iPhone filmmaking using the Black Magic Camera APP 2024 | William Buckley | Skillshare

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iPhone filmmaking using the Black Magic Camera APP 2024

teacher avatar William Buckley

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Black magic App introduction


    • 2.

      App main interface Overview


    • 3.

      App camera interface settings


    • 4.

      Exposure settings and Cloud overview


    • 5.

      Apple LOG and ProRes Overview


    • 6.

      Film settings on a rainy day


    • 7.

      Behind the scenes look at transitions


    • 8.

      Behind the scenes look at filming in the field


    • 9.

      Creating transistions in a video editor


    • 10.

      End summary


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About This Class

In this crash course we will  give you an Overview of the new iPhone /iPad Camera App thats taking the world by storm . The black magic Camera App . 

In fact Apple used this App to film their entire October 2023  event entirly on the iPhone 15 Pro max  & the Black magic App

We will guide you through all the settings and give you some behind the scenes tips & tricks to help you take advantage of this FREE APP .

Link to Apple Loc to REC 709 LUT

Meet Your Teacher

Level: Beginner

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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.