that's done down here, that'll just basically make, turn your clip from one into two. Let me just tap on it and show you what I mean. Now at that point where the timeline was, there's a straight cut indicated by the vertical white bar right down here between the clips. That just basically to the viewer doesn't look any different. But if you wanted it to then modify this clip further, change it, move it around. You can do all that. And basically you use basically duplicating the clip. But it's trimmed right to where it was. So that's a really useful thing sometimes to split longer clips. Because maybe we'll use the first few seconds of this and then we'll use the last few seconds of this and in-between we also show something else. If we wanted to, we could have, for example, this guy. And I'll just change that to a straight clip. I'll talk about transitions later. But just Beispiel, why would you want to split eclipse so it's coming in. Then you show something else and you show it ending. So sometimes it's used as an editing device and narrative device to compress time. If you don't like any of those edits, your favorite button in iMovie is going to be like this, the undo button. It's this loop with the arrow, which will take you back to our hole on Split Clip. That's how just one little tool, the split tool, might be used as you want to start to organize your videos and the sequence of your shots. And when you want to do things like compress time or the Shoah Shot in-between to keep the energy going. Other things you can do with a clip that are useful at this point are maybe changing the shot size of it, cropping it if you will. The little icon up here of the magnifying glass, it says pinch to zoom. Take two fingers, put them here, pinch to zoom. Now we can basically re-frame the entire clip. It will not change over time. It's just going to change that, that shot crop for the entire clip. So again, you could combine those techniques and say, okay, we want to show the first part in a wider we'll split that will keep the framing. And on the second half. Now we want to show when it gets to here. And I'll just trim the empire that when it gets to here, I want to be closer up on the number there. So I'll tap on the clip, tap on the magnifying glass, pinch to zoom. And now it's just from that one clip. It's going from here to here. You'll see that it just basically zooms in, but it's not a zoom in. It's really just a straight cut too. A new shot size. Just a little bit tighter, a little bit closer. That's another way to kind of use the split and the Resize tool or the cropping tool there to kind of get some energy into some of your shots. That's an option for you as well. I'm going to go into some more advanced editing here in the next segment. And actually we're going to start to try and find the flow of our, of our scene, of our cable car. Play along with the project files. You can do no wrong. In this course. I hope you're enjoying iMovie essentials. 7. TRANSISTIONS: iMovie Video Editing: Okay, Now let's move beyond basic editing of clips and start to think about editing our story, our visual story. For that, we'd want to definitely consider that each shot in this sequence is working much as it does like a noun or verb in a sentence. In other words, does it introduce a character, an idea, or is there some action involved? What's the best way or what's a good way to connect some of these shots together so that it makes logical sense just like a grammatically correct sentence. This is called visual language and that's what we want to look at here. And along the way, or maybe at the beginning, what I like to do with iMovie is do you see what happened there from the cable car Turning to the point of view of looking through the window of the cable car as it moves down the streets of San Francisco. There's this little bow tie thing happening here. I'll zoom in here. You can see this on the iPad view. You see this little bow tie. What is it doing? It's doing a cross fade or a dissolve. Here's the thing. This is like a little pet peeve of mine across Vader dissolve to a filmmaker is used by film directors says to indicate a passage of time. It's kind of, it's used a lot here in iMovie. It's the default transition. It's really unnecessary. If you have shots that are working together as a visual sentence because we don't need a passage of time, we just need to go from one idea to the next. It connect, it makes sense. You don't need any deciphering or other cues here. The passage of time is useful if you've got disparate things, which is often a lot of what, what a lot of people film, Be aware of that, that is the default transition. It's not necessarily what pros use. We do something called straight cuts. Thankfully, there is that option here in iMovie, just by tapping on the little bow tie, the dissolve, the crossfade. You can go to none. Now we've got straight cuts. The thing is you'll have to do that between every clip here. So I'm going to do that real quick. As you can see, you do have other options like if you do want to have some special effects. Other than dissolve or straight cut, you've got a slide or a WIP or fade or something called theme. I'll show some of those later on. As we move towards the end of the course. They're kind of special purpose. And the point of this course is not to delve into the every possible special effect, but it's to show you how to edit very strong visual sequences using iMovie. So we're gonna stay disciplined on that and get rid of some of these, get rid of actually all of these dissolves here that the program put into the app, if you will, put into our I'm old school. I still come from a time when there weren't software engineers, their computer computer programmers, you know, back when I was learning computer languages, that's what that's what you recalled. You're not a developer. You are a programmer. And it's still pretty much nothing's changed except for the words around it. Except we have this really cool apps like iMovie and now it's doing straight cuts. And now that I've gotten rid of that kind of special effect fluff, we can really start to focus on what shot should we open our movie with? Is it them preparing, you know, the the tram for the turnaround? Do we start with moving down the streets of San Francisco? Now, you're the director, you're the video editor. We're all working on the same material. It'll be interesting to see what shots you choose to open and close with. Out of these ten shots, do you use all ten shots? Do you use eight of them? Do use five of them. Really, all those creative options are up to you. I can show you real quickly that what I've done as a quick sketch. And so I will add it in here, just a suggestion, of course you can copy it on your iPads. Look at the shot order that I've used. And then we'll talk about that. We'll talk a little bit more about the audio mixing and some of the things you can do there in terms of or if you wanted to add music or if you wanted to add text over transitions, There's a lot you can do with the project once you figure out what the logical visual sentences for it. And that's really what we're going to focus on in this next section. I hope you really enjoy it. My name is Robert Camry. This is i, movie essentials. And I hope that you're enjoying iMovie. 8. DETACH & MIX AUDIO: iMovie Video Editing: Let's dig in on this edit and let's look and listen to the sequences the way I've put it together here in this first draft. Again, you don't have to put it together this way. But I wanted to explain to you and show you some of the techniques I use to do this. First of all, let's rewatch it one more time. What do you think? It's pretty short. It's like 27 seconds long, but there are ten shots in that. And what's interesting is maybe you've not heard the sound as it's cut together. It's all natural sound. That's just a sound that's coming over the mic of the smartphone, the iPhone. In this case, there are ways you can smooth that and iMovie, and so we would definitely want to talk about that going forward. But let's just talk about how aggressively shot opened up. It opens up with real instead of showing Jira Delhi or showing the slow arrival of the cable car. It starts right up close on the operator's hands touching that breath labor and clicking, ringing, it's really strong opening and you don't really know what you're seeing at first, but it definitely catches your attention as a director. That's exactly what I wanted. Let's try it one more time. You can see I'm looking for shots that take you in a hurry, gets you on that cable car. I'm trying to get you on. I'm trying to get you right next to the driver. I'm obviously people on the cable car are filming, whether filming vertically. And they can't really have this type of experience reproduced because it didn't shoot the kinds of shots that can be cut together into a visual sentence. They just shoot what it looks like from their view. That was just one of my shots. In fact, I was looking at actually the view from the operator because it's really, that's one powerful thing that I can share here is that's one of the things you want to do is think about shots. Instead of specialists affects. Think about how shots can connect together like words in a sentence, nouns and verbs. How you can use characters like the operator to really kind of focus what you're filming. So then also focuses what you're editing on. I've got his hands, I've got his face, I've got his point of view of what he sees going down the rails. I've also got establishing shots of the location of the riders on the car. That's all I have got. The natural sound. That's all I've got going on in those ten clips. But those ten clips were edited from a little bit larger collection, maybe 15 or 20 that I filmed. And that's really where you want to be when you're into this program. Oh, by the way, when you're here and you're reopening a project, everything is called my movie. Well now we can give it a great San Francisco name, so we can call it San Francisco cable car adventure. And when we go into Edit, Just remember that the tapping of the button there of the edit button, we'll get you back into the flow of your edit. So again, you do not have a movie at this point, you do not have a video. Basically, you have all of those ten clips still in your photos library. And if you delete them off and then you open up your iMovie again and guess what? It's gonna be missing media, they won't be there. So you definitely want to start an editing project. You definitely want to go all the way through and export it out as a flattened or finished video movie. So at this point we're still just looking at the edit here. Let's just look at those first few shots. It opened. As you can see, there was more to the beginning of that shot. I focused on this that peak action when he grabs his hand grabs and then it makes this noise. He looks at me, he's he's really just wrestling with that thing. I'm looking for the hand coming in from the left. And that's gonna be my endpoint, right? It gives me that great sound. Now if I want that sound to carry on into the next shot, that's called an L cut. Oh, now we're learning some real advanced video editing terminology. To do that, I would need to detach the audio. And again, I like to show the audio frame because then with the waveform there, because then that enables the tool down here it says detach audio. Now I can have that audio file and then I can just extend the audio if I wanted it to go further or if I wanted it to be be ahead, I can adjust the length of that audio. Let's say now I want to change my out point here. I don't want necessarily see how it dips down into this neutral dips. I lose because my cameras right up next this thing I thought he was gonna hit me. And so I think this is just a natural reaction. I still want that sound continue, but right there when he hits that, right there, maybe that I would like to split and then I'm just going to delete, see what's selected there in the yellow. If I tap, if I go back to my edit here, I just tap off and tap back on. Now I can just delete that and have the audio running underneath. I'm going to tap on the little trash can icon over on the bottom right. And that will delete the second half of that clip. But you see the audio in the blue waveform is going to carry underneath. Let's audition that the rolling of the car sonically is continuing and it's from that first clip. And then in the second clip you'll see the rolling of the car coming in. Now. Ideally see, well it's okay. That works for you. Then you can also do that same thing with this. We can now detach the audio from this. Now we can start to basically kind of crossfade and smooth those audio edits out from each of those clips. So as I'm working, I usually I'll do the audio editing as kind of a polishing step. But in this case I'm really focusing on it because I really being aggressive with the eye-catching and sound catching the ear catching, if you will, of this clip. Now I'm gonna go from their car enters, there's another guy who's watching it as it turns. It goes onto this turntable. Then they take some time and get it all setup and secure and then they turn it. So I'm using this as a way to compress the actual time. This could be a little tighter. So that means I'm going to move in the end point. I just need bom, bom, bom. And you see it's moving at a pace. Good. I wanted to pick up that pace. You see where it starts to turn, says Powell and market, That's the honey spot right there. It's turning on the turntable. Now. It's still turning. I've just moved to a new camera Kate location started a new clip. I can match the action. That's what these two shots are doing. It's matching the action. The action is the car turning on the turntable cable car. Just doing it with two different shots sizes, two different shot locations, same moment. Shooting, repeating action lets you do it like if it's a cooking or making coffee or whatever. In this case, I'm just being improvising and I know what I need in terms of getting shot variety when something's slow like that. And I had the opportunity to film it from a couple of different locations. I'm going to look for matching action shots. They always work. And then it also introduces There he is, he's lifting his leg up. That's our guy. This shot does two things. It matches the action. It foreshadows the character that will be seen in the next shots, or it echoes one that you saw but you didn't know because you only saw his hand. That's how in three shots. Now in this shot, Let's also detach the audio. The audio goes before. That, creates it looks like the letter J there. So that's like a J, that's called the Jacob. And then when the audio goes after the clip, like here on the first clip with the audio extends over the hill. That's called an outlet. And those are things that you probably wondered about and maybe now can consciously observe when you watch television, news or films. Especially documentaries. Because that just smooths these cuts. That's how we're getting the smooth cuts. We're not using a special effect dissolve, doing it with the audio. That's what really makes this opening sequence. Let's audition it here. A little more special. Okay, it could use some further work. Maybe you could even copy and paste some of these. If you wanted to. You could duplicate them. So if you wanted to have those sounds repeated elsewhere, you can do that and you can put them into your audio timeline. Again to delete. It's the trash can. So maybe it's the sound here of the car running that you'd like to hear just a little bit more of while it's turning. Yeah. Let's try that. That's a little better and then it can get a little quieter there. That's fine. If you wanted to adjust like that clip, he wanted it to fade out. You see what I did there? I just went on the volume of that clip, tapped on Fade and then you get little triangles there. So you can then now even further smooth each of these little segments of audio that you've detached from your video clips and really refine your audio mix. Now you might want to do that. I'm just doing it here at the beginning to kind of demonstrate further steps. But basically at this point you just want to carry on and get the right shots for your edit and see how I picked up that. Now I don't need that shot. That's the shot I had of the second half of the carriage. So I can decide to eliminate that again by tapping on the trash icon. And now I can choose where do I want to go? Do I want to start people down the ride? Right? Do I wonder introduce my character? I think I go back to hands. That's what I probably do. Get us going on this journey. Introduce some of the other people there. Maybe I used the sign just as a way to locate. Yes. This is San Francisco cable car and yes, this is the line that starts down at Fisherman's wharf right there, Jira Delhi square. So maybe that's what I go to. That's a neutral shot and that's usually a good choice to go to after you've established a sequence like that, because then that allows for the passage of time. Because after the gara dolly shot, we can go anywhere on the right. Suddenly we can be off halfway across San Francisco on this with the car and the writers. A lot of people think, well, I need to open with that shot. That should be my first shot, the Garret Ali. I couldn't think of a more boring way to open this story, don't you think after the way I've shown it to you? So try to avoid that temptation to say, oh, I always needed to show like a sign at the beginning of my videos. Start with the action, start with the excitement, start with a little bit of mystery, a little bit of intrigue, a little bit of beauty, a little bit of drama. Those are my tips for you. I'm really looking forward to seeing how your project comes along and finishes up here in the eye movie essentials course. 9. AUDIO J CUTS & L CUTS: iMovie Video Editing: So at this point we're still just looking at the edit here. Let's just look at those first few shots. It opened. As you can see, there was more. The beginning of that shot. I focused on this that peak action when he grabs his hand, grabs and then it makes this noise, he lucks and he's he's really just wrestling with that thing. I'm looking for the hand coming in from the left. And that's gonna be my endpoint, right? So it gives me that great sound. Now if I want that sound to carry on into the next shot, that's called an L cut. Oh, now we're, we're learning some real advanced video editing terminology. To do that, I would need to detach the audio. Again. I like to show the audio frame because then with the waveform there, because then that enables the tool down here it says detach audio. Now I can have that audio file and then I can just extend the audio if I wanted it to go further or if I wanted it to be be ahead, I can adjust the length of that audio. Let's say now I want to change my out point here. See I don't want necessarily see how it dips down into this neutral dips. I lose because my cameras right up next this thing I thought he was gonna hit me. And so I think this is just a natural reaction. I still want that sound continue, but right there when he hits that, right there, maybe that I would like to split and then I'm just going to delete, see what's selected there in the yellow, I'm going to tap on the little trash can icon over on the bottom right. And that will delete the second half of that clip. But you see the audio in the blue waveform is going to carry underneath. Let's audition that the rolling of the car sonically is continuing and it's from that first clip. And then in the second clip you'll see the rolling of the car coming in. Now. Ideally see, well that's okay. That works for you. Then you can also do that same thing with this. You can now detach the audio from this. Now we can start to basically kind of crossfade and smooth those audio edits out from each of those clips. As I'm working, I usually I'll do the audio editing as kind of a polishing step. But in this case I'm really focusing on it because I really being aggressive with the eye-catching and sound catching the ear catching, if you will, of this clip. Now, I'm gonna go from their car enters, there's another guy who was watching it as it turns it goes onto this turntable. Then they take some time and get it all set up and secure and then they turn it. So I'm using this as a way to compress the actual time. This could be a little tighter. So that means I'm going to move in the end point. I just need boom, boom, boom. And you see it's moving at a pace. Good. I wanted to pick up that pace. You see where it starts to turn? It says Powell and market, That's the honey spot right there. It's turning on the turntable. Now. It's still turning. I've just moved to a new camera Kate location started a new clip. I can match the action. That's what these two shots are doing. It's matching the action. The action is the car turning on the turntable cable car. And I'm just doing it with two different shot sizes, two different shot locations, same moment. Shooting, repeating action lets you do it like if it's a cooking or making coffee or whatever. In this case, I'm just being improvising and I know what I need in terms of getting shot variety when something's slow like that. And I had the opportunity to film it from a couple of different locations. I'm going to look for matching action shots. They always work. Then it also introduces There he is, he's lifting his leg up. That's our guy. This shot does two things. It matches the action. It foreshadows the character that will be seen in the next shots, or it echoes one that you saw but you didn't know because you only saw his hand. That's how in three shots. Now in this shot, Let's also detach the audio. The audio goes before. That, creates it looks like the letter J there. So that's like a J, that's called the Jacob. And then when the audio goes after the clip, like here on the first clip with the audio extends over them. That's called an alkyne. And those are things that you probably wondered about and maybe now can consciously observe when you watch television, news or films. Especially documentaries. Because that just smooths these cuts. That's how we're getting the smooth cuts. We're not using a special effect, dissolve, doing it with the audio. And that's what really makes this opening sequence. Let's audition it here, a little more special. It could use some further work. Maybe you could even copy and paste some of these. If you wanted to. You could duplicate them. So if you wanted to have those sounds repeated elsewhere, you can do that and you can put them into your audio timeline. Again to delete. It's the trash can. So maybe it's the sound here of the car running that you'd like to hear just a little bit more of wallets turning. Yeah. Let's try that. That's a little better and then it can get a little quieter there. That's fine. If you wanted to adjust like that clip, he wanted it to fade out. You see what I did there? I just went on the volume of that clip, tapped on Fade, and then you get little triangles there. So you can then now even further smooth each of these little segments of audio that you've detached from your video clips and really refine your audio mix. Now you might want to do that. I'm just doing it here at the beginning to kind of demonstrate further steps. But basically at this point you just want to carry on and get the right shots for your edit. Let me see how I picked up that. Now I don't need that shot. That's the shot I had of the second half of the carriage. I can decide to eliminate that again by tapping on the trash icon. Now I can choose where do I want to go? Do I want to start people down the ride? I wonder introduce my character. I think I go back to hands. That's what I probably do. Get us going on this journey. Introduce some of the other people there. Maybe I used the sign just as a way to locate. Yes. This is San Francisco cable car and yes, this is the line that starts down at Fisherman's wharf right there at modally square. So maybe that's what I go to. That's a neutral shot and that's usually a good choice to go to after you've established a sequence like that because then that allows for the passage of time because after the Garret dolly shot, we can go anywhere on the right. Suddenly we can be halfway across San Francisco on this with the car and the writers. A lot of people think, well, I need to open with that shot. That should be my first shot, the garish Ali. I couldn't think of a more boring way to open this story, don't you think after the way I've shown it to try to avoid that temptation to say, oh, I always needed to show a sign at the beginning of my videos. Start with the action, start with the excitement, start with a little bit of mystery, a little bit of intrigue, little bit of beauty, a little bit of drama. Those are my tips for you. I'm really looking forward to seeing how your project comes along and finishes up here in the eye movie essentials course. 10. TITLES AND EFFECTS iMovie Video Editing: It's time now to add some titles and look at some special effects. Not every movie needs titles and special effects, but let's experiment with it with our practice projects. Shall we? Returning to the edit, we have now completed the audio detached audio fading, cross fading section. So we can turn and disabled basically the showing of those waveforms to kind of clean up our timeline, if you will. Again, that's with that tool. And now we're going to be looking at our movie and say, Would it make sense to put any text over video here? Clearly, if you've been here, you know what this is and there's even a really strong clue what it is. This movie is about when you read Powell and market their Powell and market hide and beach fisherman's wharf. Those are all clearly San Francisco markings, yeah. And also gear a Delhi chocolate factory. This is definitely a very known and very popular place. However, if we wanted to add some text, Let's look at perhaps the next shot. The next shot has the POV of what the driver sees driving along the line. Here, I've split it that clip into two halves. So I just had it was that full length there and I just use the split tool like I showed you before, and I'll show you why. On the first one I'm going to want to add some texts. So I'm gonna select that clip and tap on text. The text.com down at the bottom now reveals a number of choices. First of all, the one that's selected is none. So there's no text right now. Let's just choose, you can audition these on your own time, but let's just choose one that I know works pretty well in this instance and that's focus. What it did was it added a text overlay right up here. No problem. There's the text overlay. If I tap on the text, I can edit it. Why don't we just type San Francisco. Okay, great. So now that's going to be on that clip. If I just tap off or if they hit the return button, basically I've got my clip and it shows that type. Now, let's just audition that and see what's going to happen. See it's just going to build into focus, right? And then defocus out. Let's see what some of the other options are. Focus. Let's say we liked that style, but let's say we don't like where it is or how big it is. So let's go up to the magnifying glass and just like with I'm sorry. Actually we just tap on the type and we can pinch to zoom. We don't have to say if we did the magnifying glass is obviously going to re-frame the the shot underneath. But if we just tap on the type and pinch to zoom, then it will re-frame the typography. So now we have San Francisco building in a nice little elegant way. They're cool. If we like that, we can just do the same technique on the second thing and use a different piece of information, let's say maybe the time of day. So again, I'll go from none. I've got the clip selected, I'll add focus. I will tap up here. I will edit it. Now say, let's say it's 1130 AM. Finally got that typed correctly. And then if I want to pinch and zoom on that, I can do that. Once I get out of the text editing tool. Now I've 1130 AM. Let's just see how those line-up. As I scrub back here. The first shot, just play them. 1130 amps just a little bit bigger than the other one. I can reduce the size of that. What are some of the other things you can do with your text overlays? Well, there's a lot a lot of the power is now over here on the left-hand side. Like obviously you can choose the typeface you want. You can change that. Under these further arrows, there's variation. So if we choose to Avenir, we can choose everything from ultra light to heavy italic and many flavors in-between. It's a really good face if you want to change the colors, you had different ways of selecting color. I'm just keeping it in the classic filmmakers, white and under the dot-dot-dot, here's where you can decide. Do you want to have a drop shadow on that? Sometimes that's advisable to get good separation to the background image. It really depends on what's in your background image. Do you want it to be all uppercase, all capitals. By the way, uppercases and an old printing typesetting term. I could digress, but basically there's an uppercase and lowercase and all the metal pieces that were capital letters were in the uppercase of a typesetters machine and all of those small letters were in the lowercase. It's more correct. Call it capital letters unless you're dealing with printing. Anyhow. Sound effect, it could have a sound effect as it builds. Let's audition that. Then you have the choice of whether the text build should be present to the entire clip or should it just run on its own speed? And that's new in the latest version, that's up iMovie. I'm gonna keep it. Not full clip duration because that was always kind of a pet peeve of mine with the earlier versions. So I'm going to keep it that way. I'm gonna do the same with the other one that says San Francisco. Little sound effects. Let's see what that does. Under style. You could also turn it into what's called a lower third. Now a lower third graphic is always something that's in the lower third of the video. Usually down to the left or down to the riots, usually the person's name and their job or where they're from. It's kind of an identity or tech. We don't really need that here. I'm just gonna go with the default, but that is an option in the lower third. Let's play this. What does that mean? Well, what that might mean is that that's something that comes along with the special effects of theme Options. And I'm going to show you how those things work also with the type, the text overlays that you might main. So this is nice and clean here with a nice, clean typography. But if you wanted it to be a little bit more stylized, we could go into those clips and the text edits. And instead of non or focus, I'm going to choose one over here on the right. This says Theme, location and see up pops would look like stamps and letters than it says San Francisco, like handwritten. So now it's got a little animation there for 1130. Now where did that theme graphic come from? And is it changeable? Well, yes. Let me show you where. Up under the gear icon, this is where you can set project filters. For example, if you wanted your entire San Francisco to look like a comic or a comic drawn in black and white. You can do such things and many other strange filters. You can see. That doesn't really work for me so much. So I'm gonna go back to none, which is a good place to be on filters in general. But under Themes here, you can have options for travel, for neon, neon modern. So the modern will put just a nice little gray would set a tint overlay. So it kinda gives it a planing effect. Bright will change that text overlaid, be bright with a white background. Playful. And so on neon travel. That's the one that gave us the stamps. And so on. There's something that looks more like the news. So that's what I had selected. There was travel. Then you can decide whether you want your entire movie project to fade up from black or, and, or fade down, fade out to black. Fade to black. I have enabled on the output. In the last shot it's going to fade to black and it's also going to fade down the sound. That's a nice little touch if you've doing a little vignette scene like this. And as does the speed change the pitch of a shot? Generally changing speed. I did do that and I'll show you where before I get out of here. But basically I'm going to keep the travel. And then if I do theme from soundtrack, themes soundtrack now it's going to add some music related to travel. Let's hear what that sounds like. See if it does anything with the special effects. I'm pretty sure with the audio waveform on. I can also then adjust the volume level of that background music in relation to my natural sounds. So let's audition that and see what comes up. I have no idea. I've never actually used that. If maybe it has a bug or something, I'm not really worried about it. I know that if I really want, I'm just going to delete that, that theme soundtrack. I know that if I really want to add music down there, I can do that. Or I could do a voice-over. If I wanted to do a voiceover, I would just use the microphone icon here. I would be ready to record. I would tap the record. I would let the opening South San Francisco, a real treat. Germans warm chocolate factory in France. And I just made that up. I was improvising, riffing off of some of the scenes there. Obviously, if you're gonna do some voice-over, It's good to have some pauses. Let's Move natural sounds come up and down. But I started to breath out some ideas there. If you wanted to redo it, you can retake it, you could review it or you could just accept it. You know, there it is, There's your soundtrack. So let's hear it. San Francisco, right? So if there's another sound in there, you see that you only have three tracks of audio, so be aware of your sound mixing. That means that's a fail. So if you're going to do a voice-over, you can only have two tracks of other material as you have to have that third track free for voice-over. Regarding speed control. Now this shot I had of the gear a dolly was 1 second long. In my edit I realized 1 second probably should be two. No big deal. I just went to that clip and I dragged it down to half speed, effectively doubling the length of time that clip is going to play. It's a pretty neutral shot. It could even be just a picture, but it's video and have the same effect. It's just, here's something else nearby. Here's what you see looking up behind you, by the way, is the Garret Delhi. So that's a good use of the speed control. If you try and create a slow motion effect, by the way, using this tool from normally recorded video, it won't work. If you had recorded in the slow motion mode of your phone. And then try to slow it down. It will work because there's more frames per second and that's just a whole another course, that's a whole another tutorial and in advanced filmmaking. But that's generally people try and get slow motion here with this tool from regularly, regularly shot video, and it never looks good. It's always gonna be choppy. But in this case it's just a bit of a save to take pretty, pretty much stationary shot. Just doubled the length of it. So that's what we did there. And that's titles and special effects for the San Francisco cable card venture. I hope you're making progress with your project. We're getting real close to the end here. 11. EXPORT & SHARE: PROJECT FILES: iMovie Video Editing: Okay, Hey, we've come to the end of this course where we have gone through an edit using some clips of San Francisco cable car that I shared with you. I've shown you how I've been starting to edit it and when it's time to export, it might be a little bit tricky. Let me show you some of the steps there when you're in iMovie and you've got your project, remember it's not a movie until you share it, till you export it out back to the photos album. Right now it's just a project is just a set of instructions that treats all these video clips or generates text overlays. And they all have to be output as a file. What's, what's interesting is you're like, Hey, where am I going to do that? How am I going to do that? Okay, I know I can add more clips to my movie from here. But how do I get my movie out? My gosh, I don't even know. It's not in this screen. That's what's really confusing. You kind of have to go done counterintuitive, we're not done. We have to go up to the top and click Done up here. Until it looks like this San Francisco cable card venture. Down here, the box with the up arrow. That's how we export it out. Apple, I don't know why they hit it this way. But anyways, here is where we can save the video. And that's what we want to do. Just want to export it out and save it as video. Of course, you could send it in an e-mail. You could send it up to social media. But for our practical purposes, the best thing to do is just export the movie. And that's what's happening here. It's exporting the movie and it's putting it into your photo library. I hope you enjoyed this course in AI movie Essentials. Those are the essentials. Oh, I did promise you one other thing. And that is, what are you going to do with some of the cinematic mode that you maybe have filmed with one of the newer iPhones. The chance for you to edit them in iMovie is now enabled. What we're talking about our clips that are enabled within a special camera mode called cinematic mode. When you, when you choose that, let me just make sure I've got the overhead camera on. It's called cinematic mode. So it's something you chose here. And when you're filming a scene, you don't have to necessarily lock focus and exposure on people's faces. The AI is doing that. And then when you input it into iMovie, now you can go in on that clip and you see there's something called cinematic down here. It's way down here at the bottom. There's a new tool here. In cinematic mode. Basically, you can tap up here and lock where you want the focus to be at that moment in time. And then scrub forward and say I wanted to now be here, focus on this, these points down here. You can delete them and start over. That's pretty much it. And then you can also determine how much of the scene is in-focus and out-of-focus overall. In other words, what f-stop have you done? Clips that had been shot with cinematic mode can also be further edited in iMovie. So that's another powerful use case for iMovie. That's a little bonus tutorial for you for i movie Essentials. It's been my pleasure to be your instructor. I'm Rob Montgomery. The smart film school in Berlin. I hope to hear from you soon.