Transcripts
1. Black magic App introduction: A video today has become
a matter of bringing out your phone and grabbing that
moment as it passes by. And although your iphone
is an amazing camera on its own and has some
great, amazing features, it lacks some manual controls
that can turn your footage from this into this. Then I am, then I am, then I am, I am, then I am, then I
am a then I am, then I am, then I am, then I am, then they am then am, then they am, then they am, then they am, then they are, then they are. Hi, my name is Bill, and I'm a content creator
and mobile filmmaker. And in these lessons, I'm going to give you
a crash course using the new iphone app that's
taken the world by storm. Totally free black
magic camera app. In fact, Apple used the black magic camera app to shoot its October
special event, which is filmed entirely
on the iphone 15 Pro Max. The project for this
course is to create a 62nd video and link it somewhere here so that we
can all take a look and we can all learn from each
other after each section, practice the topic or
camera setting that we've just gone through and
become familiar with it. And this is the key to get
really comfortable with the app and that will really elevate your
footage dramatically. Okay, with that said, let's jump inside
the first lesson.
2. App main interface Overview: Black Magic has just released the free phone app
for the iphone. First of all, if
you're not familiar with the black magic company, they make high end
cinema cameras. They also make video controllers for capturing live streaming. As well as the fantastic
free video editing software called Davinci Resolve. This is used in Hollywood
movies Resolve. That's all the power
of the other editors like Adobe Premiere
and Final Cup Pro. And the free version will probably cover anything
you'd ever want to do. It was exciting when they
announced their new iphone app. Let's take a look at the
features that it has to offer. At the top left, we have the different cameras
that are on your iphone. Tapping on this opens a panel
with all your lens types. Here we have the 26 millimeters
or normal one x lens. So we could choose our
13 millimeters lens for the ultra wide, for example. Or we could choose our
7073 times tally lens. Tapping anywhere on
the screen will set the focus and exposure for
the area that you tap on, in this case the cushion. However, in this case,
it compensates so much that it blows out the
bright window behind the sofa. So let's go back and choose our 13 millimeter
ultra wide lens. Now tapping on the sofa again, gets a much better exposure for the room and
the bright window. If you're press and
hold on the screen, you'll get a round
redical showing that your auto exposure and
autofocus are now locked. Tap on the screen
again to unlock it. Next you have our frame rates. Tapping here shows
a slider where you can select 24 to 60
frames per second. Tapping the top left frame rate will close a slider again. Next we have the
shutter tapping. This brings up a slider
that shows shutter speed. In our example, I've left it at 1/48 as we have 24
frames per second, which as we know is the
correct for motion blur. You can also change
the shutter from speed to shutter angle,
if that's what you want. You can do this by
going to click on Settings, go to camera, and you can change
the shutter from shutter speed to shutter angle. Then select camera top right to go to the main
capture screen. Now we see that the
shutter is now in degrees. It's easy for you
to just set it to 180 degrees and it'll always
be double your frame rate. Next we have the iris, which is actually
your camera aperture. And it'll depend on your
camera that you choose. And it's fixed,
you can change it. The top center is the recording time in
hours, minutes and seconds. This will show you
the time that the last recording that was taken. Next is the ISO taping. This shows a slider where you
can change your ISO value. You'll also notice
that whenever you move the slider for the
shutter or ISO, the little blue
letter A disappears. This A tells you when
you're in auto mode. Here we move the shutter to
1/33 we can lock the shutter. And you see that at lock on, the icon screen appears at
the top of the shutter, and the big blue lock is on
at the top of the slider. However, if you want to get back to everything
in full auto, it's not quite that obvious, but click on the
exposure compensation plus minus button, select auto, and everything is back in order
again for the shutter and ISO tap the plus minus button
again, the closer slider. Next we have white balance, which is currently in auto mode. Tapping this brings
out the slider, which shows that we're at 5,240 Calvin or bright daylight. We see that we're
in auto mode by the large blue auto button
at the top of the slider. Tapping the auto
button turns it off. We also have the presets
for white balance. On the right side, we have daylight incandescent
bulb forescent tubes, shade and cloudy. This is where we can drive
the white balance and that it looks like it does to
our eye in real life. Let's leave it at 4,200 Calvin and we can lock
it at this value. We have the same sliders with a tint allowing you
to unlock the tint if you want to add more magenta or green to the tint
cast of the scene. Hitting auto will set
it all back to what the camera sees as
its best values. Top right we have resolution. Tap the cog settings
wheel, lower right. Go to record to codec and here's
all the settings you can recording as a side, not the update
from the app apps. 4444 has been removed. If you're using the iphone
system Pro and Pro Max, you can also choose Apple Log. This is a desaturated format used to capture more details
for color grading and post.
3. App camera interface settings: Clicking back, you can also
set your resolution here. Here we have four, K, ten, ABP, and 720. Clicking the camera icon takes us back to
the main screen. Lower left, we have a
histogram for exposure. If we increase the exposure
by increasing the O, for example, we see that
the histogram responds. Let's click auto again and set it back to the
original value. In the middle, it shows us
that we're using an iphone. The amount of recording
time we have left. Based on the settings
we just set, we have 89% battery left and the storage we have left on
our phone and gigabytes. Bottom right, we have
an audiometer showing the internal Mic levels tapping. This once opens up a bigger panel in the
center of the screen. However, the gain can't
be adjusted here. Adding an external mic allows us to adjust the gain slider
so that it can be adjusted. Here. I've attached the
DGI auto mic system, and by tapping the audio bar, I can now have access to the My gain slider tap
again closes a slider menu. If you simply swipe
down on the screen, this will hide the menus
for a clean image. By swiping down Again, it makes the image
and menu reappear. The top right icon will open up a lot of other
features for you. The top one is the
exposure zebras. The sliders allows you to
set this exposure value when you want to see
the overexposed zebras like here on the windows. The next one here is
Focus Pekin display and that can also be set to choose other colors in
the settings menu. Next we have our grid
lines and center points. Again, the color can be
changed in settings. Next we have aspect ratios. We can use the
slider to show you the safe areas to shoot in
different aspect ratios. For example, if I wanted to shoot in a two to
one aspect ratio. This gives you a
nice on screen guide for you to make sure
that your composition stays within the guide. Next is a safety guide that
comes up on the screen. Again, you can use it to make sure that all the
important things you want are in your frame are
actually in the frame. You can make sure that
nothing gets outside of these guidelines if this
black microphone box was important to the scene, but if we placed it
wrong like this, we see that it's hanging
outside of the composition. We can easily see that
by the guide box. Next we have false color, which is a great tool
for exposure levels. And we also have an
inbuilt color guide on the side of the screen. So now where if we're adjusting
exposure or skin tones, we can see the color
change on the screen.
4. Exposure settings and Cloud overview: Finally, we can also add a Lut if we were
shooting in log, so that we could see what the color would look
like as a preview. Next we have our focus
slider for manual focus. If you tap anywhere
on the screen, the focus will adjust
for that position. If you tap and hold, you get an auto exposure and
order focus lock. Tapping the screen once again
or tapping the auto focus at the top of the slider sets
it back to the order focus. Here we have the exposure
compensation plus minus slider to lighten
or darken the image. As we know, this will adjust the shutter and ISO combination to brighten or
dark in the image. Then we have stabilization
four modes here of standard cinematic
and extreme. Let's leave it at cinematic
for now. Next is a slate. We can organize your
file names, scene names, and other information to organize your footage
as you see fit. We've already looked at the camera and any
footage that you filmed is on the media here. You can manage your files and
upload them to the cloud, but we'll talk about
this in a minute. In settings, a lot more
items for audio and monitor. You can also add lots here. And if you mess up, you can always return to
all the default settings. Go back to default, go to reset and reset
your camera settings. Next we have the Black Magic
Cloud Black Magic offer. A cloud based storage
systems for a monthly fee. This allows you to get compatible black
magic cameras in the camera app to be able
to upload their footage, proxies and original
files shared cloud. Davinci resolve project. Multiple users can
edit the footage. It works by creating a
black magic cloud account. In the media tab, it'll
show all the clips that you have remote
access to enabled. From there, you can connect to the remote project that has
been created in settings and media You can configure
to upload proxies only or originals and proxies. Now when you record and
press the stop button, this will automatically start uploading your
footage to the cloud. The person viewing
the project in that cloud system will have access to these images
and can start editing. So who is this feature for? Maybe if you use a
separate editor to edit your videos or you have
multiple people working on the same project in
different locations or maybe a running gun
news feature person that needs quick
turnaround anyway. This feature is
available from version 18.6 of Davinci resolve. In the next video coming up, we'll take the camera
out in the field and get some shots and footage to see how it handles in the
real world environment.
5. Apple LOG and ProRes Overview: From the iphone 15
Pro and pro Max. Apple now allows
you to record to an external SSD and you can
do this through the USB port. This means you can
record Apple Prores and send it directly out
to the SSD external drive, which is a great way to
capture the very large files. There's also a few flavors of
Pros that can be captured. We can use the third party app. Then you could choose
Apple 422 proxy, Apple 422 Light Apple prores
422 or Apple prores 422 HQ. Each one of these basically a higher or lower bit
rate when capturing, with proxy being the
lowest and HQ being the highest and best quality the native app shoots in 422 HQ. And that's what I
would use as it's the best quality capture and also has the largest far sizes. So be aware that also pros is
recorded in ten bit color. Now the 422 refers
to color sampling. This is known as
chroma subsampling. For every four pixels
wide and two rows down, we sample two pixels on the top row and two
pixels on the bottom row. That's enough color
sampling information to create an image. You might have heard of
the Apple Prozo 444. This takes the
same group of four pixels wide by two rows. This takes four samples from the top row and four samples
from the bottom row, giving us the 444. The final four is
an alpha channel that is usually used for
transparency information. This is normally captured
at a higher bit rate to get as much color or Chromer
information as they can. For things like green
screen work and special effects where
the subtle differences in shades is important, let's turn on the pros function. Go to Settings, Camera, go to Format, scroll down, select the Apple Pros button. Once you do this, you'll have a second option
called Pres encoding. Click on this option, and we have HDR for high
dynamic range recording, SDR for standard dynamic range, and log for that
Apple log format for shooting in that log format. If you intend to color
grade the footage in post, let's choose HDR for now
or high dynamic range. Tap back at the top left
arrow, tap back again. Select Record Video. Scroll down to the HDR
video and turn this on. This allows ten bit
color information when recording video in HDR. And that's what we
want as we'll get as much dynamic range possible
when we record our video. Now when the camera mode choose video at the top of the
screen or the left side. If you're shooting horizontal, we see the HDR is crossed out, tap this and our video will
be recorded in Prores HDR. At this point it'll be recorded
internally to the foam. Note also that
we're recording in four K 24 frames per second. Note, if we change this
to 460 frames per second, we get a warning saying
that 460 frames per second is only supported if we're connected to an
external storage device. Now if we plug into
the external SSD, and note here that you need to use a fast read
write hard drive. So it must be the SSD type, like a Samsung T five
or T seven drive. Or I like the crucial brand, the X nine or X ten pro drives. They're much smaller and
their price are very compatible and their
read write speeds are really good once connected. Now if we're at the
four K 60 frames per second and we activate
the Prores recording, we see that it says USBC and the video will be recorded
to the external drive. It'll create a
folder called CIM, and inside of that folder
is another folder called 100 Apple files will
be in this folder. Finally, now Apple
has introduced Apple log and an option
that we can record in this is a true log file
format that you get on the mirrorless camera or a DSLR or something like that. It's a game changer
for phone footage. As we know, log format is very flat and desaturated
image that helps prevent the highlights and shadows from getting
blown out or clipped. It also has a lot
more information collected and better
dynamic range. So it can be
manipulated in post to get the image that you want
and the color grade you want. Remember, log is not the finished look and it
has to be post processed. Not only does Apple log help
get rid of that iphone, camera sharpening that everybody says is a tail tale
sign of phone footage. Log just makes it
more possible to achieve that cinematic look
that we all strive for. Also, Apple log turns
off local tone mapping, something that we had no
control of previously. Even if you locked the
exposure on the iphone screen, local tone mapping would
still be in effect. And the algorithm would try to adjust small changes
in light and dark across the scene so that it would try to get
the best image that it could. But now with Apple log tone
mapping or local tone mapping should not change and you
can affect the highlights and low lights in
post as you see fit. Now one of the real
life drawbacks is a very flat footage, which is really quite difficult to see in bright daylight. However, Apple has
created a lut, but you can use to help
create a grade to your Apple log footage to wreck 79,
the monitor standard. Now however, in the native app, there's no way of
loading this lut, so that it gives
you a visual lut. So a look, you'll always be stuck with the very flat image. However, in one of
the third party apps, you can load the Lut and it'll overlay the lut as
a visual so you can see what it would look like once the flat image was graded. This also makes the scene
a lot easier to see in bright daylight.
Black magic app. Go to settings lots and
under lot selection, you can load in the
apple log to rec 79 lut or any other
lot that you want. Now when shooting an Apple log, you can toggle on the
displayed Lut button to have an visual overlay of
what the image will look like once it
was applied in post. This makes the flat image
easier to see in daylight in cinema P three with Apple log selected in
the format settings. Make sure you're in
the creative mode. Hit the cube at the
bottom of the center, and here you're able to view your image in Apple log mode. So the flat image, HLG view, a cyst overlay or Re
79 viewer syst mode. Although log files
seem intimidating at first and a lot of
people shy away from them. The more you film with them and see their potential in post, the more you'll use them. And you'll see the power
that you can get in post. And you'll become
more comfortable with this exciting format. Alright, thanks for watching and I'll see you
in the next video.
6. Film settings on a rainy day: All right, it's all very well
filming when it's nice and sunny and we've got blue sky
and we're in nice areas. But what about if it's
overcast and rainy? Let's take a look at setting up your scene and what
your settings might be. It's been raining here on and
off for a couple of days. There's a break in
the rain currently, but it's been raining all night and it's just sort of stop, but it's very cloudy
and overcast. So let's take a look at what we do when we're in this type
of condition, al right? The first thing I'm going to do, I'm going to use a
phone app called Evo, and it's going to
be able to check. Just a quick check
and it's pretty good. It shows that on this cloudy
day by our Calvin ranges. So if you're not
sure, then you get confused with the Calvin values. What do you put on a site
runny day or a cloudy day, or you're in the
shade or undercover, or you're inside with
incandescent light. It gives you a quick reference. Now, all phones and cameras like the pocket are really
good with autofocus. They get you right
in the ballpark, but this is just a quick test. We can see we're about
6,000 or 6,100 here. So that gives us a nice
little ballpark that we can just keep in the back of our mind for this Overcast day. All right, so we're going into the black magic app and everything is set on
auto at the moment. You know, people go crazy
where you can't just use auto. Well, if you're
stuck in a pinch, auto is fine if, depending on what it looks like. What you have to be
careful of is when you're shooting with
different cameras and things, they won't match. For example, if you're going
to shoot and log in this, then shoot and log
on your pocket or your Go Pro or your mirrorless camera
so that they all match. When you're doing
post color grading, let's take a look
at what we got. Everything's in
order at the moment. What we're going to do is
let's start with the basics. We're at 24 frames per
second, which I don't want. I'm going to change that
to 30 frames per second, then I'm going to
go to my shutter. We'll get to that in a second. Io is automatic. It's showing it's low at 66, and we're looking to look
at the histogram down here at the bottom. All right. We know that white balance auto, it's saying it's 61, 80,
which is pretty good. That's exactly what we
saw with the other app. So I'm going to lock
the white balance. I don't want it to change. Okay, now what I'm going
to do is I want to, so take a look at our codec
and things I'm going to do. Record. My code is H 265, so I'm going to do pro S422. Then I'm going to
go to resolution. We want four K my color space. I want to shoot an Apple log. And what I'm going
to do here also is go down to camera record. Right, We're in pro
S422, Apple log. Okay, So what I'm going to
turn on here is my lot. The Lut that we're
going to have, my lut selection can be
whichever one you choose. I'm going to do this
conversion lot here, then I got to go back and
I'm going to turn this on. Turning this on is display
the Lut when we see it here. It's going to try to give you an image of the
bit more contrast. All right, what it would look like when you use
the lut in post. If for example, I go
to turn that off, we go back here, we can see what it looks like.
It's very flat. But that's fine
because we want to, if we look at our histogram
right nicely in the center. So we're doing okay, but
our shutters are 1/634 Now, that's what it's going to be. It's very fast shutter because
even though it's overcast, it's really very bright. Again, we're not following
that 180 degree shutter rule. All right, let's go turn that, let on again so we
can see better. Just like here, this
is where we would be. Our histogram looks good. Let me just show this because
you can see it better. Our let overlayer is on
30 frames per second, 24 millimeters, so our
single wide screen camera. All right, Iris, we can
change is at 1.8 is low. Our white balance is what we think it should
be, it's overcast. So it's about 66,100 All right, But the only thing that's
different is our shutter speed. So our shutter speed
isn't following 180 degree shutter rule. So we can record
that right now here. This is with the
highest shutter speed, nothing's moving in the scene, so that should be totally fine. It's just a rainy day. There's some ducks
swimming around. There's nothing else going on, so this would be good. We don't have to follow the
180 degree shutter rule. If you wanted to do that,
then we would go to the shutter and we're at
30 frames per second, so we would have to do 1/60 let's lock it at that. But now we see that if we look at the histogram
and the screen, we're totally blown out trying to get that 180
degree shutter rule, even on a cloudy day at
30 frames per second. Then you're not going
to get it because the shutter is too slow and it's letting in way
too much light. The only way to
get around that is to put an end filter on. I just happened to
have an end filter. This happens to be the
free well filters. They're magnetic. It goes on the case
that I have here. And this is a three
to five ND filter. Or six to nine I should say. I just can put this on the edge here and they'll match up a
magnetically lock in place. Then you can see where too, that's because I'm
at six to nine. And you can see it's actually, this is a darker version. What I need to do is
go lighter than that. If I put that one
away for a second, the other end, he
felt it was too dark. I have another one which
is one through five, so I'm going to
stick this one on, that one on, I'll
just be able to turn this, that set one. You can see it's
still very bright and the histogram is over towards the right telling
me it's too bright. I'll just bring that down
to about three or four. A little bit brighter,
maybe like three. That would give us
a good exposure. Now to show you we're still at 1/60 for 30 frames per second. Our white balance is locked
our eyes, so still low. That's what I would get. Let's take a little
recording of that. That's what I get using an ND filter because even though it's
overcast and raining, you still might need an end
filter if you're trying to go for that 180 degrees shutter
rule for a motion blur. But again, like I said,
for this particular case, there's nothing
wrong with doing it without an end filter. So let's just drop that
end filter off here. Take it off, all right? And what I'm going to do
is go to the shutter, unlock it to go back
here and do auto. Now we can see shutters like 1/200 It is changing
because my arms in the way, 1/700 All right, so it's a lot faster to compensate to keep the histogram
in the center. All right, we're all
here, this is good. Let's do a recording here
to see the difference. This is with a much
faster shutter, I have no end filter on. With sell at 30
frames per second, the shutter is at 1/804
This is what we would get. Again, there's nothing
moving in this scene. That's perfectly fine.
7. Behind the scenes look at transitions: All right, in this video
we're going to take a look at the black magic app with
the iphone 15 Pro Max. And we're going to see how
it does in the real world. We're on vacation in Porto at, it's a beautiful area, lots of lush vegetation. One thing I would
suggest is don't forget to wipe down your lenses, especially if you're
in a humid area because the lenses
will get foggy. So be careful of that. The other thing we're
going to do, if you're just talking like
this head to head, just set your phone on 24 frames per second or
30 frames per second. That's good. But we're
going to get some B roll. Our settings are going to be four K and they're
going to be in Pros. We're going to use a
log rapple log format. Now the native app for the
iphone only allows you to do 30 frames per second unless you're exporting
to an SSD card. The black magic app
will actually let you export the 60
frames per second. Also, later on I'll show
you that you can use a lot an overlay lut to see what you're looking
at a little bit better. Because with the log format, Apple log, it's very flat. If you're out specifically
in a lot of sunshine, then it's really difficult
to see the screen. Using that overlay
lot helps just to see what the image will look like
when you graded in post. All right, let's take
a look at going around and seeing what we can collect
using the black magic app. All right, for this next shot, the sun is coming
up quite right now, this is quite shadowed
here, some lot of shade. But if you don't have anything like a
gimble with you when you're doing all this handheld
look for things like this. This is a light post. And if we want to get an image of sweeping up to that
palm for example, we can do that by just putting
a phone on top of here. We said look up where
you're going to go. So the sky, I'm
going to click and hold up so it's pointing
up into the sky, the brightest area, so
it's locked on that. And now I'm going to just record and move the
phone back, nice and slowly. Also, instead of just
holding your phone up and just always shooting from this
angle for what you see, because that's what
we all naturally do. Try to think about shooting
three different things, one at a wide angle, one at a medium angle, and one at a close up. So you get the same
thing but in lots of different angles
and zoom ranges. And that'll give you a
lot more options in post. If you don't have a bunch of cameras on the back
of your phone, then just move further to
the subject or further away and get lower to the
ground up higher looking down, just mix it up as many
times as you can. Shoot three or five different
things of the same subject, different angles,
different cameras. Also, try not to
use digital zooms. If you have three cameras
on the back of your phone, then use those three cameras. You have an ultra
wide, wide a ten. They have optical focus
and utilize them, they have the best images if you start zooming in past
the optical focus. It uses digital zooming, and that's a bit
more grainy and not quite as good. Think about that.
8. Behind the scenes look at filming in the field: I call this, now what I'm going to do is
just go and touch this guy. I know that's going
to be in focus. Yeah, I know I'm going
to go in touch this one. That's going to be in focus. And in this one we're
in the same area. We're in the five times lens, but I'm focused on the
ferns at the back. And if I touch the
front one front leaf, it'll change focus to the
front leaf like this. And that gives you
a nice focus pull. We can go back the
other way just like So different effects
for the same thing. All right, so what
we're going to do is get a low shot here. And we're going to
lock our phone, so it's locked out
on this area on the pool and going
to come back over here and just slide across. Try again, go back
one more time, lock it and then come across. Do this at your own risk. So what we want
to do here is get a walk in pushing shot from
underneath the bridge. So we're going to
lock our focus and exposure when we're outside looking at the rest of the pool. And then what we're
going to do at that point is go
under the bridge, go back, and then start
the recording from there. And walk forward again. Be careful. You can get a waterproof
case for your iphone. Just be careful you don't
drop it in the water. Again, really important to try to find the best
time of day to shoot. So early in the morning, just after sunrise or
just before sunset. This is when the sun is
not so bright in the sky, giving you a bunch
of shadows and everything's just really harsh. Best time, everything looks better with the sun at an angle an hour after sunrise and
an hour before sunset. It's the best time.
The colors are great. You can see your phone screen and everything just
looks ten times better. So try to do that, okay? If you don't have a tripod
or anything like that, you can get creative here. Just put my phone up
against some flip flops. So what we're going
to do is I'm going to focus on the stones right here, so that anything beyond
it will be more blurry. And we'll just send a walk past this into the
pool and get a shot.
9. Creating transistions in a video editor : If you don't have anyone else that's with you and you want to get some people on the scene and there's no one else around. Get yourself travel tripod,
very lightweight one. Or just prop your phone up somewhere and just
walk past it in different scenes so that you get people in the image.
Even if it's yourself. It just makes the scenes
a little bit more interesting with a
person in the view. If you have no
friends, no worries, you can just film yourself
walking past the camera. So what's really important is to always remember to
lock white balance. You can do this in the
software by going to Settings camera and checking
white balance on record. Just take a look at
this scene here. Look how green this is here. But when I walk in scene with the blue shirt on
a gray blue shirt, the white balance
totally changes. Let's take a look at that again. So it's pretty green. And then it goes really bright green just because
of the shirt color. And I left the white
balance on auto. Again, checking this in
the camera settings, you'll never remember this because you can see I plainly
forgot to do it here. If you're setting in
the camera settings, it's automatically going
to set it when you press the record button
using the same area, what we can do is just
use these to frame the shot and just do a pan up and down to
see what's behind it. Again, lock your
image back here, so this will be slightly
out of focus here. Let's try that. I'm going
to lock my image down here, and I'm just in a
pan up and there. Okay, The other
thing to do is to look for textures,
things like this. Wall trees, bushes, you can move across them, especially
for transitions. You can move your phone left
to right, right to left. Again, we're doing four K 60. You can also go up and down. These are great
little textures for transitions where you can go like we did earlier
with the tree, that when the image
goes across the camera, this is dark, then we could
transition into this wall. And let's say we
wanted to go across this wall and go up into
the area behind me. That might be quite
difficult to be able to do this and then
come up like this. One of the things
that you can do is, just like we said
before, is go backwards. Start back here on the
image that you want. Focus on that and then come from there and come
back into the wall. Try both ways and see
which one works again. Four K 60 and I have
stabilization on a cinematic. Okay, what I'm going to do
here is I'm all set up here. I'm in 60 frames per second. I'm going to lock on, focus on this flower right here. This is my last position
that I want to be at. I'm going to start recording and then I'm going to pull out, slowly step away again, we can try that once more. Press and hold to lock and
then come out and spin away. I start recording and
then I'm going to put, slowly step away again. We can try that once more. Press and hold the
lock and then record. Come out and spin away. All right, so we
have our first clip that we just saw which is this flower and backing
out and moving down. Okay, the second clip that we have here is we're going to use this other clip of
the bar here with the bottles on in early morning with the
sun coming through. And then the third clip
that we're going to use for a transition
is this one here. It's going to be this
texture transition which is actually
in the apartment of the hotel room and it was
when we were just going along that wall painting and it
gives a nice texture swipe. I'm going to use that on top of these other two clips to overlay and get an
interesting effect. What I've done here
with the red flower, I've actually done a speed
ramp here as we go up, as it starts to roll away. A little speed ramp here as
it goes into the ground. The left a gap here
where the transition, I'm going to let that be
seen for a second or so. Then when we go
into the other one, it's going to also be a
speed ramp which starts off really fast and
then ramps down, slows down as we
move left to right. Now you can see
we're rolling away with the red flower
going in right, even though it's going
down into the ground. And then when we get
to the other one, we're rolling from
left again to right, we're going in the
same direction. Now on top of that here, what I've done is overlay this texture effect around
where the speed ramps are. I've just done like
a cross dissolve. As you see as I roll away here, it starts to fade
in to that texture. You can see a
little bit up here, then we get into the
texture a lot more then. It's just, I've got a little
motion blur in here as well. Then basically as I
get to the other side now it will also fade in. You see the texture
over the top. As it slows down
into the bottles, the texture goes away and
then we're into this seam. So let's take a quick look at what it looks like after you put a little bit of sound effects on top of it to the final effect. And this is actually
a really nice way to be creative just with
these texture effects. Whether it's trees
or ferns or flowers, or grass or walls, just like we were talking about.
10. End summary: All right, that's it. You've
completed the course. I hope you enjoyed the class, and I look forward to seeing you in another class right here.
William Buckley
