Transcripts
1. Introduction to course and instructor: Hello everybody and welcome to the smartphone filmmaking course with me when solubles. So I'm a filmmaker and projection mapper and I've been making films for about 15 years. I switched to smartphone filmmaking about 3-4 years ago, and I absolutely love it. H, so convenient, it's so handy. And with the technology increase in asic doesn't with smartphone technology getting better. It's never been a better time to make a film on your smartphone. The challenge is not just picking up your phone in film and the challenge is making something that is cinematic. In this course, we're going to cover everything that cinematic film making, from using the native app to using third party apps to editing on your phone, shooting 360, shooting cinematic content. For k versus ten ATP. A whole host of things that we're going to cover during this course. So I hope you enjoyed it. Please do, drop me a message if there's anything you want to tell you wanna show me any footage. Next is the course trailer. Let's dive in.
2. Course Promo: Okay. Okay.
3. Native camera app Filmmaking: We're going to start by looking at the native camera app on the iPhone. Let's have a look at time-lapse. Time-lapse takes a series of images over a set amount of time. So if I just focus on this apple here and I click there time-lapse button. You'll see it has a countdown timer and now he's taking one image every time that circle is completed. So let's just move over to slow motion. Slow motion does exactly what it says when I click that, it Films in slow motion. So if I go around here like this, and here's the video. And as you can see, it's in super slow motion. So the camera is moving around. Slow motion is great for capturing action. I'm making sure the cameras move. And let's just flip over to video. So video again does exactly what it says. It just record videos, so I've just click the button as you can see, just record and here's the clip. Excellent photo just takes a photon. You'll notice the viewer changes. And I've just taken a photo there portrayed. So what portrait does is it adds a blur in the background so it separates your subject from the background, again bears a photo, and pono means panoramas. If I turn that round and I press the button, you'll see I move my camera and starts to create a panoramic image. Just go back to the way we were. Back to video. Fabulous. Okay, so let's have a look at some of the features here. In, here, we have a grid on the screen. This directly relates to something called the rule of thirds. If I record now, I'm have the apple in the left side between the grids, but just stopped frame with the subject in the center. Which makes eliminate much more interesting when I'm looking at it as a viewer. So again, I can use these frame guides to frame, I suggest when I film it on my smartphone. At the top, you'll notice a timer. So now it's 3031. That is telling me how long I've been recording for. Really, really useful when I'm making films, I can say exactly how much I recorded and how much storage I've taken up. In the top left corner of your phone, what you will see is you will see a number. So it might say 4K, 24. When he says for K24, that means its 4 thousand pixels at 24 frames per second. 24 frames per second is a cinema equivalent. So that's when you watch a film at the cinema or you watch on TV. That's a really quick introduction into what the native camera app interface looks like. All that's left to do now is to go out, start filming some content, start shoe in some material. Look a examiner, usually rule of thirds. You test Islam. Oh Tessie, time-lapse. Test your 4K and see what kind of storage capacity that's using. And I'll see you in the next session where we will be looking at the moment app.
4. Moment App: in today's session, We are going to look at the moment happen, which is a paid filmmaking app for the iPhone. If I just open up, let's have a quick look at we have here in the interface. In the bottom left corner. We have a light, as you can see. When I collect that, it turns the lights on and off a book above that. We have a set of presets, so we have a log, a default on the flat of a log. Give you a flat profile. Let's click default for now because that will give us a full color spectrum. We have four K resolution 7 20 p or 10. 80 p. We also have our frames per second above that to have 24 frames per 2nd 30 frames per 2nd 48 Andi, 60 frames per second, all at four K resolution. Let's go back to 24 because we like cinematic looks. Let's move across to the other side of the app and you'll notice we have a display menu at the bottom. So first we'll just have a look we have here. We'll click the S 1/4 on that stands for the shutter speed. So shutter speed is the amount of light the camera less in. So the lower the shutter speed, the more like the average rule of thumb is if you have 24 frames, you have double the shutter speed. So I have 48. Next we have the I S O. You'll notice the lower I go down the eyes so the darker it is and the higher I go up the scale, the brighter it is. Let's move across to the exposure very cynically. I. So the lower the value, the dark of the image, the higher the value, the light of the image. So try and find and expose leather that works for you. Let's look at auto focus. This is really interesting. So when I click auto focus, it's trying to focus on everything. If I just click the car with my finger, he automatically focuses on the car. That's really useful. Let's have a look at why balance? So why balance is using something called Kelvin and Kelvin is a cooler temperature of light . So if I was filming a candle, I'd want my white balance to be a 2000 Kelvin If I was filming in daylight, I'd want it to be 5500 killed in, for example. So we just have a look at the Kelvin scale so you can see I get the value when I start moving the scale up and down and I'm just going to film around. Let's have a look. You can see it's getting warmer there, and that's far too warm. And that's far too cold. My car's almost blue, so let's just put it around. Let's put it around. 4200 came and that seems to work, and it looks quite well okay here. If I click the little one, you'll notice it pulls out. So I have an iPhone 11. So that's giving me dual cameras. Just go back to the original view. It's going to click the slider. I connect to the record button and let's have a look what happens here. So this gives me almost like a menu option so I can click for support and I get directed to the moment website, and this is giving me some tips and from trick. So if I want to shoot in time lapse or different molds, don't worry about that because we're going to cover that. In this course. I can also click a get started guide, which again takes me to the moment website, and it gives me a little bit more information about the APP itself, and I can also submit questions again. Don't worry too much about that, because I am going to cover that in this course. But if you want to have a look, there's some useful videos on there. As I look down the menu screen, I've also got a place where I can click location, which gives me the location. I can also click the grid, and I have a different set of grids. So I'm going to talk about the rule of third in the golden ratio later. But I prefer the rule of thirds. I can add Siri short course, which is really cool. I can also connect a Bluetooth device such as an Osmo mobile, and we're going to use one of those in this court, although I must reiterate you don't need, and that's more more about to be a great filmmaker. Peripheral accessories, a useful, but they don't make you better. I can also change the app icon. I quite like the classic one, So I'm gonna click the classic one on that's changed there. I also get my hissed a gram and I can show highlight clipping and here's an interesting one so I can look at the photo standard. So I just got mine on Most Compatible, which is J pic. I can also change the frame rate. So I'm based in the UK, so I'm going to click Pal and I could change the bit. Ray, I can change the audio away form and audio levels. Aiken D squeeze files, etcetera. All really useful stuff on or great for you to have a play with. If you decide you want to use this app again, I must reiterate you don't need this app to use this course or to be a great filmmaker, right? Let's go back to our filming. So, as I mentioned, my audio away form is on the left. Then you can see that bouncing up and down. That's just capturing audio Onda. Obviously I've got my record, but in there so I can record what I'm filming Now there's something have not measurements in the top corner it's a circle. If I click that, I get a series of lenders now. I actually have the anamorphic lens and the telly lands here. But I've got it selected to Nolan's cause. I'm just using the standard iPhone lenses. What's really interesting about the moment? App is You can add your own lenses directly from the moment website, which again takes your filmmaking to a different level. But you don't need them, right? Let's have look so I'm now recording. So I've quickly could and I'm recording and you can see there. And that's a recording of the car, right? Let's go back to the APP. So this is the final image of the car I've filmed because I shot it on a green screen. I can then remove the background. Don't worry, I'm gonna show you how to do that. Let's have a quick recap. So we've looked at the moment app. We know it gives us full manual controls. We know we don't need to buy the app to be great filmmakers, and we know it's a paid up. Guys, thank you so much for watching this session and I'll see you in the next one
5. Frame size: Welcome to today's session, where we will be looking at frame size four K or not four k. So do I shoot it? 7 20 p. 10. 80 p. Two k or four k And what is the difference in brief four K usually refers to the amount of pixels a 4000 pixels with the width and the height 10. 80 p resolution in 1920 by 10 80 if you have a pixel count, which isn't on our image of 3840 by 2160 that's called Uhd or alter Uhd. So some cameras shoot just short of four K, but they do call it for K, which is a little bit confusing in this graphic. It gives you a really clear example of the size in differences. So four K obviously is four times bigger than 10 80 p, and it's twice as big as to Kate, for example, so that begs the question. Do I shoot four K or don't I shoot four K? There are a couple of advantages and disadvantages to shooting four K and not shooting the main advantage of shooting four k for me is if I am delivering my film a 10 80 p. I've got all that space in my image where I can reframe everything and I can zoom in four times without losing quality. So I essentially get a myriad of shop types from one shop when I shoot four K, the disadvantage of shooting four K is storage size. So because I'm shooting 4000 pixels, that means my storage site is four times higher than that of 10 80 p. That's not a problem if you're using external hard drives, but if you're making a longer film, the bills can quickly rack up. So the decision really is yours to make. But remember, your phone shoots for K. And in my next session, when I look at rule of thirds, you'll see a really handy guide. Is there actually as to the actual storage sizes off shooting folk? A. On your phone guys, you're definitely on your way to make in amazing cinematic quality films. I'll see you in the next session
6. Portrait vs Horizontal: Here's a really quick video between the difference between portrait filming and landscape filming. Portray you're holding the phone vertical, like in this clip, you're seem right now. This is a clip of me filming a gas film which we've seen during these workshops. And as you can see, is in the center. So landscape is horizontal. Again, this is an image of me filming the same Gazprom and as you can see, it spread across the screen. And this has black bars because it's found in anamorphic, which is 2.351 aspect ratio. That's a real quick explanation to the to see you in the next session.
7. My Kit: Hi guys, how are we doing in this session? I'm going to show you my kit. So I know a lot of you guys know that I make films on professional cameras as well as making films on smart phones. And I use all of this K In this tutorial. So I thought would be worthwhile to showing you the kid, the IOUs and whatnot. So first and foremost, obviously I use my iPhone and I'm shooting of an iPhone 11. So I'm using that phone right now to film this tutorial, so obvious, I can't show you that, but I also sometimes use my daughter's phone. This is an iPhone seven Plus and as a backup, phonons an extra phone. I also use an old iPod because again, and I pull is essentially an iPhone without SIM card, right? So I use that as well. And I have a selection of moment lenses, so I don't know if you can see those there. So this is the 1.3.3 anamorphic lens. So anamorphic is the two 3.5.1 aspect ratio. And I shoot a lot of grain because it's really cinematic anyway. And I also use this telephoto lens. This is a 58 millimeter telephoto lens. And that comes in really handy because obviously I don't have the iPhone 11 pro, so I don't have the zoom lens. So that one comes in handy if I want to zoom in a little bit, et cetera. I also have a rode shotgun microphone, which plugs directly into my iPhone via below y adapter cable. And again, that's really useful for capturing good Quezon, especially if I'm, if I'm not side. I also have the osmo mobile three, which as you can see here. And that's really great for when I'm trying to get those cinematic sweeping movements. And again, GO through my tutorial. You know, you can do that without having a Jimbo but a Joe sometimes it's just, it's really useful. And I also have a little lights that I can put on either my stand here or I can put on the standard algebra on top my camera, and this is the Manfrotto outline. And again, really great. If I'm in an environment that's quite dot Latino. I wanted to have subject lighten over somethin. I also have a Manfrotto mini tripod. I can put my camera on if I want to do low shots or time lapses. And I have a standard camera which my iPhone is on right now. Filming this, again, it's a lightweight thing just if I want to get more higher, steady shops, etc. The other thing that I have with me is I have this thing here. And this is recording my audio right now. And I'm going to overlay that on this tutorial because I want you to see the difference between iPhone audio and professional audio. So this is a zoom H6 n in it's an audio recorder. So right now I'm using as an interface with my laptop, which is also part of my kit. Because sometimes you want to have a laptop and not just that it off your phone if if I'm not on location. So at the minute it's an audio interface, but also this also doubles up as a voice recorder. So if I take this off, it's actually got a microphone that I can work because if I'm doing it, introduce maybe I'm outside. I might get my subject to hold it here. And it acts as a microphone. And then I sync the audio together in post. And so I have my trusted mobile Wi-Fi because if you're like me, you're probably gonna wanna update to at some point during the middle of the month. And you might be a little bit extra to get your fatigue after where it needs to go. Now obviously, having mobile Wi-Fi is not essentially filmmaking, slave empire filmmaking is just something I do. And my final piece of kit, which is actually by far my most important piece of kit is my toaster coffee cup. I can't go with a without drinking caffeine. So I need that on shoe just to make sure I'm kind of good to go and been a practical note. And it's really good for making sure you've got plenty of fluids and you don't know how he's going to be or how it's going to be out there, et cetera sector, you know, all of this stuff, guys. So that's my bucket list. I looked to see what you guys are shooting on. So please do semi message and show your Kn let me see what you work in and I look to see, are you guys had a good day and I'll see you soon.
8. Rule of thirds: today session is about the rule of thirds. What is it and how do we use it? Basically, the rule of thirds is a photographer. Term on it refers to the composition. So, in other words, how you frame your shot notice. The woman in this picture has got grid across her phone screen. I'm going to show you have to do that in a moment. First of all, this shot here is a fantastic example of the rule of thirds. If you imagine the shot is broken up into nine parts, the woman is on the far right. Looking into the shot, which creates this sense of space on it immediately draws our eye into her. Okay, So how do I found the rule of thirds on my phone? So if you just open your phone and you open the settings tab within it Excellent. I've already put the camera set in inter mind so you can see all of the settings within that so I can preserve my image. There's my great Accutane. It often on ACA scan QR codes record videos that click this I get a range of options as to what set is I want to record it. So I always have four K 24 frames a second because I use external hard drives and I always don't my foot jump to that. And again I spoke about how you can refrain your shop in a nearly a session. Let's see what else. OK, so record. So I record slumber 1 20 friend exact. Find it smoother, but you can decide for yourselves. I can also select the former in which I want to film so minds most compatible to my device . But if I click high efficiency, that will then give me a warning. Do I want to capture high efficiency photos and I can click? Yes, And then you'll see that gives me on the composition some more options within my settings. But I'm just gonna go back to the way I was. I can also shoot smart hdr guys. That's how you set up your rule of third. Please do on your phone. Go out, Go test it. Go shoot, Play with the rule of thirds. Play with perspective. Really? Have some fun with it on. I'll see you in the next session
9. ISO Shutter Speed Aperture: In this session, we are going to look at shutter speed, ISO, and aperture. So I got this handy diagram here, the or give us all the information we need. So let's go through it. First. We'll start with aperture. So if we look at the left, we've got something called F 32, F stop. So that means so as you can see, the circle represents the iris, so it's closed down. Fat tissue is not let in a lot of light in an image above you can see the kind of effects. So everything's in focus. If we go to the other end, we have a large aperture. So f 1.4 is let in more light in. So you'll notice that the subjects are, the little man is in focus and the background is out-of-focus, right? Let's look at shutter speed. So we'll go ahead and go over to the left. So fast shutter speed. So one over 100 means your capture all the action. And what you'll get is you won't get any motion blur if we go to the far right where we've got slow shutter speed. So one over half, you'll see, you'll get lots of motion blur. So that's a really nice effect if you're filming kind of any sport or anything with a lot of action, you want to capture some cinematic motion blur. Okay, let's have a look at ISO. So again, over on the left we've got low sensitivity, so ISO 50. So if you're shooting at 24 frames or 25 frames a second, you want your ISO double the frame rate, so that's 50 frames per second. Obviously, if you're shooting a slow motion, say you're shooting a 120 frames, you'll want your ISO is close to Douglas as possible. If we jump over to the right where we've got ISO 25,600, you'll notice there's lots and lots of noise that you really want to avoid shooting in those high ISO ranges, cuz you're gonna get lots of grain. So that's ISO, aperture and shutter speed explained. I'll see you in the next session.
10. 360 filming: In this session, we're going to look at film in 36. So the first thing you do is you need to open your camera and go too slow motion. And I'm shooting this import rate. And I'm trying to keep myself in the center of the frame as I spin. Let's have a look at that now in slow motion. Great, and that looks really smooth. So the trick to film in 360 and keeping it really smooth is to try and keep your subject, in this case, myself, in the center of the screen by film in it in slow motion, that takes away any of the bumps. Now I shot this without any gimble.
11. Basic shots: There are no set rules when you combine in shorts to create your film. Personally, I like to design my shots specifically based on the type of film I'm going to make. So for example, if I'm making a dense film, I might spend the first couple of shots focusing on different body parts before I revealed the location and the subjective, the dense. If I'm creative documentary, for example, I might focus on a wide shot to establish the location in the environment which were our. Or I might use a timelapse to show the passage of time. And again, to create that feeling that my audience know where my environment is. So the next part of this video, a series of different types of shots that you can use to create your own shortlist algae start creating your own films. The first one is an extreme long shot. And extreme long shot is used as a setup short so it sets you are seeing it tells your audience where the action is about to happen. So if we take the tours, our subject, you'll see setting a beautiful park on a longshot, very similar to extreme long shot. We get the whole picture, so we get the whole tree in short and some of the Parkland. And again, that's used as an establishing shot. A mid shot is coding a little bit closer, so it's the same tree, but it's a little bit more mystery. So we know it's a tree, but we're not quite sure of any other factors. So that's really good to start to bring your audience into a scene. So this is a close-up again, it's the same tree from a different angle, so I'm looking up. So close ups are really good for the developing emotional attachments with your audience or in him really close to you, you kind of add mystery. Here's an extreme close-up. So an ECU of the tree. Again, I framed it in such a way that is in two parts. But an extreme close-up really is about focusing on the subject really close, really creating that bond with your audience. And then you could cook between the shops. So that's basic shop construction guys have fun, have a play with it, test out some different ideas. So now you've got a basic grasp of different types of shops. The challenge is for you guys to play with this. So again, as I said earlier, there's no set rules are now you know what a long shot and a mid shot, et cetera, is. You've always got those to fall back on. So what I'd like you to do now is as you're making your films, really push yourself so challenging, maybe kind of go on a slight angle or go low or go high, or have a shop that tracks around the body. Now don't worry if some of those terms alien as part of this course, you get access to my filmmaking course and all of that is in there anyway. So that's basic shops. Let's crack on us, can make you some films.
12. Slow motion: In this session, we are going to look at slow motion. We're going to use the moment app and the standard iPhone native camera app. Okay, let's dive in with the moment app. So first of all, I open the app and I go to the pre-selected settings and I just click slow motion. So here we go. So I'm just walk in and I get all of my boss. Ten ATP progress at 240 frames per second. And there's the shirtless. Have a look at the results. Now we saw it feels a little bit jumpy. Let's have a look at the native app. So this is HD 120 frames a second. So we'll just turn that round and I'm learning as I'm walking my dog there. And it looks little bit jump pairs. I'm filming. There we go. And here's the footage. Now, I think this looks a little bit smoother than the moment app at 240 frames. So transom slow-motion PCL and please do send me the eclipse OK and have a look.
13. 3 Point lighting: In this session, we're going to look at three-point lighting. Okay, so let's get into it. So 3.19 basically is three lights that light your subject. So if you just look at this diagram here on the left, we have our key light, which is will be at about 100% brightness and about 45 degree angle TO subject behind our budget, we have our pack light, which will be about 20%. And then to decide, we have our fill light which will be about 50%. So the key light is a light directed directly at your subject. The backlight separates them from the background and the fill light just fills the entire space. Okay, let's have a look at issue I've recently done. Here's my fill lie that we move across to my camera, which is my iPhone with the moment telephoto lens on there. And the very dirty screen as you can see, this move across. So I have my Qi Lai De, which will keep my subject. And here we go, we have our backlight, which will separate our subject from the background. Okay, so guys, obviously if you have a lighting setup, please do experiment, have a go, see what you can come up with. And I think the key, the key with all of this is this is the basic setup, but play with the peak creative experiment. Making films is all about pushing boundaries and trying new things. All right, guys, have a good day and I'll see you in the next session.
14. Back lighting: Okay, so here's a really quick session on backlighting. So I've got a seen here where when I was at the beach and if I pan around to the left, you'll notice all the detail in my shop gets a little bit blurry, little bit hazy. That's because I'm shooting into the sun. So they sent on the camera is trying, trying to interpret all the information. This creates a really interesting effects. So, you know, thinking about films where you've seen whether lightens being behind adds a real sense of mystery cuz you can't see details. And you can't see, for example, if it was a person you couldn't see their features. So guys, have a play with this, have an experiment. See what you can come up with in terms of lighting. You can use natural light like hydrogen in this example, I absolutely loved film and in natural lie, it's so beautiful on the camera lens and it gives you so much dynamic choices when you're filming. Please do send me your stuff. I'd love to see what you create. Okay, guys, see you in the next session.
15. Light Tutorial online: Light can be used to create a scene or a feeling to give the audience and insight into your character. Or it can simply be used to light your subject. You can use a range of lighting types, such as natural light, as we can see here. So as we all know, natural light is light that is present all around us all the time. And depending on the time of day in which you film, will depend on the kind of life that you get. So obviously, filming in the middle of the day, in summer, it will be much brighter, film it in an evening, it'll be much darker and we'll give you a very different field. Or you can use do their lives, which is where you specifically lie your subject in a controlled environment, there are lots of different ways you can lie your subject depending on what you are seen entails. For example, if you're doing an interview, you might want to use a very simple three-point lighting setup. You're working in a theater context. You might just want to use the theatre lines. Word of caution, if you are going to use theta lines, boost them up a little bit beyond what you would normally do when you're doing a live show that just give you time and space within your camera just to play with the ISO and aperture, etcetera. The key hits have a play, see what works for you and experiment. To be honest, there is no right and wrong ways to use lighting is really about enhancing the look that you want.
16. Tracking Shots: Hi everyone. In this session we're going to look at tracking shots and we're going to look at different type of tracking shots. Have some I've done in post-production, which is where I've added the movement after I've shot the fatigue. Others I've done whilst I've been shooting for some, I've used the Gimbal and I'll explain that during the course and during the footage. And some I've done handheld and some I've used a couple of tips and tricks like using slow motion to capture that smooth motion. That's sort of for me. Let's dive in and let's have a look at some tracking shots. So this show I did in post-production, so I shot this straight on my phone and then I stabilize it and then I zoomed in on the computer. This one I did on a Gimbal. So i is a DJI gumbo and I followed the action. Darrell. I prefer the Gimbal personally because it's a bit more dynamic. So this show is a sidewards tracking shot, and as you can see, I've done it in slow motion. Now, if you're gonna do this kinda show, do be careful because my Andy's quite near the wheel of my bag. But as you can see, it gives a really interesting tracking effect using slow motion. So this is a side which tracking shot. And again you can see I've used slow motion to make sure the stabilizing itself because the danger when you're doing a handheld, it is the air becomes quite wobbly, So I've done it in slow motion and it just smooths everything now. Now again, that's a very specific effect. So you might not want to use slow motion if you're capturing live action. That's where I would recommend that you invest in some sort of Gimbal. So this shop technically isn't a tracking shot, but it's part of the same family of shots. So this is a panning shot. This is so this is where you move the camera from one side to the other end. As you can see, you're panning the camera across to reveal a landscape or to reveal some action. So I'm doing this handheld and again, I'm doing it in slow motion just to smooth out the action.
17. Creating cinematic transitions : In this session, we're going to create some cinematic footage. Let's have a quick look at what we're gonna do. Great. In order to do this, we put our phone on slow motion mode and turning upside down. And we're just going to slide across our subject. We go. And I'll stop that and we'll do the same clip again so we get our position and we pop our phone down and we slide across our subjects using this slow motion camera. There we go. In order to get that slow motion, fast motion effect, the first thing we need to do is go into our photos app. And we're just going to click Edit. And we have our clip here. And you can see right at the bottom, I've got lots of little lines. Some are really close together or far apart. So the ones that are very close to the FASB and the ones that are far apart is the slope is I'm just going to trim this clip now and just keep playing in tribute to see the ideal length for me. So there we go. There's this slow motion, but obviously, and a little bit more again, and it's a process. So find what works view in terms of lengthen duration. Just pull that in. And what I can do is I can make the faster beats faster and slower just by pulling those little handles in either side. Yet that's about right, so that's great. So I saved that Akhenaten, save it as a video clip, or save it as a new video clip for Mab is gonna save is a video clip. Then all I would do now is I will just go back in and I do a little bit of color editing them. And I'm not gonna do that because you know how to do that so you can play with that. And that's how you get the slow motion, fast motion cinematic effect using your phone.
18. How to reveal a shot: In this session, we are going to occur some creative filmmaking techniques. So I've opened my camera app and I'm just moving across the slow motion. I'm upside down and place it on the ground facing down. Now I'm going to beat so I don't wanna get sand in the port. I'm recording and I'm just gonna slowly lift the camera off. We go to reveal a beautiful, stunning scholars have looked at the results. I think you'll agree that's quiet, beautiful. So that is how you do a creative reveal using your iPhone and the standard iPhone camera app.
19. How to create a blur transition: In this session, we're going to look at creative transitions. So here's some footage I've shot at the beach, and as you can see, it fits nicely into the footage. And the way this works is once you've got your shop, move your camera in one direction, and then the shop you're about to pair it two stars in that direction. So for example, I go to the sky and then I came back from the sky to a different scene. Have fun and try some new things with this guys. See you in the next session.
20. How to create a moving transition: Hi everybody. In this session we're going to look at a couple of creative moves. So as filming in a gallery, and I thought I'd do this quick tutorial. So I've got my iPhone 11 there, and I've got the moment anamorphic lens. So don't worry if you don't have an anamorphic lens or additional lenses because you don't actually need those for this technique. So I'm just going to pop that on there. Oh, excuse me. Just put my hand in the way, so put that on there and there we go. I'm just gonna take the cap off and give that a little bit of a clean because it's quite dusty. So what we're saying is, yeah, I was commissioned to create a film for a gallery exhibition. And I thought they would be a good opportunity to try some creative moves out with my smartphone filmmaking course. So here we go. So here's the kid. I'm also going to use a boom pole, which I'll show you in a bit. So as you can see, I'm walking with a boom pond is flip upside down and swing around. Some Osaka martial arts movie it is. So just have a look. So I've got it on a boom pole. Any pole will do. And then obviously I've just got my phone there. So let's have a look at the moment meant apps on, I'm doing this at 50 frames per second. I would've done it maybe 120 or 240 because of the lights in the gallery flickers. So as you can see, I'm just moving it around, spinning it round. And they'll go, let's have a look at the final resource. And it's just there we go, spin and we see our hope sign. And here we go. One moment. Spin round. And there we go. Now it's a little bit choppy because we did it at 50 frames and I would recommend doing it at a slower frame rate. But again, because of the lies in the gallery, it gave me too much Flickr so that technique wouldn't work. But as a technique, I think it's great for use in different cutaways or transitions in their guys. Enjoy it, have fun with it, and let me know how you get on.
21. Recording Audio: In this session, we're going to look at recording audio when you make smart phone films. So there's lots and lots of different options. And I'm going to do a separate video where we look at those. But for now, I here's an interview I'm recording. So as you can see, and I recorded a student moment app. So I've got my audio waveform monitors on the left there. So for this interview, I recorded using the zoom H6 n, which I am using as an interface, and I also used a shotgun Mac. You can use the zoom as a audio recorder as well. So here's the row interview straight off the iPhone using the iPhone Audio. Hi, my name is established. I've been working in the fashion industry for 15 years as a creative pattern quartet and fashion designer. Now it sounds really good. I'm not doing anything other than normalize this. And here's the audio of the shotgun Mark. Hi, my name's Estelle. I've been working in the fashion industry for over 15 years as a creative patent quota and fashion designer. So both Sam, pretty good and both are really good quality for they are obviously, the shotgun mic sounds a little bit fuller because it's designed to do audio. As I said, I'm gonna do a separate tutorial on my key on what I use when I'm recording audio and visuals using the smart phone. So don't worry if you don't have additional audio equipment for your smart phone. I've come back to the original clip recorded using my iPhone microphone and have done a little bit of audio edited on it. And I think you'll agree. Sounds great. So what I've done is I've added a de-noise or to get rid of a little bit about his. And I've just played with the EQ. Hi, my name's Estelle. I'd been working in the fashion industry for 15 years as a creative pattern quartet and bashing designer.
22. IPhone 13 cinematic mode2: Hello everybody. In this video we're going to look at the iPhone 13 cinematic mode. So I've got cinematic mode on here and as you can see, it auto detects the face. If we slide OK, we can change the F value. So that is where Lenin and how blood the background is. I can also change the exposure, can make it brighter and modular. And as you can see, as I press record is following our dancer with facial recognition. So I she's moving, it's following her. So what this does is it replicates film quality, cinema film in, so it gives you that depth of fields up blurred background. You can also change this. Once you've finished, once you've already found your footage, you can we change the focus afterwards. So that's a really quick introduction to the cinematic mode on the iPhone 13 and the iPhone 13 Pro. If you haven't others cameras, please do get ferment and please do share your footage with the group. We'd look to know what you guys are working on and how you are finding the new updates.
23. Cinebloom : Hello everybody. In this session, we're going to look at diffuses. So what is a diffuser? Diffuser is a filter you can put over your camera lens and it diffuses the light so it gives you a very specific cinematic look. So I have one here. So if you just have a look at this, so this is a 10 percent Sunni blue and it's available from moment. So I've used moment lenses in this course. There are, of course there are other suppliers as well. And I also have a clip, so my diffuser clips in there, and that's any smart phone. So it doesn't matter what smartphone you have a covers the standard lens. So what I'm gonna do now is I'm going to do and a little bit of filming for you if different environments with live so you can see the effect that the Sydney bloom gives you. I personally really like this one. I'm making my films on my smartphone. I use the bloom filter load because it gives a really beautiful cinematic locally just diffusing skip those lies, little bit of a soft edge. Okay? And I'll show you some comparisons.
24. Sound revisited: When you're filming there or could the things that you want to think about with relation to sound. Now, if your budget allows it, I would always recommend that you get an external microphone or external Sam recorder, for example. So right now I'm recording this video of my iPhone, but I'm also using a external sound recorder to record my audio. So this one is a zoom Haidt accent. There are loads on the market. There are other different types of microphones you can use. For example, you could use a lapel microphone, which are the little microphones that stick to your shirt or your, your jumper, for example. You can also use some brackish shotgun microphone, which normally fit on the end of a camera or you'll see them if you've seen the films that they have a boom pole and they have the shotgun microphone on there. Please don't worry if you don't have any of those because actually smart phones today have really great microphones. And I'm gonna show you some tips and tricks and how you can get the best out of that. Anyway. So the theory when recording audio is really simple. Actually, the closer the microphone ETO subject, the better you're going to pick up the sound. Also, the more controlled your environment is, the data you're gonna pick up clean, usable audio, for example. And that is where an external microphone is to come into their own allele because they're designed just to be a microphone. Where's your phone? Is a camera. It does audio, it does emails. It even makes phone calls, for example. Again, please don't worry about it because we are going to look at creating audio just off your smartphone. Ideally, you want to work in a space where you can control the environment. The aim is to get the cleanest possible sound and make sure though, that you are not peaking, that's where your audio is too loud. We can't fix this. The other aspect of sound is to enhance the narrative, not just to capture the voice. Although this is the main focus when filming interviews. If you're making a short narrative film or a promo, you may want to think about labor nuclear your audio in post-production to save on fuel. Scrooge climbs a wooden stick to his bed chamber. Background. Audio is good at creating ambience. It draws the audience In, keeps us in the moment right there with the subject. The other relationship to your film and Sam is the score. This adds a dynamic and can be tracked from any audio issues. So if you haven't quite captured perfect or audio ad unit score and the NEA can take that away a little bit. If you're making a promotional film, such as a trailer or an adverb. Music is key as it adds to the overall feel of the film. With that sphere, as well as Afghanistan already doing this. And it's costly.
25. Editing log: Welcome to today session where we will be looking at log profiles on specifically editing log profiles on your iPhone. So I've got a film open on my device here now on. It's a behind the scenes of me with the camera on a dancer creating a dance film this year . So I shoot all of my work in log. This clip was actually shot on my iPhone, using the moment app on. We spoke about the moment up in an earlier session. Okay, so normally, when I'm working with lock footage, I'll go into an editing program such as Divinci Resolve, and I'm about to do a series of workshops editing with the event to resolve to. But for now, we're focusing on mobile devices, So I've hated this shot in log. Former. Normally, as I said, I'd going to and editing program on my computer on work through the log that way, but it's a really simple way you could do this on your iPhone or an iPad in the photos app . So I've opened the footage. All I'm gonna do is click edit, and that brings me up into the edit panel. So I'm just going to click this little button down here and that brings me a menu at the side. So first thing I'm going to do is just quickly auto button. So what this does is it cleverly calculates what it thinks the image should look like. It still looks a little bit flat to me. So I'm just gonna go through this and we're kind of a bit more so I just change the exposure of a little bit Peace. The highlights shadows increase the contrast and go back to my explosion. Just brighten it up a little bit. And then I'm just gonna go to my black point, drop down and I'm doing this by I, as you can see, So I'm just moving the slightest up and down until I get a look that I'm happy with. Make it little bit sharper there. Do you know? So I shot this a sun went down to It's quite dark, so it's quite no easy, so I'm just gonna reduce a little bit of that noise. I don't want to vignette it, so that's looking pretty good. It's looking less flat. So all I'm going there now click the pre installed templates and as you'll see on the right side, I've got a list of options. I'm just gonna scroll through them. I do like a dramatic black and white, but that's not why I'm looking for right now. So Ah, there we go. Wonderful. So you can see with the standard photos up on either your iPhone or your iPad. You can work with your log footage to create it Really vibrant. Guys, thank you so much for doing this lesson, and I'll see you at the next one.
26. Colour grade in the photos app: If you want a little bit more control when you're calibrating your footage, you can do this in the photos app. So let me select a piece of footage here. So this is from the dance film that we've been working on. And for this workshop, it doesn't really matter which could by Selects, I just select this one if I go to the Edit tab. So here in the top right corner and I get all of these functions at the right-hand side. So if I just click the little countdown timer, I can just my exposure there. I could put it on auto. There we go. I can look at my highlights and I'll do this super quick poll my shadows. But you can already see how powerful this is in changing the look and the contrast and the feel of your clips. So again, I'm not paying this any particular attention. I'm just going through it just to highlight what these do so you can see them. So that's if I make it really code, that's if I make it really warm. So we'll go for about 30, will go for the tint. There we go. Chakras will make it a little bit sharper there as you can see. Let's go to about 20. And a lot of this is by ISO. You'll do this by ISIL, get a look at different color palette. And it's really about creating a stylized look for yourself that you really like. So I've done that then. I can also go to the three circles which we recognize from iMovie and I can give it an overall looks or that is a combination of all of those individual parameters I've just set. I can also go to my crop here. And this is where I can change the size or the shape of my clip. So if I just click the little crop in the top right corner, you see 16 by nine, which is the standard HD screens. If you go to the cinema arts in 16 by 94 by 35 by three. So if I wanted to create something that was quite stylized, that was maybe square, I could do that here. If you look over to the left, I can go either portrayed like if I was post on social media or I can go landscape. I would recommend you would go landscape for these films that you're making right now. So my clip is already 16 by nine, so I'm not going to change that, so I just come out of that. So now my video is preparing, so I just speed this up now to speed that process up. That video is now prepared and that look is in there. But what happens if I've done the colour grade and I don't like it after I've edited it, that's not a problem. If I go back into edit, I can click revert in the top right corner and it will revert back to my original clip. So the clip when I originally brought it in to my photos app. So you want to do this before you go into iMovie. So give it a color grade before you go into iMovie for your edit.
27. Editing iPhone iMovie part 1: Okay, so let's look at editing your footage on an iPhone with iMovie. So open iMovie. And the first thing you're going to see is this welcome screen. Click, Create, New Project, and you'll be faced with this new window, movie or trailer. For now we're going to click movie. And what happens is it opens up all of your media. So what we're gonna do is we're going to click video and recently added, that will give you all of your recently added videos here. So here is some footage I've shot of a dance from which we are going to use for this workshop. So to select it, I just click it and I get the yellow bars around the edge. What I can do is I can play them in media play before I import them into iMovie so I can check that it's the right clip that I want to import. I can also scroll with my finger. And if I get to the edge of the clip, I can shorten the clip to just a little bit the i1. So from here, all I'm going to do is I'm going to click the tick mark bomb, just double checking. It's the right length and the right clip, the i1. So that all looks good. Okay, so what I'm gonna do now is I click the Check button. Now, I didn't click the checkbox. I clicked off it. That's taken me to iMovie with no footage in. But that is not a problem because it's really simple to import footage back into. I move it as long as it is in my photos library. So whilst we're here though, let's just have a quick look at what we've got. If I click the question mark icon, that brings up a list of information to help me navigate around iMovie. Okay, let's click the plus icon and an impulse our footage. Once I've clicked it, I get this interface pop-up. So we know about moments, videos, photos, and albums. But if I slide down, you'll notice I can film direct with a camera or if I have iCloud, I can use files for now I'll click video recently added and I'm just gonna re-select my clip and click the plus icon. And that's going to bring it down to my timeline. So you'll notice this white line. That's my scroller. So wherever that is is on my play head is playing that part of the video clip. So if I scroll backwards and I'm just scrolling with my finger, so I go one way or the other way. So I'm going to import some more footage here. Let me slide down and select some footage. There we go. There's my previous firm to get a program is holding my finger onto the clip, preview pops-up or equally, I could click the Play button. So I'm just going to look at that again because the starts a little bit shaky. So let me trim that out. And I wanted just as the dancer enters the screen, there we go out. Looks really good. I think what I'm going to do is import most of this footage because he might use similes later on. So let's have a look there. And I've unselected that. Let me just scroll over backwards then. And I'll do this quite quick because I want to show you an overview of how you do this. Now you will notice that this clip has been inputted before the last clip. So it's at the front of it is because my play head was was before that clip. So that means wherever your play head is, is where your footage will be imported. If you important clip in the wrong place, it's not a problem. Hold your finger on the clip and you can just move it to the correct position. Once I select the clip, you'll notice I get the yellow square around there and I can readjust my clip. So if I bring in too much, I can readjust that. You'll also notice that the bottom lots of icons pop up. Don't worry about those for now because we're gonna talk about those in a minute. What happens when I bring two clips in is it instantly gives me a dissolve transition. So if I just click the transition, I can with my finger, I get this sub-menu so I don't want to transition. I want just straight cook. So I'm gonna select straight cook. And then that will bring about. If I select the gear icon, I get this project settings. I don't want you to worry about the top two. Yeah, I'm gonna do a separate video about those. What I'd like you to do is to look at the fade in from black and the fade out to black tabs. And we're going to select those there. So we're just going to touch them with our finger and turn those on. And I'm gonna click done. What that has done as that has given me a fade in and fade out on the first clip and the last clip. So in this instance, I only have two clips in. So it's only put onto clips. If I add a clip in the middle of these two, that fade out will always stay with the first and the last clip. So that's really useful to know. So when you start in and ended up film, it tells your audience they started and this ended. Okay, so let's keep working with our editing process. I'm going to import some more footage here. Let me just select the footage. I'm just scrolling through. And you'll notice some of my footage has a yellow line underneath that tells me that that footage has been used. So I'm gonna bring in between the two. And again, you'll notice it's given me a dissolve transition by default. Just have clip. Now I don't think this clip is quite right for the kind of feel I want with my film. So I'm going to select it and notice the icons underneath. I'm going to select the little scissors, which is a cooked icon. And I'm going to delete this clip, I think, but whilst we here, let me talk about the other. So that's a circle with a line in the middle. That is your speed. So adjust your speech so you can make it quicker or slower. The one next that, that looks like microphone, that is your sound so you can make your clip louder. Or silane, the one next that is text and titles and we'll look at that in a separate video. And the one next to that, the three circles is your color grade. And again, we're going to look at that later on, so don't worry about that yet and they're moving across. You have split, detach, duplicate, and delete, and they're quite self-explanatory. Okay, so let's move on. Let's import some more footage in a moment. And I'll keep the editing process. So I'm going to speed this video up now because you have to import footage and you know how to place it along the timeline where you want it. So all I'm doing here is I'm just selecting clips to put into my timeline ready to create my dance film. Again, obviously I've speeded this because you know how this process works now you don't need to watch me do it on all my clips. Great. So I started to build up a rough timeline of what I think my dance film is going to be. Great. So that is a really quick roof first draft edit of my dance film in iMovie on the iPhone. So let me just have a quick check to make sure some of these clips are working in the order. I've got them. And again, as I mentioned previously, if I hold my finger on the clip, I can move that to a different position in the timeline. And I can see if I like it there, I can move it around and, and readjust all those clips. So I still got full functionality, even though I've put all of my clips in the timeline. So all I'm doing now is I'm going through doing a little bit of refining, making sure that I'm happy with the flow and I am happy with the transitions, etcetera. Ok, so in the next session, we're going to move this edit on and we're going to start looking at how we can upgrade our clips, how we add audio, how we add titles to finish off our dense foam ready so we can export it.
28. Editing in iMovie Adding Audio: We're going to look at how you add audio to your iMovie timeline when you're creating your film. So I click the plus icon and I'm gonna go to my audio tab here. So the first thing I noticed is soundtracks. So I can click that and I can add a soundtrack base already pre-built into iMovie for you. So I just click that download and you'll get a little blue circle. The next thing is I can use my music, so I go into my music and I've got all of my iTunes open there. Please be aware if you're going to use somebody else's music, you have to have permission to do so. So you have to use copyright or royalty-free music. I actually have my music in a different location. So I'm gonna go to files, which is where I've put my music. So I've downloaded this of a relative free music site. So I'm just going to put that in there. And I move it does is it instantly makes your audio the same length of time as your video file. So in this case, I dance film and our timeline. So it creates the beginning of the beginning and it goes all the way to the end and it fades in and fades out for you. So you don't have to do any of that work. Of course, if I click it, I get full functionality like I would any normal clip so I can edit that. I actually don't want that file, so I'm gonna select another file. And again, it's just going to replace it for me. So iMovie does all the work for you. So I'm just gonna watch this back and check. So what I like to do every stage of my Edit, whether it be Version one like we did in the last session or adding the audio like we're doing in this session. I'd like to make sure everything looks like it fit. So make sure that the audio is actually the same length as the visuals. And then what I'm gonna do is I'm going to click Done in a moment. And I'm going to just watch this in full screen. So I know and I can check and I can constantly see everything is working. So I've just clicked on and you'll notice I get my screen here so I can change the title of my film if I want to. I've called it my dance film for the sake of this tutorial, but you call it whatever you want. If I click the play button on the big image, what I will get is a full screen preview of the dance film that I'm currently edited. So I get all of that playback functionality. Let's have a quick watch of the roof caught. And then we can, in the next session look at how we develop that. Okay.
29. Adding colour effects in iMovie iPhone: Let's look at how we add effects to our editing timeline. So this is our version, one of our dance film with our audio edited. So we're going to press the gear icon on the right. And if you look Project filter, there's lots of different looks that you can add to your film. Quick word of caution. When you add these effects, it will add it to the entire timeline. So let's click black and white and have a look. So that's made that clip back on wine, but it's equally, it's made every clip by combined on that timeline. That's fine. If you want all of your clips to have the same color or creative effect, let's have a look at some different ones. So if I just slide across her, dream is so Dreaming is me. Really nice, faded effect at the edge. And again, that might be fine if you want to all on your film, just have a look at couple of more and you can go through these in your own time. So Inc. I quite like ink, gives you a really interesting effect. Almost like it's an animation or a cartoon. And again, that's a really great effect if you want to add this to your film now because I shot this in the dark, it creates a really interesting charcoal style affects. So let's just go have a comic. And again, because there's lots of black in this, that's giving me pinky, purpley color, which actually I quite like. But I don't want to own all of my film, so I'm gonna go back to non. So let's try if we select one clip. So let's select this clip and go to our project settings. And let's just select one of these up here. And let's apply it to that clip. Again, it's applied to all of the clip. So how can we apply it to an individual clip? Let's work on that now. So if I select my clip it at the bottom, I go to my little three color wheels, and I select my ink here. And if you'll notice I've got a line that says a 100 at the end. If I bring that down, that will lessen the effects are that affect currently is at 100% on that clip. So let's just have a quick look at that. So there's the clip without the effect on. So that's playing through. And we're going into our transition now, as you can see by the play head. So weak transitions into that effect, No, I think that's quite hard. It's a very harsh effect when I filmed this in the dark, you don't really get a sense of what's going on here. So if I just click that and where it says 100 or my image, if I just slide that down to about 35, you'll notice what it does. It creates a really interesting effect around the dancer's body. I really like that. So I'm going to add that to a couple of clips. That's a really good effect to highlight movement. You could even go a little bit subtler than what I've just done. So let me just pull it into the clip from that stock and I'm going to click Mano this time and I'm going to bring that down. So again, a slightly different effect, but you can see what happens when you mix the effect and your clip. So that's how you can add creative effects to the whole of your timeline or to individual clips.
30. Creative transitions iMovie iPhone: Let's look at creative transitions in iMovie. So I have my dance from here, which is again a rough draft with a couple of creative color effects on it. So I'd like to do is add two more creative effects. I'm going to open some footage here by pressing the plus icon. Just trim that down a little bit just for the sake of this tutorial. That's great. I'm going to click the three dots and I get these options here. So I'm just gonna click cutaway first. So you'll notice that that has gone above the clip where my play head wall. So I'm just going to trim out so we can see it. So let's just play and see what happens. So we go to the next clip, and that clip has gone on top of it. So it's cutaway to that clip. So if you have two clips and you want to cook from one clip to the other, that's the technique you would use. And again, it will go where the playhead is with the play head is at one clip. It will go above it. So let's try a different clips. So again, I'll just trim it for the sake of this tutorial. And I press the three dots and I'm gonna click picture in picture. So that puts that on top there. And all that does is it puts a video inside of a video and it gives you a white box by default. So let's have a look here. So I've selected a clip by pressing it. And I can pinch to zoom in so I can go in. I can relocate where I want my books. I could go off the screen or I could go down in the bottom corner or in the top corner wherever I wanted it released. Let me have a look there. So I've got my white box. If I click the little box icon, my white box will disappear. So I can have a picture in picture down at the bottom. If I click the split-screen option, have a look how the image changes here. So I'm down at the bottom. I've clicked my three circles, split screen instantly. I get two screens within my viewer right there. So this is great if you want to do split-screen film in. So you could, for example, do a duet with yourself. So you have part of your Karg journalist side of the screen pad, your choreographer and the right. You could also do it the opposite way. So you can go vertical and horizontal in the way you split screen and you can have a white border line there or you can not have a whiteboard line. It's really up to you in terms of how you want to present this and how you want this to look. So I can do all of that from within the actual timeline, but I can only do it if I haven't already imported. So let me bring another clip in and I'm going to click glean blue screens so you can see what this feature does. So I've clicked that now because this clip wasn't shot with a green or blue screen in the background. It's asking me to tap a code to make it transparent. So if I just tap the yellow here, for example, so I've tapped out so that it's transparent. So the clip below is playing underneath my top clip, but because I've only got the lie that's transparent, you can't really see what's going on here. So if you have a green screen or a blue screen, or a green or a blue wall at home. You could film your choreography on that. And you could then super-imposed yourself on your dancer. So even if I play with the strength, it doesn't really affect because it's such a small window. So let's get rid of this clip and let's bring a clip I've already got from another series of workshops I'm running that is around doing screen. So here's a clip. Let me just bring that in. Great. And we'll just pop by in green-blue screen and look what happens instantly. It's their iMovie is figured out this got green there and it's instantly put my clip behind Back clip on top. Now, obviously, you wouldn't put a toy car in the background when you do this. But this clip just shows you how to use the green and blue screen feature. So if you filled your choreography against a portable green screen or against a blue war, for example. You can still use this technique when you're creating your dance film. It creates lots of really interesting possibilities for having yourself as the dancer on stage, dancing with yourself on screen, for example. So that's how you can use the creative transitions within iMovie on a smart phone.
31. Green Screen in iMovie: in today's lesson. We are going to work with green screen editing all from I move it on the iPhone. So this is the clip we're going to use, which is a toy car against a green background. I've using a portable green screen, but you could use green curtains or a blue screen or even a white background. To be honest, let's open I movie and create a new movie. So what you're going to want to do is put your background clip in first. So that's the clip you're going to replace the green with. So I've got one here. So I've gone here, and I'm just going to give this a little bit of a look. Let's see what the stock looks are in my movie, so they're all pretty nice, but I think I'm gonna go with the black and white one. Now I know my clip. My green screen clip is 14 seconds, so I'm just going to trim this 2 14 seconds. Great. And put the play had at the beginning. Okay, so what? I'm going to turn as I import my green screen clip, so I just select the clip there on I click the three dots on select green blue screen that drags it on top and instantly I move. It does this for me, so I have no work left to do. Instant replaces the green elements with the footage on. There you go, instant green screen.
32. Editing iMovie in iPad: Welcome to this session where we will be looking at editing using I movie. Now in this session, I'm going to be using I moved on the iPad. That's just because I personally prefer the bigger screen. I have been a tutorial using I'm moving on the iPhone as well, so check that out. Basically, it's very similar. The interface is very similar. Something's inside a different places, but all the same functionality is there. So it shouldn't make a difference whether you read it off the iPhone or the iPad. Okay, lets thought I open up a new project. The first thing I want to show you is the trailer feature. I'm not going to be editing the church there, but let's have a look. So when you open the trailer, you get all of this stock animation here, so I could literally click one of thes. So let's say I click India, for example, and that gives me a preset to work with. So I get an opening. I get some animation and titles on I get some footage that I can replace with my own. Okay, let me just come out of this because I said we're not going to use this today, so I'm going to start a new project. I'm going to click movie and I want to show you how I movie deals with media. So I'm just going to click two clips. Now look at the order in which I click them on as I opened the eye movie project A import the clips in the order in which I selected them So you might recognize this footage from my green screen tutorial and it gives me a default transition there, which is a cross dissolve. Now, I don't want this clip, so I'm just going to delete them. I could just import new video, but I'm going to close this down on start a new project. Okay, so we click New project, we click. Moving on. I'm just going to select one clip to import for now. So I just select this clip here. Andi, that is imported into my timeline, and I movie is ready to start editing. Let's have a quick look at the interface here to see what we've got. Okay, so if I click the question mark in the top right corner, this gives me all the information within the project. If I click the gear icon right next to the question mark, let's see what this brings up. So this is a list of templates that I have so I can select one of these color palettes here on it will affect the entire project. Below that, I've got a theme. So if I select one of these themes that again will affect the entire project, for example, if I click Neon, that will give me the neon templates within my editing timeline below the I've also got theme soundtrack fading from black and fade out from black. I like to select these because that gives me a nice fade at the start and the end of my timeline. Okay, so what else do we have here? The plus icon next to the gear icon is where I access all of my media. So that's my photos and my videos and my audio below that I have show or hide audio wave form. This is great. When I have a clip selected on, I want to see the audio away form next that I have my undo button. And if we jump over to the left side I've got my record video. I'm photo so I can record directly into I movie next that I've got record audio on. I'm actually recording the audio for this tutorial inside of my movie right now, and if we just look above that, we've got done. So that means I got back to my save. Paige and I have more options in terms of saving my media at the very bottom. We have learned more. If I click that, that gives me a little bit more information about the timeline, right? I think it's time to import some media on get started with this edit. So I clicked. The plus icon on that's given me a list of options of where I can find my media. So I'm just going to select these Andi, I've selected video and I've gone to my iCloud drive. So what's great about the latest version of I movie and irises I can select from my eye club as well as things that are already on my iPod? I am working off the newer iPod, so I have a USB connector so I can select from a hard drive that I have plugged in and That's where I am right now, so I'm finding my footage on this hard drive. So I'm just going to look down. You can see that my foul name assistance say's moment. That's because I shot this footage on the anamorphic moment lens, which I've discussed in a previous session. Right, let's find some footage. Okay, I'm looking iPhone for Teach and went back to the moment. There we go. So copying that media and it's bringing it in. So I've got a cook of options. If I click more, I can cut away put picture in picture, split screen, green screen, which we know about, or I can import the audio only on this occasion. I'm just going to import more footage. I'm not gonna worry about the cutaways yet. And as you see how I move, it gives me a default transition between the two. So right there, I've got a cross dissolve now. I might not necessarily want that, and actually, I don't want that. Let's have a quick look. There we go across dissolve. So if I want to change that crosses over right there. All I need to do is select it on. I get a list of options below so I can select non. I also have a specific star, which directly relates to the theme I selected earlier. I'm going to select non fun outside. Just cuts the two clips together. I'm just going to select this star so you can see what this does. It's given me the default transition for that theme. There's one more time there we go. And that's quite quick, so I can change the speed of that. If you notice no 0.5 seconds is highlighted now it's one second, 1.5 seconds, for example. So I've gone back to having no transition, cause I like quite sharp cuts. When I'm editing, remember, this footage is in log. I've not graded this footage yet, but I do have another session on grading log footage inside of the photos up on. I'm just selecting more footage to bring into our editing timeline. Now notice this footage has been brought in where the play head was. That's the white line all the way down the middle of the timeline. So wherever that is, that is where the footage will be placed, too, if you want it at the end you need to have at the end, okay. I'm happy with where that sits on. You'll notice that fade to black has gone on the ended. The eclipse of the more clips I add that fade will go on the end and I just copping more media into the timeline day. We dio Okay, so Thistle is obviously a rough edit, but it's looking pretty good in terms of what we've got. Let's just play that back on that camera movements a little bit shaky there, so I'm just going to trim this clip to suit. So all I do is I select the clip on. I just pull the edges to where I want it to be. So that's how easy it is just to change the length of a clip on. We jump to the next one. I just play this and I think we'll stop it somewhere around here and again. Same process selected clip tracked the handles across to where I want it. Yep, that's looking pretty good. Change my transition type on. We've got this chap walking. Just trim the beginning of that. Now, this is quite a long clip. So what? I think I'm going to do is I think I'm going to cook this up and have sort of a jump effect . Have you seen in films Way you're following the person as they travel somewhere and the clip cooks between steps, so it makes it a little bit quicker. But you also get the sense that that person still traveling somewhere I'm going to correct the little scissor icon, which gives me a cooked. And I just go to the next part that I want to cook. Andi, select the scissor and split on. There we go, and I'm just going to get rid of that. So I've got the sense of time passing as this person walks. There we go on. We'll cut again there so you can see how simple it is to cook clips all directly on the timeline, using the little split icon at the bottom. Just get rid of that one because we don't need that one for the effect and we see the line we see the person on. We're just gonna cook that on. Let's get rid of that clip. So we've got a little bit more of a jump, then it goes up okay, so really rough edit. But it's looking interesting, and I'm like in the way that that's going whilst we're here, Let's have a look. A some of the other functionality when we import clips. If I open my media on our select, this green screen car clip, actually, which you would have seen previously in this session on If I just select that clip there, it will give me some options. So the places where I imported if I click the playbook and I can play that clip inside of the browser, then I couldn't three little dots and I get these options. So let's have a look. I've just clicked. That's where I want to put the clip. So I've gone back to the clip and I click Cut away. Look what happens. It places that clip on the top. If I play this, it cooks away to that clip, so it overrides the clip that is underneath it. Let me get rid of that and show you a different one. Let's have a look. A picture in picture again. It goes on top. Just trim that there on that literally places the clip inside of the clip below it, so it has a picture inside of the picture. Just get rid of that. Let's try one of the other ones. So split screen. So again, place it on top on. We'll just play this on. That gives me a split screen effects, so I have two films side by side. This also works for pictures as well. Now this is interesting. If I select the clip once it's in the timeline, I also get the options to change the value so I could change that back to picture and picture if I wanted to without having to Dele and go straight back in with media. But I'm going to get rid of that because I just use that to show you the effect. Green skinned blue screen. We know what that is because we've used it in a previous session on I can also import audio , but I just do a green screen blues going so I can show you again. What's really great about my movie is it does the work for me, So if I play this, it puts the clip below where the green screen would be. Okay, so I've got my very basic timeline at the moment. Andi, I've selected my theme, so I'm just going to look at potential project filters, so that's quite interesting. So I'm just going to put black and white filter on there. There's checking what other ones were available. Yep, that's fine. So I'm going to also look at the ones underneath. So the filters on the knee and you could see how they're affecting the individual clip wears a black and white filter affects all of them. The filters on the clip itself, cause it selected only affects the individual clip. Let's have a look again. This isn't graded footage, so it looks a little bit washed out. Normally, I would grade this before I went into edit in using a photos app. So I'm just checking the theme templates and the theme felt filters again. Great. OK, so I think it's probably time we had a title to this so below you could see lots of examples that I move. It has already built in. My thing is, have a look at that. Yes, I'll choose this one, and I'll just call this BTS film shoe BTS, Of course, standing for behind the scenes great so that's now attached itself to the first clip, and that's looking pretty good. I'm just gonna take the sound of each individual clip because we don't want the background sound for this. Okay, just checking. That's all gone. Excellent. So now I'm going to add some audio. So I go back to my media tap on their We have audio. So we have soundtracks, my music on sound effects. So if I click soundtracks there, lots of stock sound already available for me to use the ones with the blue dust I knew sounds. So this gets updated quite regularly. So I just download this here and we'll just select some music to go into our timeline to accompany our film. Okay, I didn't collect the plus button there, So let's go back to our sound effects on Let's have a look for some music, so I'm going to select Evergreen and I click. The plus put in. Their work on that instantly fits that track to the length of my film. That's pretty cool. So there's no more work needed by me to trim the audio. It's instantly and automatically done it for me, so I just saved that. Let me come out there and just name my project. BTS film Shoot and let's have a watch and preview it. There's a couple of clips and they have it. One film complete on exported to my photos. Labrie Guys, thank you so much for coming with me on this session on. I look forward to seeing you in the next one.
33. Editing in Premier Pro Rush: In this session we are going to edit with Adobe Premier progress. So the first thing I'm gonna do is add my media. I'm down at the bottom here. And again, like all the other ones, I can add media or I can recommitted direction. I'm just going to set my preferences. And again, what I get here is I get a little menu where I can help, I can learn or I can report to book, which is really useful to give real-time feedback when you're editing in the app. Or I should say, is Adobe Premier Pro, is a free app which offers limited functionality. Should choose. You want to get 3x books. It is part of Adobe Creative Cloud, which you've paid for. I've just come to my subscription because I now run, because I now use divinity result, which I do have a course on that in this program as well. Okay, so all I'm doing is I'm important media and I selected one to six. And you'll notice that that media is imported in the older that I've selected it. So click one is number one, clip to he's number two, and so on and so forth. Okay, let's just have a quick look at these. Great. And these clips were in no particular order. They just clips I've got on my iPhone. Okay. Let's have a look at the menu system at the bottom then. So the first thing we're gonna do is if we want to export our film, we can click the expo and we get lots of different export options. Obviously, I don't want to Xbox, I'm not doing any editing it. I still have my report book function at the top right corner there. But again, we're not going to use that for now. Okay, so let's dive in to the bottom. So at the bottom, I can capture, I can add graphics, I can add immediate R. I can do a voiceover. Again, really useful when I'm working on my mobile device. So the first thing we're going to do is we're going to look at in some titles. So this is taking a little while to load up. And, but as you can see, there's an array of titles and Adobe Premier progress just have some of the best titles in a mobile editing app that I found. There is a catch with bees again, because it's a paid plan, is going to ask you to subscribe monthly. There are a couple of transitions that you get for free and a couple of titles which we're going to look at in a moment. And they're usually the first two or three in the category. So I'm just going to add a title there. Now, as you can see, it's quite buggy times because that's not added anything for me there. So we'll just try that again. So we'll go down here and we'll click one of these overlays here. Let's have a look. And again, nothing's happened. So let's have another deeper look into this program. So let's go back to our project assets. And that shows me all of the assets, the in. So I can look at video and audio only, etc. etc.. Again, really useful so I can catalog everything the i1 inside of my project. Okay, let's move on so I can change the aspect ratio. Boss, I'm editing, which is really cool. So if I wanted to publish this to Instagram stories for example, I could use that setting. The, okay, so I'm just going to look at some. Transitions. So if I click this fade to black, you'll notice at the start to my clip a starts with black and it fade in slot automatically adds up for me. So what else do we have done? So we have our transitions, we have our motion settings there. And let's keep looking through. We'll just keeps going through these clips. Well, I can't do it cause I've got my clip selected. I have a set of pre stock color palettes that I can use. So I'm just going to click this one for now, which is Kodak. And I can play with the exposure and I can play with the contrast and the highlights and the shadows. So I've got some pretty I'm font color grading techniques available to me in this mobile app, which again is really useful. I can make my screen bigger by two-finger pinch and I can pull across and make my clip wide it. So again, I've got more real estate space to work with when I'm editing, et cetera. What's really great about Adobe Premier Pro rush is I also have separate tracks on my video, on my audio. And I can stack layer, so I can put one video track on another video track. And the same with audio, which can help make it become a little bit more of a complex editing environment, much more complex than something like iMovie for example. Again, so I'm just going to click this title here. And let's just have look. There we go. Okay, so again, a is a little bit temperamental sometimes when it decides it wants to add or not add a title. So I can also move clips around soccer, put this clip on top, and again, it's a lace isn't 60 clip is on top. It will override the clip that is underneath. And I can mute tracks. I can move audio at commute the video. I can lock a track, which means that I can't make any edits by mistake too that check for example. Okay, and again, these are just random clips in no particular order visit just tracks the I've I've just taken off my phone. So let's just have a track on the name. Again, I can play with the position so I can move these around. I can play with the height. I can crop it, which is really useful if I want to do a picture in picture mode. So I select the clip that I want to crop and I just drag the slider across. And as you can see, two clips become side-by-side. Just drag another clip across there and just play with this. So as you can see. So if I have one clip on top which is cropped, the clips underneath will still appear depending on which side of the crop I've got visible, for example. And again, I can just play with those settings and just make this a little bit bigger there. And as you see, as I'm scrolling through the eclipse, that plane at the same time. So there's not a lot of luck in this program, which is really, really good, especially from a mobile version. And again, I'm not gonna go into everything because if you have this, then you can go into all the features yourself is pretty similar to all the other, pretty similar to iMovie. Although I think Premiere Pro is a probably a little bit more advanced in terms of the interface and the stock footage that you get. An I can add a fade to black on the, on the end of my clip as well. Again, really useful and really simple when I wanna make cricket is I can add a fade in. And again, I'm not gonna go through every one of these. I can let you play with these yourself. And so you get used to it. Because again, you might prefer dispersion to iMovie, for example, when show up when you're editing your films. As you can see at the bottom, I can play with the color. I can play with effects, I can play with speed, I can play with graphics. And it's a really interesting program. I must admit exporting is very similar to the rivers guys. Thank you for today's session. Here's a quick recap and I'll see you in the next one.
34. Editing in Splice: Hello everybody. So you've created all of your footage for your film and you're ready to start editing it. In this session, we're going to look at the editing software splice. Splice is available for iPhone and Android. So whether you have a Samsung or a Google or an iPhone, doesn't matter. This software works on all of them. I edit often. Iphone. All of the options are exactly the same place, no matter what phone you're using. Just a quick word of caution on the iPhone. This is a paid app. So I downloaded the free trial, so I haven't had to pay for it. So everything I've done is on the free version. Just make sure that if it's not your phone or you don't pay the bill, just to get permission before you do download the app. And make sure that when, once you download it and you start adding music, that you have permission to use the music. So make sure that it's royalty-free or you got permission from whoever's made the music. Okay, let's dive in to splice, and let's start editing our dance film. So let's look at the Splice app. So I've opened up the app here. And if I scroll down, you can see I've got lots of sample projects that I could look at to get an understanding of how these projects work. But what I'm gonna do is I'm gonna dive straight in. So I'm going to click New Project and that brings my media page up. So what you'll notice is a My Media page. If I click one and then I click next, it will take me to a new project. So I'm going to rename my project dance film for the purposes of this tutorial. And below that, I can animate photos. If I bring photos in that will animate them. So I'm going to select that. And below that, if you can notice aspect ratio, that is all the different aspect ratios, I can set my project. So by default, it's 16.9 landscape, which I'm going to keep for now because that's what my foot is shouting. And I click Create, Project, and then it opens up the interface. Let's have a quick look round this interface so we can get an understanding of what's going on. So at the very top, I've got a question mark. I've got an export feature and I've got an x. What that does is that takes me out of the project spillover. I've got my viewer. This is where my footage will play. Below that I have my timeline. And below the timeline, I have a list of options that were helped me during my editing process. Now don't worry, we're gonna go through each of these as we go through this tutorial. Okay, so we know we've imported one piece of footage because I only selected one footage in my media been. So let's have a look at this footage and let's start building elements. If I click Play, you'll notice it plays the footage and that corresponds with the timeline and the viewer. If I click play in the view, it just makes that full screen so I can see what's going up there. Okay, so let's go below the viewer and look at the timeline and the options within the timeline. So say I want to change the aspect ratio. If I click the gear icon, the aspect ratio comes up. So I can change that to Instagram for example. Or there are lots of other options. I'm gonna stick to 16.9 because I'm delivering this is at downstream, so I just click the gear icon and it goes off. If I click the question mark in the top corner, it will bring up a short cooks menu, but it also will bring up several inbuilt tutorials. So these will show me anything that I get stuck on. There is no audio with these, so you kind of have to be a little bit intuitive and figuring out what is really cool though is down at the bottom, if I click one of them like crop transform mass for example, it will give me a shortcut tutorial that effect. So that's really interesting is if you get stuck, that's always there. Let's carry on with this tutorial and let's start editing our dance film. Okay, so the next thing we're going to look at is the timeline itself. So scroll across your yellow line is your play head. So as the clip plays through, that line, will show you exactly the point that he sat. If I click it, you'll notice two yellow lines go into the viewer that tells me that that clip is selected. So I'm gonna use two fingers and drag them closer together to shorten that clip so I can see. And I just take my finger on the edge and I just scroll across to the right and that shortens the clip. Let me go to the other side and do the same thing. There we go. So drag the end and district that clip in and in real time you'll see where that clip is playing. So I'm going to take it to about there. So let me grab the end again and just pull this in. So here we go. And I'm just dragging me in and I want my clip to end to start there and to end roughly in that position. But I am just watching it through and I think I might change where this clip m, So as a branch here that clips the screen X and that's where I'm gonna get my clipped ends. I'm just going to drag that and find the perfect point. And there we go, that's my cut points. So that clip has now changed in duration. Okay, let's move on. Let's import some more media. So all I'm going to do here is click the Media button in the bottom left corner. And that brings all of my footage of now, I'm in recent, so that's bringing a lot of footage up. But what I'm gonna do to select an eclipse, bring that in and that clip is automatically added to the timeline and its stitch that together. So it's put the two clips together and it's created a default transition. Now if I want to change it, transition, I click it and I get another set of options at the beginning and different effects. So I just click the effect in the bottom that I want. So I'll click through some of these here so you can see them. So that's the zoom atlases zoom in and out. Let's have it. This is a splice 11. So you can go through all these yourself and you can see what works for you. So let me just play that. Actually I'm gonna go back and I'm going to click no transition because I like really sharp cuts and I like my footage to click from one to the other. But before I do that, let me have a quick look so you guys can see all the options that are available to you. Now if I went through every option, This tutorial will be about an hour long. So I'm not gonna do that. I'm going to let you guys go through and explore those options. I'm just gonna click. Non. There we go. So it is a straight cup. So I go through the same process with this clip. I watched a clip and I find the endpoints. So that's the start of my clip, and I find the end point. So that's the end of my clip. And I start stitching my dance film together. So I'm just watching the clip and he's gonna disappear in a moment. And there we go. And that feels like a good point to cook. So I'm just gonna go back to that clip and let me double check. So he's there and he's gone. And that's the end of my clip. Excellent. So all that is left to do is to start adding more clips. So I go to the media and I'm going to select another clip to bring him. In fact, I'm going to select several clips to bring him to speed this process up. So they're in my timeline bed. And again, depending on the order in which I have selected them, depends on the order in which they're brought into my timeline. That's not a problem because I can remove them by just tapping the clip and dragging it across to the left or the right. But I'm gonna go through this process now and just start editing these clips. I'm going to trim the beginning and trim the end until we get a very rough version of a dance film. Excellent. So I'm just going to speed this process up a little bit because you know how to trim your clips and bring them in now. So I've created my first draft, my rough cut of my dance film, and I'm just going to put it in full screen and watch it back to make sure I'm happy with where the Tsar and where the transitions are. Now you will notice because I'm editing this on my phone. It's editing in portrait mode. It's not editing in landscape mode, so that's something to be aware of. When you're editing the splice doesn't have a landscape mode. Ok, I'm happy with that as a first draft. So let's move on to the next part of this session. Let's move on to the next part of our session where we will be adding titles. Let's look at adding some titles into our timeline for our film. So down at the bottom we select text. And you'll notice double-tap to edit comes up. So if I double tap, I can add my texts. I am just going to put a title in here. And already it's giving me a really fancy title with the yellow box so I can just change the length of that. So I'm just going to make that a little bit smaller. Yep, I don't want to change a tad. Somebody go back. If I click the title, I get the option to delete. I go down to the bottom click Text, I can change the font color, so I'm just looking down here, narratives to color. I can change the font, I can realign, I can change the background. So there's really a lot of options you can do when you're creating a title or adding text to your dance film. So I'm just scrolling through now and I'm going to find a title. I quite like the assumption. I'm going to keep that. Let's just have a play with the background. Well, I don't want to cover it in the background actually. So I'm going to have that as transparent. I'm going to align it. So for me I'm gonna keep it in the center. I can add it to a mask there so I can take that away and changed my mass was circle mask or align mask for example. And again, I'll let you guys have a play with that. I could change the capacity by clicking the capacity. And over to the right of the pastel, you'll notice it says fade. So if I click those, that will give me a fade in and fade out. So let's just have a look at that. So click and that's my fade in and fade out is done. Excellent. So there we go. We have a fade in and my title and a fade out once a title ends. So I can make this a shorter, as long as I want to. But again, I'm going to leave it there. You can also do this to the end of your clip as well when you're adding credits. So that's how you add titles in spice. Okay, so you have a dense foam and now it's time to start looking at creative effects and coloring. So I'm going to select a clip and I'm gonna get down to my filters tab here. And I'm just going to select some of them. And again, you'll notice a little blue bar comes up where I can change the opacity. So that means I can change the strength of that effect. So I'm just gonna go through a couple of days and just have a look at some different effects so you can see what they do. Obviously, when you start doing this your film, you want to kind of pick a colon, an effect that really represents the style of the film that you are making. So for me, for example, I might want to make something quite dark or quite saturated color because I film this night. So again, looking at the bottom, I've got all of these options so I can play with the contrast, the exposure, the color. Once I've done that, I can add effects. So you'll notice the effect goes above my clip. So looking at this, I'm just playing with different effects of vintage plasma. We've got, we've got LA, we've got glitchy. I can extend these effects if I want to. I actually really like that. It looks like an old TV. When you're exploring and experimenting with these effects, find something that really works for you. Creating a good effect at a really unique quality to your dance film. But be warned, if you overdo it, it will lessen the impacts. Or you might want to look at certain effects on certain clips to emphasize dance movement. For example, if it's a dance film that you are making. Okay, let's keep looking at a few different effects. Moving across. I really like this one. If I, if I make a mistake, I can select the clip and I get some options are perfect to delete. So I can just delete that clip and it doesn't affect the clip underneath because remember, this is going above that clip. So that is how you call it a clip and you as an effect, just a quick note when you're covering your clips, select the clip or select all of the eclipse to add your effect. Fantastic. Ok, enjoy chlorine and Alan effects to your film. And I'll see you in the next part. Let's add some audio to our film. So down at the bottom we're going to click music. And that will bring up a new menu. So firstly, you'll notice I'm on an iPhone so I can import from iTunes. I can import music, or I can select the mood and genres. So if I click my important music, I can select from my iCloud, which is in my reason. So I can select this and it'll download, and that will then appear in my project file. But for now, let's just cancel this and let's look at other options. So I can import from Atreus would be said, I can slide down and get a list, a royalty-free music direct from spice I can use in my edited film. So let's have a look. I'm gonna pick inspiring. I'm not gonna spend too much time looking at these. I'm just going to click on and at the end. So that will take some time to download and that will instantly add that into my project. So you'll see it's added it where my play head is, where that yellow line is. I'm just gonna drag that across to the beginning. And I'll go right to the end and I'll drag that across to the end and you'll see my dance film now has music applied to it. Again. I can delete this if it's the wrong music or if I don't quite like the way it looked, obviously when new important music into your project, you will spend a little bit more time than I have listened to it and make sure it's the right vibe and the right feel. So what happens if I decide that I don't like my music? So I'm just playing it through now and I don't quite feel it has the same feeling as my content or it doesn't quite work. So if I select the track there, what I can do now is deleted, so I can delete that track, go back to my music feature. After I put my playhead at the beginning, scroll through all of the options and I can see in each section how many been there. So I'm going to pick a jazzy track. We'll just pick this one again. For the purpose of this tutorial, I'm just going to pick it and import that straight into the file. You again will take much more time looking and listening. So there's my music is fitted. So let's just have a quick play. Great, and it's that easy. That is how you add either royalty-free music or with the options in the editor, you can add your own music. Again. If you're going to add music, make sure you have copyright music so you have the rights to play that music. You wouldn't want to publish anything that you don't have the rights to play music and get yourself in trouble. We have just about finished editing our film. Now, we're going to look at one little feature before we go to the export section of this tutorial and that sound. So I've got my dance film here. I've got all of my coat. I've got my music. If I click the sounds in the bottom, you'll notice I get another set of options. So this is really for background sounds. So if I click ambient sounds and I'm filming my dance film in a country park or industries, for example, which I am on this occasion, I can add a sound effect and you'll notice is added on to that timeline. So I can split it, I can delete it like usual and just move it across. Let me just have a quick play there. Now, what you will notice is it's added that clip over the music. Don't panic, it hasn't caught the music of is just use the same timeline to add the effect. So what I've got now is I got countryside effects that didn't quite work for me in this film. So if I delete the music, you'll notice that my sound effect is there, so it's underneath that. So I'm gonna delete that again because having added that Country sound side-effect, it's made me realize that my music wasn't quite right. So let's go back to music and I'll pick some new music. And I'll do this super quick. I'll pick a classical track and I'll just pick the first one here. And we'll pop that in to our timeline for the sake of this tutorial. Again, it's going to take awhile to import. And that really just is down to your internet and massage the track, ok, so that classical track is in. Excellent. So again, already, if I've already made a decision about music, I can go back and change it each, not fine until I export. So I'm gonna go back and I'm going to look at adding some runing on leaves. So I've added that effect. So I've got my first effect, which is the countryside in there. And I've now got my when leaves in mer is always good practice to listen back to it to make sure you're happy with that effect. And I'll just play my monumental leaves effect here. Now you can't hear this, but I'm not quite happy with that. So I'm gonna delete it. But the reason that the tutorial was to show you how you can add sounds to create a much richer audio experience when you're making your dance films, have a play experiment and see if you can find something that fits your film. So we are at that point now where it is time to export our dense bone. That means get it after splice and share it with the world. So I'm going to click the Export button and I get lots of options here. Instantly by default, it gives me full HD 1080 P, and it tells me the file size, which is around 98 megabits. So I'm going to click that and I'm going to click Save. It will save the video. So it will ask you not to close splice or put in the background because that will cancel the export process. Now, depending how big your film is, will depend on the time it takes the export. Some minds only about a minute long, so it's not taken too long. What will happen here is it will tell me, it will give me a preview and I can click share video. And that will give me all the usual options for me to share my video.
35. Planning your film : Hi everybody. So when you're making films, regardless of what film and on whether it be an iPhone and Android and professional cinema camera. There's one stage in the process that we can't get away from, and thus the planning stage, and that involves paperwork. So when I'm making films, I always, always carry my trusty notebook with me and I always joke ideas down. And that's part of my process, but it's an established part of the filmmaking process. So there's a couple of things that you should really do if you're going to plan on shooting longer-form firm films or short scripted films really. And that's really look at storyboard in how do you storyboard your film? How would you lay out the shots that way you can visually see how they work. How are you going to script it? Are you going to use a script or you're gonna be much more free form. What about location scattered? Do you have a location mind? Are you just gonna turn up? Are you going to plan all the out? What I'm gonna do guys is in the resources part of this, cause I'm gonna drop lots of resources. So Shop templates, storyboard templates, examples of script, how you lay all of us to found. You can take them, download them, copy them, cut them up, use them, however suits you. And I think the main thing is really for, for planning or film. It's about making you more efficient when you are filmmaking is not about holding you back. So if they work for you, fantastic. If they don't, don't worry about it, skip the resources. The most important thing really for me is that you get out there, you practice filming, you develop your craft, and you learn by doing. Guys. Have a great day. See you in the next session.
36. Bonus - Shot on iPhone Mini Egg Cookies: Success. So if you've seen this before and as before, yeah.
37. Bonus - made with moment app, slow motion and an iPhone 11 edited in rush: Okay. Okay.
Wayne Sables, Filmmaker | Projection Mapper | Teacher
