Kdenlive Essentials - Cut, Edit & Enhance Videos Fast

1. Introduction - Kdenlive Basics: M. Hi, and welcome. My name is Jonathan. I work as a motion designer and animator. I'm the founder of NuxTux Creative Studio over on YouTube, where I upload tutorials and animated shorts. This is a beginner framing class that will teach you everything you need to know to start editing your videos and gain a solid understanding of KD and Live enough for you to continue learning about video editing from other professionals, even though they're not using KD and Live. Because once you understand the principles of what you're doing and how your software works, then it becomes easier to follow along with other tutorials, whether it be for premiere, Final Cut, et cetera. Throughout this class, you'll learn how to edit a video from start to finish. We'll be covering all the basic tools. You'll learn how to add effects, transitions, how to change the speed of your videos. We'll be covering masking, green screen, audio mixing, and much more. So I'm here to answer any questions on the subject matter and clarify any doubts. Again, my name is Jonathan. Welcome to this basic editing with Caden Live. Let's get started. 2. Before We Start - Kdenlive Basics: Hi. Before we get started, let's make sure that we're on the same page, starting with the version of KD and Live that we'll be running. I recommend using the latest version, as it includes new features needed to follow along with some lessons. Although any older version of KD and Live will allow you to follow along just fine. Then we have the class resources, which includes all the assets that we'll be using throughout this class and that you can use to follow along. They're available down in the project resources or in the about section of this class. For those of you coming in from Premiere, Kaden Live allows you to set its keyboard shortcuts to that of premieres. You can check the system requirements for Kaden Live and see how they match up against the specs of your machine. The minimum requirements will usually do just fine. And throughout this class, you'll learn techniques to lower the load that KD and Live takes on your machine. Keep in mind that the project does not start in the program. You're usually starting with an idea, a request from a client or a project brief. This class, our project consists of creating an ad for a fictional coffee brand. We already have all our assets, and the idea is already in place. Once we have our idea and our assets, we can get started. And just a reminder, you can control the playback speed whether to accelerate or slow down these lessons to your convenience. All right. Without any further ado, let's jump right into it. 3. Folder Structure - Kdenlive Basics: Hi. Before we get started with editing or footage inside of Kaden Live, as we've mentioned in the intro, your project starts before you enter the program, and part of that is assembling our assets. So we're going to take a quick look at our file structure, and then we can jump into Kaden Live. If you've downloaded and you've extracted the project folder, you'll have basic editing, as I have it over here. Let's go inside. In here, we have three folders. So we have the assets, the project files, and our renders. Now inside of the assets, I've broken it down into some more subfolders, just to keep things organized and give a roadmap ifever you would like to adopt it or modify it for yourself. But in here we have our video, audio, and our images. In your case, you will not have the image sequences. This is for a demonstration later in the class. I've also broken down the videos into A row and B row, and for the audio, we have music, sound effects, voiceover. And finally, for images, we have graphics and photos. Now, image sequence, we just have a sequence of images. Next, we have the project files. So in here, I have a folder for KD and Live, and that is because we will be working with KD and Live. And if ever you're working with any photo manipulation for project or maybe working with vectors, you could create folders for the software that you're using for these tasks. All right. And in here, of course, we have different versions of the project, okay? And finally, we have the renders. You can create sub directories to keep things organized or simply use a naming system that works for you. Alright. So that is it for the folder structure. And the next lesson, we're going to start and create our project, import our media, and learn a bit about the interface. See you there. 4. Create New Project - Kdenlive Basics: Hi. So, this first lesson, we'll get started with Caden Live. So the first thing we'll do is go ahead and start it up. So in my case, I'll go in the Start menu and open up Kaden Live after typing the name. If this is your first time opening up Kaden Live, this is what you should have in front of you. If not, we can all have the same layout. Simply go up to the right corner over here on your Caden Live. And at the top, you should have login, editing, audio effects and color. Simply click on editing, and it should reset your layout to look just like mine. So I'll click on this bar over here. Left click hold and drag down to scale M layout. So this is what we have for Kid in Live. Now, if your color scheme is not the same as mine, and you would like to change your color scheme, simply go up to your menu bar, go inside of settings, down to color scheme, and pick which every one works best for you. Now that we've gotten this out of the way, let's go ahead and get started. The first thing we'll do is create a new project and set the parameters that we want for the output video. So I'll go up to File and the menu bar, go down to New. We'll get a little pop up over here. And inside of it, we have a few options and a few tabs as well. So we have the settings. So that would be the main window, proxy, guides, metadata. You can add the metadata right here and add segments over here, and this is optional if you want to export it or not when exporting your final project. So over here in the settings tab is where we would pick our resolution in our frame rate. At the top here, we have project folder, and by default, Kit and Live would save any cache for your project inside of the default cache location. You can choose to save it in the parent folder of the project file, meaning where we save our project, it will move the case file over there. Or you can choose a custom location. Now, right under that is where we're going to choose our resolution and frame rate. So you can see we have different folders with different resolutions each, and inside of them, we have different frame rates. Now, I already know that we're going to be working with ten ADP, 24 frames per second. And we have these filters up here, and we have the FPS over here, so frames per second, and we're going to go down to 24 and filter it out. And since we're working at ten ADP, we'll simply go to the ten ADP folder and grab the HD ten ADP 24 frames per second. Have some more information down here, but we'll look into it later. You can leave it as it is. So two video tracks, two audio tracks, two channels, so stereo for your audio channels, leave the thumbnail for video and audio checked on. And as for the timeline preview, yours should be set to automatic. You can leave it on that for now. Unless you are used to Kan Live, then, of course, do, as you know. So once we're done here, we've selected ten ADP 24 frames, press Okay, and there we have it. Our project is now ten ADP, 24 frames per seconds. Next, we'll simply save our project. So let's go up to File, Save as. I'll navigate over to the project folder, and inside of 02 project files. I'll go inside of Kaden Live. I'll click on V one since this is the first edit that you have access to, and I'll change the name down here to V two. So version number two. It'll simply click on Save. You can rename it to whatever you want. Now, once we've saved our project in a new location or its first location, we get a little pop up over here, and this lets us know that it's moving the cache file from the default location over to the new location that we've saved our project. So simply press Continue, and there you have it. So we've set the profile that we want in the frame rate, and we've saved our project. 5. Create Vertical Profile - Kdenlive Basics: In this lesson, I'll be showing you how you can create a vertical project. So we'll start by going up to File New. I'll start by removing the filter here for the frame rate, so we can see our custom folder down here. Now, any new profile that we create will be save inside of custom. So I'll activate the filter again. Now, choose the frame ate that you would like your project to be. I'll go with 24. And the vertical is simply the ten ADP flip 90 degrees. So I'll choose the ten ADP 24 here. Then I'll click on this button up here. Which will open this pop up. Next, simply click on the Plus over here. You can also choose the presets from this menu, but we've already chosen the ten ADP 24 frames. Press T plus, and now we get the ability to modify this new profile, so it creates a copy of it. So over here, we can say HD ten ADP 24. Vertical. Next, when it comes to the size over here, simply flip these values. So it would be 1080 over here and 1920 over here. As for the aspect ratio, you can also invert these values over here. The rest can stay as it is. You can also choose your color space and the scanning over here. Once you're done, simply go up here to this disc, press Save profile, close out of it. Now inside of custom, we now have HD ten ADP 24 FPS vertical. Select it, choose the amount of tracks that you want, where you want to save the cache, your metadata, et cetera, everything you would normally do, and press Okay. We now have a vertical layout. And now, if you want it, we could simply import a clip. We get the pop up for the resolution in the frame rate not matching or simply cancel, and there we have it. So later in the course, we'll learn how we can add an effect to this to sket it up so it fits within our frame. All right. All right, so that is it for this lesson. 6. Import Media - Kdenlive Basics: Hi. In this lesson, we'll learn how to import our media inside of KT&LV. So let's go ahead and get started. There are several ways of importing your media into KD and Live, but they really boil down to two separate methods. One is using the file browser or file manager, and the other one is to drag and drop. So let's start with the file manager. There are several ways of accessing your file manager, and the first one could be simply to double click over the project bin over here, simply double click, and it will open a file manager. In here, you can simply select the folder you want to import, click on O and import it or import multiple folders at once or individual media. So what we're going to do is left click on the video file or the video folder. Inside of it, you'll notice we have A row, which has media and B role which is an empty folder. Let's click on 01 Video, and let's click on Okay. We've imported our video. We get this little pop up here at the bottom, and all this does, it lets us know that the media that we've imported has a different resolution as well as frame rate than that of the project profile that we're working with. CDN Live offers the option to switch to the media profile, but in this case, we'll click on Kensl as we intend to export in ten ADP 24 frames per second. All right, so let's open up the video folder over here. We can see we have the AR folder. Now, very quickly, I'll address the sequences folder over here. We can ignore this for now. We'll look at it later in the course. You cannot delete it as well. Just leave it there, and we'll get into it later. Right. So back to the video folder. Notice we have the A row folder inside of it, but not the B row. That is because the BR folder was empty. Kaden Live imports it with the entire subfolder structure. Another way of accessing the file manager, is to click on this little icon above here in the project bin. And if you left click on it, it opens up the file manager. Same thing, really. Just a different button that you click on. Now, this time, we're going to import the audio folder. Notice it has subfolders and they have content. So we're going to click on 02 Audio before we do that, I'll cancel out of this. And I'll make sure to click on empty space here. If you have anything selected, say this folder over here, when you import, it's going to import your new folder inside of this selected folder. So make sure to click on empty space, go back inside of here. Left click on audio. You can see it has a subfolder structure. But this time, I'm going to go down here and I'm going to check on Ignore subfolder structure. Press on Okay. It imports our audio. If I open up the audio, notice that the sub folder structure was ignored. And this is exactly what it does. It combines your media and ignores all the other folders. So if you prefer to import with this method, you can go ahead and use that method. Now, finally, we're going to use the drag and drop. Let's go to our assets folder. We're going to grab 03 images. Left click, hold, drag and drop it over the project bin, and there we have it. It has imported our images. But notice the file structure was ignored. The reason for this is simply the last settings that you use inside of the file manager, specifically the Ignore subfolder structure over here, these settings are going to be applied next time that you drag and drop. So if you want it to not ignore the subfolder structure when dragging and dropping, simply left click uncheck this box. You have to import something at least once. If you press Cancel, it will ignore this change. That is if you have it checked on right now, and we can import the image sequence. Before we do so, let's go ahead and check on Import image sequence. Let's just grab this 04. Press Okay. Now, if we go inside of it, notice we have a bunch of individual images, and that is not how you would import an image sequence inside of Cat and Live. So instead, I'll go ahead and delete the sequence over here, Delete. And let's go inside of our file manager. Double kick. Let's go inside of sequence. And this time, we're going to check on Import image sequence. Okay? Simply going to leftClick on the first frame over here and then press Okay. And now Kaden Live will import this as an image sequence and not as individual images. I don't know if you can see this. There's a butterfly over here on the screen, so it is now a sequence. So I'll delete this. I'll delete this over here. Okay, so we have our media imported, and now you know the different ways of importing your media. You can also create folders up here, so create a folder. Name it however you want. To move things in and out of folders, it's very easy simply left click hold drag, put it back in. Left, hold, click drag. So that is how we would import our media. Finally, over on this top button over here, if we left click on the little arrow over here, we get these other options, and these are the different sort of media and assets that we can import or create inside of our project bin. So you can make solid colors. We can create title clips, which we'll be learning later on, et cetera, and you even have online resources. All of this is also available inside of the project menu in your menu. Okay. So that is it for importing our media inside of Caden Live. And the next lesson we'll be taking a look at the interface, a quick look, and then we'll jump right into editing our media over here. Alright, see you there. 7. The Interface - Kdenlive Basics: Hi, and welcome to this very brief lesson on the interface. We're going to take a very quick look at it and then jump right into editing our footage. Over here on the top left, we have what is known as or what you could call the project panel. Essentially, this is just a segment on our interface that holds different tabs. Cycle through these tabs. You can rearrange the tabs. You can even detach them and put them in new segments or group them with other windows. I'll just hover over this, let go and push it back here. Right. So you have these different tabs. Clip properties is referring to your clips over here. So if we were to grab one of these clips, clip properties, and we get some information on the clip. Alright. Now, over here, as you can notice, we're getting a preview of the clip inside of our project bin. This is the view monitor. It allows you to preview the media that you have inside of your project bin. So whether it be audio, images, videos, image sequences, et cetera, you can preview all of that inside of the view monitor. You also get a little timeline scrubby thing down here so you can scrub through your media and do some other cool things like, we'll look into that later. So next to it, we have what is known as the Project monitor. Now, the project monitor allows you to view what is on the timeline. The timeline is down here. It is this that holds our video tracks and our audio tracks. We have a few basic tools above it, few options over here. We'll be looking into all of that later. So you have your v1v2. Video one, Video two, we have A one, A two, Audio one, Audio two. And then finally, over here on the right, we have our audio mixer and our effects composition stack. For the audio mixer, you can toggle the view of it on and off above our timeline over here next to what looks like a little play button. You have this little menu, this toggle simply left click, it will hide the audio mixer. Left click again, it will show it. And then finally, we have these options up here or rather these layouts, these pre built layouts up here to the top right, this login so we can grab media and import it into our project. We have editing audio. The color over here gives you the vectorscope, the histogram. So let's go back to editing. I'll track this down a little bit, and there we go. We can also create new layouts, but we'll look into that later. So that is it for the interface. And the next lesson, we are going to learn how to create proxies. See you there. 8. Create Proxy Clips - Kdenlive Basics: Hi there. In this lesson, we're going to learn how we can take our clips. So our media over here, mainly the video or video files, and convert them into proxy clips. Now, proxy clips are lower resolution, lower size versions of your footage of your media that allow you to go through it with ease. So your system makes less effort to go through then when you're ready, you can swap out the proxy for the original footage. For example, if you're working with eight K, it's a bit heavy on your machine. You simply create some proxies for it during the rough cut segment of your workflow and once you have things established, the pacing and the cuts, the transitions, and these little details, you can then switch back to the original clip and work on the colors and maybe some VFX, et cetera. Alright. So for this here, most of our clips are four K, so we're going to go ahead and create proxies, and it's a straightforward process. So first thing to do is go up to your menu bar. Let's go to settings, go down to Configure KD and Live. We're going to ignore all of this for now. We only want to go to proxy clips down here, and then we're going to check enable proxy clips. So make sure this is check. You can ignore all of the other settings for now, and then go down to apply and then press Okay. Once we're done with that, we can simply left click on the first video, hold down Shift, left click on the last one, right click on. And you have proxy clips right here. You can also go up to Clip, so let's make sure to grab all of them. You can go up to clip and Proxy clip. Now, I already have the proxies created, so it's going to go very fast for me, but for you, it could take just a minute, maybe two, depending on your machine. And once it's done, here we have it. We have these low resolution versions of our clips. To disable it, you simply right click or go up to clips and click on Proxy Clip. And it reverts it back to the non proxy version. So HirasOce you have your proxy clips created, you can go back and forth between them with ease. Now, I'll go ahead and save the changes that I've done, so I'll go to File, Save. Alright. Now, this is not a mandatory step, but it's a good way of lightening the load when going through rough cuts, right? Another way to lower the processing power. Another way of lowering the demand, the processing demand here on your system is with the preview, so the preview resolution here in these little drop downs. So they work together. So if I change this one, it's going to change on both sides. So one to one is the full resolution of the media that we're working with. 720 P is, you know, 720 P and so on and so forth. So that is it for creating proxies, and this will really lighten things up and allow us to have seamless playback through our media. And right now we don't really need the high quality visuals, because we're just going to arrange our clips on the timeline. So in the next lesson, we're going to learn how we can add our clips at the timeline, cut them up, move them around, et cetera. See you there. 9. Add Clips to Timeline - Kdenlive Basics: Hi there. In this lesson, we're going to learn how we can take clips and add them to the timeline. So before we get into it, I will be showing you the easy or the simple way of going about your edits, but I do feel it is necessary to show you a standard way of organizing your files, importing them, and preparing them to go on the timeline. But don't worry, we'll go back to simplicity very quickly. I just think it is a good practice to teach you the standard way of going about it. Alright, let's jump into it. So I'll expand the folders again. So, as I've mentioned, you can simply left click hold drag it onto the timeline, and there you have it. Our clip is now on the timeline, simple as that, but there's so much more to it. So I'll go ahead and delete this. You can left click on it, and then right click and delete or simply hit Delete on the keyboard. Okay. So before we continue, one thing I'll do very quickly is I'll click on 01 Videos. I'll go inside of the file manager assets or rather the project file. Inside of renders, and I'm going to import the render over here. You do not have to do this. I simply want to demonstrate the difference between working with footage that has audio and working with footage that does not have audio. So I have the footage selected here. Press Okay, and there we have it. Now, you're wondering why I have two audio tracks like this and you don't, we'll get into that later in the course. Okay, so over here, you can already see the difference is that we have this little scope over here for the audio, not the scope, the graph. And up here, we have these two little icons, one of well, video, which symbolizes video, and another one of a speaker. If you look at our other clips here, we don't have that. There's no graph of audio. I mean, wave waveform. There we go. There's no waveform of audio, and we don't have the two little buttons. If I left click hold and drag the view down here, it imports the clip. Okay? That's one way of importing our clips, as well. So when I drag and drop these, it's only just a video clip. If I drag and drop this one over here, it's going to be a video and an audio track. Now, how they lay out on the timeline, you can determine over here in the timeline bar at the top, all the way to the left, we have this little button here, left click on it, and this is how you can choose the layout of your audio and video tracks. I like it to be split audio tracks. If you want to mix the audio tracks, you can see here V one and A one get stacked up together, V two and A two get stacked up together. And then, in this case, you can have them separated, et cetera. So pick whichever one you feel most comfortable with. I'm going to be working with split audio tracks. Now, as you can see, these two are linked together. So whenever I grab one, it moves the other as well. You can ungroup them by right clicking on it and go to ungroup clips. You can also use the keyboard shortcut. So shift. Well, Control plus Shift plus G. Okay. Alright. So go ahead and delete this. Now, let's say, for example, that you wanted to import just the video part of this and not the audio, all you would have to do is left click on the little speaker here, drag it in and drop it over one of your audio tracks. And there you go. We've imported the audio without the video. Same goes for the video. Left click on the little icon, drag it in, and you've imported just the video and not the audio. So, yeah, these are cool, neat little tricks to know. I think the same thing goes over here in the project bin. You have these little icons. You can click on them to choose which one you want to import. Okay, so the assets that I've provided to you do not include any videos that have audio tracks attached to them. So when you're working with video tracks that have audio tracks attached to them, so they're grouped together, you can still move the ends of your video and audio tracks separately or individually, simply by holding down Shift before you click on the edge and drag it in or out. All right. With that said, let's continue. I just wanted to put that out. Okay, so let's go back to how to add our clips to the timeline, the professional way. So I'll delete this. We move it there. Okay. So let's start with this clip over here and I'll move the playhead back to the beginning. You can also simply hold down Control and press the left arrow on a PC, so control on a Mac, I believe it would be command and then left arrow, and it will send it back to the beginning. Okay, so we have this clip over here. Now, first, if we want to play back this, we could left click on the View monitor. We could also press this little play button over here or push this back here. Or alternatively, we could use the J, K and L keys on the keyboard. So if I were to press L, it would initiate the playback. If I press K, it's going to pause the playback, and if I press J, it's going to put the playback in reverse. All right? Hope it's not too complicated. So L plays. If you press L a second time, it accelerates, press it again, it acceleratees even more, so on and so forth, until it does. K is going to pause it, and then J is going to play it backward. If you press it again, it accelerates. Press it again, accelerate, accelerate until it doesn't. All right. That's how you can navigate through these clips just using the keyboard. Next, as you're moving through these clips, you can choose the areas or the segments that you want to keep. For example, let's say I want to grab it right when she's about to drink her coffee. We can set what are known as in and out points. You can do so by left clicking on these little icons under the view monitor. You have the first one, which is set zone in, you have the second one, which is set zone out. So this one would be for the end of the portion you want to keep, and the first one is for the beginning of the portion that you want to keep the keyboard shortcuts or I for N and O for out. All right. So let's say you can also use the mouse to scrub if you're not comfortable with the keyboard shortcuts. So you arrive, let's say to where you want to grab it. So we're going to say just around here, maybe. So you can either left click on it or press the keybar shortcut I, and we'll move this blue zone to this part where we're at. Then let's move to where we want to cut. So again, you can simply use the keyboard shortcut, but that's up to you. So a little bit before that, let's see over here, then I'll press O out. And now, finally, how do we add this to the timeline? Well, we could left click hold and drag, and it would just grab this segment. That's one way of doing another way of doing it would be to use either one of these buttons or just the keyboard shortcuts to insert the clip zone, so the clip zone over here, which is currently active, to insert it into the timeline, and then we have B, which is to overwrite clip Zone in timeline. All right. So how do these two work? Again, bear with me. We're going to go back to simplicity, but just so you know the professional way, and then we're just going to go at it. All the way, okay? If we press V with this over here, it's going to add just this segment. And notice, once we've added this segment to the timeline, we get this yellow bar over here in the view monitor. This lets us know which parts of this clip are currently on the timeline. So if we had another segment of this clip over here, it would also get highlighted with this little yellow bar. Alright, so we've just press V to import this segment into the timeline. We can also press B, and it's going to do seemingly the same thing. What's the difference? Oh, before we continue, if you want to choose which track for these inserts to happen, simply left click all the way to the left of the track. You have these green highlights here. So you simply left click on the one you want to be the active track, if you will, and that's where they will get added the next time you press the keyboard shortcuts or click up here. Alright. So I'll go ahead and delete all of these. So let's go ahead and press V. It will add our segment where the playhead was and you can see it moves the playhead to the end of it. Now, if I were to place the playhead in the middle here and let's go ahead and grab a different clip, so just grab this clip over here. Now, this is the complete clip. We haven't grabbed a segment of it yet. And we're simply going to press V. So insert clip zone and timeline. And notice it's Zoom in here. So let's go down here, Zoom in, Zoom in. We now have two segments of the first clip and this one in the middle here. If I undo, you can see all it did is insert itself from the playhead on and push the other half of this clip all the way to the other side. So that's what insert does. Overwrite, however, so B will simply delete whatever is in its way and take its place. So that's the difference between insert and overwrite. Alright. So you want to make sure that the playhead is not over anything that you do not want to remove, cut, or overwrite. So I'll go ahead and delete this one as well. Now, we have this as a segment. Let's say we wanted to grab multiple segments of this same clip to add them to the timeline, but we also want to preserve them. Well, there's a way of doing this, as well. And this is with this little button over here. Next to our in and out zone, which is insert zone and project Bin. The keyboard shortcut is Control plus I on PC, Coenus I on Mac, I would imagine. So let's simply left click on it. And you'll notice we get a little arrow next to this clip now. If you open it, you'll see we have zone one, which is this little segment. If we were to move over here, move the zone, and insert, we get zone two, which is this segment that we've just created. So you see back and forth. And now if I were to insert these into the timeline, you see we get these two little orange spots or yellow spots, yellow spots over here, indicating that these segments of our clip are on the timeline at the moment. Okay. So now all we have to do is to simply grab these segments of our clips that we would like to use so then we can later put them on the timeline. It's good to keep them safe because ifever you change the timing or so and you like to get the original timing, you can, and you can also modify the clips that you have later on. So let's go ahead and get started. So for this one, I'd say right when she's about to start drinking and right when she's done like this and blinks out, and then I'll insert in the clip zone. For her, it's right when she's about to drink the coffee, like, let's say, here. And then as she's taking it out there, insert. And I'll just go ahead and do this for each one of the clips, just grabbing the parts that I know that I'll be using most lightly, even if I have to cut and trim them afterwards. Which is when we'll be getting into the basic editing tools. Okay, insert for this one. Let's say, right there. And then right when you put down the cup like this. And finally, I don't think I'll be using this clip. For this one, it's right before it starts to shake. So I think maybe over here, let's push this back. So these are not fine cuts. These are just roughly what we want to keep. Now, this might not work for you in every project, but I'll go ahead and expand all of these. And I'll grab all of the clip zones. So I'll click on the first one. Hold down Control and PC and I guess Command on a Mac, and we'll click on each one of the zones that we're going to use. Then we'll left click hold and drag it down to the timeline. I'll make sure it's all the way to the beginning. Then I'll move the playhead to the start as well. You can also hold down Control and press the left arrow with the timeline active. And it's going to move the playhead all the way to the beginning. If you hold down Control on a PC or command on the mac and you press the right arrow, it will move it to the end of whichever media is on the timeline. So move it back to the start, and there we have it. We have imported all of our clips in our timeline. So that is it for this lesson. I did not want to overwhelm. So the next lesson is where we're going to continue this process. Now, no more fancy workflow. We're just going to go at it head on. See you there. 10. Basic Editing Tools - Kdenlive Basics: Hi. And welcome to what might just be the second part of this basic editing lesson. Let's get right into it. So last time, we went ahead and created all of our proxies, and we've imported our clips. We've learned about some of the keyboard shortcuts, JK and L, and V and B. Now we're going to learn about the basic editing tools down here as we organize our clip. Now, the very first one or rather the by default one would be the selection tool, keyboar shortcut S, that little S in parentheses over here, and this allows you to left click, hold, and move your clips around, right? If there's space for them, it'll just move them to that space. Now, when it comes to moving your clips around, you can adopt a different workflow, such as over here and just drop down above the names of our track. Have a drop down which has normal mode, overwrite mode, and insert mode. It works the same or similarly as the insert zone buttons that we have up here. Meaning, if I switch to overwrite and I grab a clip, it allows me now to move it over the other clips that are already on the timeline, and if I let go, it's going to overwrite that segment. So I'm going to undo the change, and insert would do exactly as the insert above here. I would drop it over this clip, let go, and it's going to insert itself and push the content to the side. So I'm going to undo this as well. So I prefer to leave it to normal for myself. And let's go ahead and arrange our clips. So with the selection tool, we can move our clips in whichever order that we want to have them. So I know I'm going to go with this guy first, then this one's going to show up. And after that, it is this lady. Then we have this one over here, and then it goes to this one. Afterwards, we can add our audio and the logo that we have that shows up at end of the trailer. Alright. So here we have our clips. They are basically in the order that we need them to be in. And let's say that we're going to keep this to 15 or 16 seconds over here. We can add a guide, so we know that this is the end of the edit that we're trying to do right now. And to add the guide, simply press G on the keyboard, and we're going to get the pop up over here. If I expand this, you can see Edit guide, Kate and Live. You can name the guide however you want, so I'll say end and choose the category. So this is when we were starting up the project, we had different categories. We could rename them and change these sort of settings. This is where it would come in handy, and there it is. So this is going to be the end. It's going to be red, press. Okay, there we have it. So now this allows me to know where I want to end my edit over here. So it's a nice little guide to have. We can see the timestamp under our project monitor over here. So we're at the 16th second, and there we have it. Next, we have the razor tool. The razor tool is the pair of scissors over here. The keyboard shortcut is X, and it allows you to make cuts through your clip. Now, please don't get confused with this guide that we just added. So if I click around the clips, you'll notice nothing happens. You have to place the cursor over the clip where you want to make the cut. Left click, and there you have it, we've made a cut. Now, I don't know how to join them back together, so I'll simply undo the change. Undo the cut. Alright. So that's basically what the scissor tool allows you to do or the razor tool, sorry. Next, we have the spacer tool, keyboard Sircut M. The spacer tool, essentially, you can see the icon over here, it grabs everything that is after the mouse cursor. Meaning, notice that this lady, her clip is right here or place it right at the edge of her clip. Left click hold and drag. And it grabs everything, so all of the clips get selected, and we can move them all together. And it affects them on different layers as well. So if I push this up, grab the space or two. Left click hold, it moves even that layer. Alright. Now, if I move it ever so slightly forward, so now it is also above this man over here, left click hold and move, you'll see it grabs it, as well. So everything that's behind it, it'll grab and ignore everything in front. Now, if you only want to grab the content of a single layer or a single track, simply hold down Control on a PC, I guess, command on a Mac and left click on the track, which we want to grab the content, and it will only grab on that track. Another way is to lock your tracks, and that way, the spacer two will not affect the clips on that track. So you can do it with the little locks over here, simply left click toggle on and off. Alright. After that, we have the slip too and the ripple too. Now, before we get into these two, let's grab the selection tool, and let's study the anatomy of our clips over here. So zoom in a little bit. If you hover the cursor at the edge, so the right edge, the beginning of your clip, you get a little green highlight. If you left click, hold, you can drag and resize your clip so you can reveal the content that has been cut out, okay? Same thing goes for the other side, except that we're going to get a red outline. Left click, hold, and drag. So this is what would allow you to know which of the edges you're grabbing when grabbing the edges over here. The red outline is for the end of a clip, and the green outline is for the beginning of a clip. So now that we know that, let's scale this back down to fit in here. I'll move this down here. Okay. So if I were to resize this clip over here, you can see I'm just leaving a gap. We can remove this gap very easily. We could grab the space or two, left click drag and move everything there that control out of this. Or we could simply right click in the middle here and go to remove space, and it would remove the space. So very simple. Although there are some caveats with remove space, for example, if I move, let's say, this clip above here, and I click right click, say, remove space, notice it will ignore the clip above, but it did move this clip below. So that's one of the caveats where you might want to use the space or two and move everything together. So undo this. All right, so let's undo the trim that we just did. Now, with the ripple two, we're going to look at the ripple two first. With the ripple two, as I'm trimming the strip, it is moving the content after the strip in. So it's not leaving a gap. It's going to move everything and cover the gap. So that can be a little bit heavy on the system, as well. Notice, when you left click hold, you get the in and out of the cut that you're making. Okay. And finally, with the slip to over here, we've already established that there's more content on either side of this clip, which is why we can expand it out like this. What the slip to allows you to do, so the slip to over here is to slide this content. So what is visible over here, you can change its content, but keep the duration of the clip itself, and you get the in and out preview as well. Okay? Alright. So that's it for the basic tools. Now, the very first one, do not use timeline zone for insert. Timeline Zone is referring to this over here. It's similar to the viewer monitor where we can choose the segments of our clips that we want to cut or import. This allows us to select which portion of our timeline we want to render. So when it's time to render, you can either render the entire timeline or you can simply choose portions of the timeline. At the same time, this portion can be used for importing your clips using the insert, and this is the toggle to tell it to either use the playhead. So this cursor over here or to use the timeline zone. Right, simple enough. Matter of fact, we can set the timeline zone using the in and out keyboard shortcuts as well. So, for example, if I move the playhead to our guide over here and I simply press O on the keyboard, it will move the outpoint all the way to that point over here. Okay, now, given that we've modified this clip quite a bit, I'll simply delete this one that we have over here. But before I do so, I'm going to go all the way at the bottom here and I'm going to choose clip and Project Ben. Left click on it. It's going to grab that clip and the Project Bin for me. Now I can simply delete this and insert the new one. Now, of course, you could override it with the insert method, so to move the playhead behind it, simply hold down out on a PC or, I guess, option on a Mac. And well, of course, let's make sure that the timeline is the active segment of our UI. Hold down on a PC or option on a MAC. And when you press the left or right arrows, the playhead will jump at the end or beginning of each of the clips available on the timeline. So that's a quick way of navigating your timeline, as well. Another detail that will come into play later is if you hold down Shift and you press the left and right arrows, it will jump 1 second in the amount of frames that you have set up. So in our case, it would jump 24 frames, which is 1 second. It's a nice, interesting little detail. We'll look at it later. All right. So I'll go ahead and press M on the keyboard to grab the spacer two. I'll move these clips back. Then I'll grab this zoom over here. And since there's nothing really over here, I'll simply press V to insert it, grab the spacer two, grab these and pull them back in. Alright, so that's it for the basic tools. We've learned how to move things around, cut them, resize them, so basically trim them, and slip and ripple. Alright. So before we go off here, we'll simply grab the audio track, drag it in. Make sure it's all the way at the beginning. I'll press X on the keyboard to grab the eraser tool, and then I'll simply cut our audio track here, press S on the keyboard to grab the selection tool, make sure to have the part of the track selected, and then I can just press delete and delete it. All right. So that is it for this lesson. In the next lesson, we're going to start adding some composition, how to change the speed of our clips in a little bit of time remapping. Alright, then. So see you there. 11. Time Remapping - Kdenlive Basics: Hi, and welcome to this lesson on time remapping or rather changing the speed of our clips, either to be slower or faster. There are two separate methods for doing this, and we're going to take a look at each of them. So let's get started. Okay, now, for this particular project, at this stage of our editing, we can go ahead and use the soundtrack to help us with the pacing of our edit for this particular project. So the first thing to do would be to simply go ahead and do a simple playback, get a feel for the variations in the track, and see what comes to mind. So there are a few things that I picked up on. And the first one being that I want a transition to happen around this drop in the beat. Okay, that's the first thing. And the second thing would be that this second clip over here is too slow. It's actually going in slow motion. I'll disable the audio for now. Can see it's slow motion compared to the first one. And I'd rather have it a little faster. So to change the acceleration of a clip, simply right click on it, go down to change speed. We'll get a pop up. And here you can change the speed either by using the slider or typing it in manually. This works in percentage. A higher percentage is a higher speed, a lower percentage is a slower speed. Then we have these two checkboxes over here, one for pitch compression. This is if you are using an audio track or if you had an audio track attached or grouped with this video over here. And then finally, we have reverse clip, which would be to play it backwards. Right then. So I'll change this over here to 120, press Okay, and see how it looks. Still a little too slow, so I'm going to accelerate it even more. And to change the speed, we don't have to go inside of that. Menu. We can do it directly on the timeline. And to do so, all we have to do or move this backward is hold down Control on a PC or command on the Mc, then click at the edge of your strip here and simply trim it in. You'll see at the top left corner, we have the percentage number, so this is the speed percentage, and it is changing as we drag it in, while holding Control. Right, so let's see what 162 looks like. Still a little too slow, and now our clip cuts a little too soon. So I'm going to expand the clip a bit without holding control. And since I have Snap enabled, it's simply going to snap to the playhead, and it's a little too slow still, so I'm going to accelerate it a bit more. So let's say maybe 190 to 200, see, I'm using the snapping here, so 209. Alright, more or less a good speed, and then I'll simply expand it or extend it a little bit more as such. Alright, now I'm going to hit M on the keyboard to grab the spacer tool and drag our clips, but nothing's happening. What's going on? Well, to put it simply, our audio track down here, reaches to the end of our timeline and thus cannot be pushed back any further. And since it is technically behind the cursor, it is also getting grabbed by the Spacer tool. So, of course, we've seen this before. We can simply hold down Control and move the clips that are on this track. But in the case where we would have, let's say, this strip above here, using control would not serve us much because then we're ignoring this clip above. So the fix for this is simply to lock the audio track, so we can lock the track over here. So now the spacer tool will ignore it and we can grab all of our clip, right? So go ahead and move this back down. Okay. So this speed is okay. Now I'm going to accelerate this clip over here, but we will not be using the same method that we did for this clip over here. Instead, we're going to use time remap. Now, I've noticed that with the time remap, once you apply it to a clip, changing the duration of that clip or even making cuts to it does not play well with the time remapping. So we want to make sure that we have exactly what we want to remap here. So let's see. I want to start with her having the cup a little closer to herself to her lips, and at the end, the end is okay. Move this in, space or two, move everything in. And now we're going to do the time remapping. Let's right click on the strip over here, the clip, go down to Time Remap. Check it on. You're going to get the time remap window. It could be above here or anywhere on the layout, really. Simply grab the tab or the name of it could be at the bottom or the top and drag it to wherever you want to put the time remap. In my case, I'll simply put it with the effects and composition stack, and let's take a look at the options over here. Now, first thing to note is this right here, this grading is essentially a timeline, similarly on the view monitor in the project monitor. If you click at the top, we have a playhead. Left click hold and drag. Notice that the playback is happening in the view monitor. So this would be applying the effect directly to the strip inside of our project bin. And down here, We have another playhead. If you left click hold and drag, you'll notice that it is doing the playback in our project monitor. So this is where we want to do the changes that we want to see on the project. And up here, you can do the changes directly to the clip itself and reuse that same clip. Alright. So to use time remapping, all we have to do is set a couple of keyframes where we want to keep it at the same speed and where we want to accelerate it. So I'll scrub through this. And right when she's putting the cup to her lips is where I want to accelerate it. To add a keyframe, simply click on the Stopwatch with the plus on it, add keyframe, and there we have it. Then I'll scrub through and go to where I want it to slow down again. So right around when she's taking the cup away from her. So around here, let's see. I'll add another keyframe. You can use the stop watches that have the arrows so left to right to jump between keyframes. Alright. Now, let's go ahead and click right under the red circle here for our second keyframe that we created. Left click hold and drag it in closer to the first one. Let go. We'll see that the clip shortens, and this is simply to compensate for the change in time, right? So let's play back. So it starts slow and then accelerates and then slows down. Maybe a little too much. I'll push it back a little bit, and I'll accelerate the very beginning slightly. All right. So next inside of the time remapping, we have a few more options such as the check boxes at the bottom here. So pitch compression, again, is for audio. If we had audio attached to this video, we have preserved speed of next keyframe. So if we want to preserve the speed of the next keyframe, and finally, we have frame blending. So this right here would add some motion blur to the parts that have been accelerated. So you can see here we have motion blur in the background. If I uncheck this, play it back again, we have less motion blur. It's a bit sharper. But with it, it's a lot of motion blur. Alright. So that is essentially how we can accelerate or decelerate our strips. Now, I forgot to mention that we can also stretch a clip. So if you hold down Control, click on it and drag it out. You'll see we get a smaller percentage, and now we have a much slower playback. So I'll hold down Control again. I'll drag it back in and then move it into place. Space or two, push everything in, and there we have it. And finally, I'll simply do the same add a bit of time remapping to this clip over here and a little bit to this one. Before I do so, I'm going to delete the time remapping that we added to this by clicking on the trashcan over here. Then I'm going to change the intro so that it starts right there. As such, move everything in. I'll turn on the track. Okay. I'll cut this one just a little bit more. Trim it down. Or this one over here. Oh, add just a little bit of acceleration to the beginning. And I'll drag the rest in. Okay. Let's right click on the strip over here, the clip. Okay, so, finally, I added a bit of time remapping to the first clip just a little bit. You can see it over here. Just push these in a little bit. I've accelerated this clip over here even more just to get it closer to the drop so I can make the transition later. And then I added just a bit of time remapping to this one, so they start walking like what seems like normal speed for a little bit, and then slow down again. And it is safe to expand a clip with the time remapping. It is just not safe to contract, like, shorten a clip with the time remapping. Alright, so that is it for this lesson. In the next lesson, we're going to take a look at transitions. See you there. 12. Adding Transitions - Kdenlive Basics: Hi, and welcome to this lesson on transitions. So this one is going to be a quick one relatively, and it's quite simple. To add transitions, we're going to grab two of these clips over here. We're going to leave these as they are, and then we'll add the transition to them. But first, let's look at how transitions work. So I'll just import these two over here, and we can work with these two. So transitions, essentially, you can do them right here on the timeline. Is that at the bottom corners of our strips, we have these little purple dots that show up if you hover. They appear for all of our strips. If you simply left click on it once, it adds a composition track right here, which you can repurpose, move around, use for something else. So it adds this little composition track, and you want to make sure that snapping is on for this because it is important that the edges align with these edges. Otherwise, you might get some weird, funky, one or two frames of weirdness, really. Alright, to zoom back out. And by default, it gives you a simple wipe like this. We have a few parameters for this over here one of them being this drop down, which allows us to choose different types of composition to apply to this one over here so we can change the mode of it. But with the wipe over here, we have composition track. And essentially, if we had other tracks here, we would have the option to choose which track we want this composition to be between. So we have it on video track number two. If this was video track number three, let's say I inserted a track over here, say, Okay, we could still make the transition happen between just those two by going in this drop down and choosing V one, so it knows that it's going from V three to V one. Okay, so just undo this. Then we have the wipe method. So it's a list of the different wipes that you can use over here. And we also have this softness meter. And when you drag it up, you get a bit of a blur on the wipe. So instead of a sharp line, we're getting a soft line, and it applies for just about all of them. Alright. And then we have the invert. Invert simply changes the direction of the transition. Right here, you can see we're getting the bilinear, so it's splitting open from the middle. If we invert, it's going to collapse from top and bottom. Next, we have revert, and revert is essentially going to instead of going from this clip on the left to this clip on the right, it's going to jump to the clip on the right and transition back to the clip on the left, which doesn't make much sense, but it's an option. Alright, then. So that is for one form of transition. So we can delete these simply, you know, hit Delete. There you have it. If you click this button, and there is nothing, it's going to add a wipe, but it goes to nothing, essentially. Other method to add or transitions would simply be to click and drag one of these compositions option over here and simply drag it over the timeline and then fit it to the clip that you want. But, for example, here we have multiply, and it would simply multiply this top one over the bottom one there, right? So you have lots of different options inside of here. We have composite and transform, which would allow you to do certain transforms to the clips that this is being applied to, right? No, this is not affecting this one down here. It's only affecting this one up here, so they don't all work like transitions. Okay. So that's for these methods, very simple, straightforward enough. So I'll delete those two strips. And now let's go back to our project. Let me zoom in here. I want to add a Let me mute this. So I want to add a transition between this lady over to this lady over there. Okay? For this transition, we're going to use a different option. We're going to click on this button up here above our timeline next to our in and out insert. We have this option which says mix clips. The keyboard shortcut is. So if I were to move the playhead cursor to the left of my clip here and I press U, it's going to add the transition to the left. So control z out of this. Instead, we're going to move the playhead closer to the right, and then we're going to press U and there we go. It added this purple thing, which makes a transition between those two. That way, we don't have to place one above the other. If you move them, it actually removes it. So undo this. You can also delete it directly by simply left clicking on it and then hit delete. So I'll undo that as well. And in here, it's about the same thing. You can choose different transition methods here, and they each come with their own options. So for this particular one, I'm going to introduce you to the slides. And slides, essentially, well, it slides, and you can control where it comes from, where it ends with these controls here, and you can also control the opacity of it. So fairly simple. But instead, for this one, I will be using the push, and I'm going to push left. So this new clip is going to come in from the right and push the old clip to the left, and that's what we have here. Now, let's see how it sounds with or beat. Now, I really do want this to happen on the beat, and the best way for me to do this right now is simply to shorten the clips before and make it reach. You could always try and grab this edge and put it in, but then you'll notice over here, there's a freeze frame. It's not moving anymore. So it doesn't work that way. So you can either delete it and make sure that these are closer to each other and then add it or simply move these other clips here. Now, we did some time remapping on this. So if I shrink it down, we might get some anomalies. This one over here does not have any time remapping, even though we change the speed, changing the duration of the clip itself will not affect the change in speed. So with that said, we can shorten this. Let's say, all the way to here, move this in. Let's see how this looks. Click on this, place the cursor closer, press U on the keyboard. Alright, let's unmute this. So let's take a look at this. You can also open the drop down and then start typing in push. It's going to find the push. Okay? All right. Now, we can add some motion blur to it, which would just consist of us adding a blur effect over these two strips as this happens. So it looks like there's a motion blur. Okay. So that's another way of adding the transitions. For this over here, we are going to make a transition between them walking and this cup over here. So let's go ahead and do that. For this, I'm going to shrink this a little bit, bring this in. And now I can click on either one of these, press U on the keyboard and add the transition. Okay? And I'll switch this to a white transition. I'll switch it to spiral. There we go. And now I want to invert the direction so it looks more like they are getting removed with the swipe. Maybe just a tiny bit of softness. And there we have it. Let's see if it matches with the beef. All right. So we have our two transitions here. And finally, we're going to do a fade in, fade out effect with our clips. And let's go to the project Bn. Let's go to our graphics, so images. They're all grouped together. So we're going to grab the night owl brew, drag it in here, and drop it up here. All right. So right now it's a little bit long, so we can trim it down, let's say to around here. I'll drag this out a little bit as well. Oh. I'll push this in a bit more so it happens sooner. Okay, let's say around here. Now, in order to create fade in and fade out, at the top corners this time, at the start, we have a green one, similar to the green edge when we were resizing our strips or clips, and over to the left, we have a red button. Now, you can either left click on them, and it will add a fade in effect inside of the effect and composition stack. So I'll delete this one. Or instead of left clicking, you can left click hold and drag to where you want to limit the fade in. And it's going to let me mute this. It's going to gradually fade in, right? So you can control the timing, even on the strip itself. You click on the point and you can drag it back and forth. So to delete this, you could also simply click on it, drag in, and it disappears. So we want this to fade in. So we're going to add the fade in over here, but we don't want it to go all the way to the back. So I'll simply left click hold and I'll drag it myself, and let's see how it looks. It comes in a little fast. I'll drag this forward a little bit more as well and push this in. Okay. You can also tell it to fade from black, but in this case, we don't want it to fade from black. Picture that everywhere that has opacity is fading from a black background onto the original image. So uncheck this. It's useful for other things, but not for this particular case. Before we move on, I'll add a fade out to this cup over here. Left click hold and drag it in, so it fades to black. For this one, I would check on fade to black. That way, instead of simply fading to transparency, it's going to fade to a black background. All right. That is it for this lesson. The next lesson, we'll be taking a look at effects. See you there. 13. Adding Video Effects - Kdenlive Basics: In this lesson, we'll be taking a look at effects. So let's get started with it. The first thing we'll do is on our logo over here, we're going to change the color of it to white. So we're going to add an effect to make it white so that it stands out on this black background. Matter of fact, I'll drag this in a little bit so that the black background happens sooner. Then we can add a black solid here just to be sure. So to add effects, simply go to the Effects tab over in our Project panel. Now, this is the part where I should probably mention that we have different workspaces, each one for a different step in our process. And right now, we're at the effects, so we could go to effects and use this layout, but it's not really necessary, although I recommend that later on, you can adopt this sort of workflow. Now you can see on editing here, the time remapping has been moved, so I'll move it back inside of the stack, scale this down, and I'll hide the audio mixer. Well, hide it. Okay. So to add an effect to our strip down here, simply go over to effects. And up here, we have a search bar. Above the search bar, we have these different categories. The first one is general, so it gives you a general look at the effects. Next, we have video effects. So this is specifically for video strips. We have the audio ones, so specifically for audio tracks. Then we have these custom effects stacks, if you will. So this is when you start having, let's say, you have a color correction process that you do each time, you add different effects to the layer stack, and then you save that stack of effects. And here so you can apply it with one click each time you jump into a project. Next, we have the favorites, and the favorites can be found right above the timeline here. It is this little star. And these are for quick access. You can add whatever to favorites. So if we went to any effect in here, right click, you can say Add to favorites, and that's about as simple as that. This last one here allows you to download effects online. So if you're connected to the Internet, you can download some effects. So we'll start with some video effects. And to change the color here, we're going to look for something like color overlay. Right? So we write color up here. We get a few options. We have color overlay. Now, to add an effect, you can either select a strip you would like to add the effect to and then double click on the effect, and it will add it to your strip. You can see we have color overlay here. Let me scale this up. Or alternatively, you can simply left click hold and drag it onto or drag it onto any clip for that matter. Now, you can add effects to your clips on the timeline. You can add it to the tracks themselves. So it affects every clip on that track. You can add effects to Master. Now, master would affect everything on the timeline. So video and audio. That is that video effects will affect video clips and images, and audio effects will affect, well, audio tracks. All right. And you can even add effects to your clips directly inside of the project bin, similarly to the time remapping. Okay, so now we've added. So if we left click on it, we've added a fade in, which we can collapse up here with this little arrow. We added a cover overlay, and then we added an extra color overlay which we'll delete by clicking on this red trash can here. So we have quite a few buttons all around here, so let's take a quick look at them. We're going to look at color overlay. First one at the top here is for keyframe. So you can enable or disable the key frames of the effects. That's the first one. The second one is to enable or disable the effect itself. You can see here. And this one over here is for the presets. You can reset effect. So if I had changed the color, I could just reset it to the default, that's it. And then we can save presets. So if you add specific values here for something, you can save it and next time load those values each time. Reset out of this. Next, we can save the effect. And this is where it would go inside of this little menu here for your custom effects. Give it a name, description, put it in there. You can do the same up here. So this is the entire stack of effects. So you could save this and it would import fading and color overlay with one click or two clicks, that is. All right? And then next to it, we simply have these arrows to move or effects up or down. You can also left click on them and drag them up or down. And finally, we can delete them. Okay. Now, for effects that have keyframes, we have this button up here, which allows us to hide the keyframes from the timeline or show them. Notice this clip over here is blue. Let me add a keyframe over here. You can see we have a red dot. We can drag it to the side. It will affect it over here in the stack. Alright. We can also play back the clip that has the effect using this timeline over here. We have the buttons down here to add our keyframes and to jump between our keyframes. Then we have a few more options here, but we'll look at them in just a moment. All right, so I'll delete this keyframe over here, I'll even disable the keyframes for this one, and I'll change the color to white. So in order to change this to white, we're going to drop the saturation, push up the lightness and drop the mix. Now it turns to white. The mix is to mix between what we're doing in the original color. And if you're not mixing it, then simply it has zero saturation, so zero color, and it has full lightness, so full brightness. All right. If you hover over it, you see it tells you that holding down shift will allow you to adjust the values in smaller increments. And that's it. We now have this in white. But it is quite large. It's quite big. How do we resize it? To resize this, we're going to need a transform effect. We could also use a transform composite transform strip over here, simply drag it in and then do the modification to it itself. Or we can add a transform effect to our clip over here simply by going to our star, going down to transform. You can either click and drag or double click and it will add it. Now for effects that have been added to the favorites, if we look for transform here, you'll notice it is in a bolder font. So this lets you know that something has been added to favorites. So you see it removed from favorites. All right. So with the transform effect in there, what we can do is change the scale down here with size. Several ways you can go about this. One way is to simply left click on the word size here. Left click hold and drag left or right to scale up or down. All right. So scale this down. Let's say around here. How I want it to look at the end. We can also move it left or right with the X and Y values. So X is left and right. Y is up and down. We can also change the dimension of it right from here, and we have this chain over here to do it in a symmetric way. You can also align it to the canvas so far, so move it to the side, center it, move it to the other side up down, center. Alright? And finally, these little buttons over here, it's to adjust the original size of the image. Just to demonstrate what they do. If I say fit to WI, it's going to fit the size of this box to the With. So instead, I'll simply go for adjust to original size. So this should be the original size of our clip over here. We can verify by going to Project Bin Image. Click on the image, go to Clip property. And you can see here it's not a huge image. It's only 733 by 469. Alright. So with this, you can also control it from the project monitor. So we have this center point to move it around left click hold and drag, and then we have these corner points to scale it. Don't worry, it will scale proportionally. So I'll scale this to a convenient enough size to center it, I'll simply use these controls. Now, if you're not seeing these red borders to allow you to control the transform right in here, which is only visible because we have the transform active. If you click on a different effect, it disappears. To have these controls or to hide them under the project monitor, we have this little icon here. So if you click on it, it's gone, click on it again, we have it there. We also have little controls over here. We'll look at that later. And, right, so this is where it's going to end and stay. Now, I want it to start tiny in the cup and grow out gradually. To do so, let's say, for example, over here, this is where it's going to be its original size, so I'll add a keyframe over here. Then I'll go back to the beginning I'll temporarily disable the fad in so we can see it. And over in the transform, I will drop the size down to about here. So now if we play back, you can see, it gradually scales up. Now, note that once we've added this second keyframe, when we're scrubbing through this, everything gets grade out. That is because you cannot change the properties of transform or anything else in between keyframes. There must be a keyframe for you to change the values, and that's essentially how that works. So we can also change the opacity of this layer, this strip over here directly from transform. So if, for example, let's go to the keyframe. Opacity over here. At the end, we want it to be 100. We could go to the beginning and drop the opacity, and it would do something similar to the fad in. But we'll leave that to the fad in effect and just control the transform with this transform. Now, I'll turn on the fad in and see what it looks like. So first, I'll push this back a little bit. Now, when you click on these keyframes to move them around, your playhead might start jumping to where you're clicking. To disable this down here in this little menu, we have this Hamburger option. If you're not seeing it, for example, this is collapse, you have this little arrow click on it, and you're going to see the option. So in here, we have where is it? Where is it? We have seek to keyframe on select. If I enable this, when I move a keyframe, the playhead is going to follow it around. If you don't want that, just go in there and uncheck this. So I'll push it further out, and let's see. So what I'll do is over here, I'll add another keyframe. Now I can push this one further. So it starts a little faster, then it slows down. Starts a little fast, then it slows down. Now we can change the interpolation of our keyframes. By default, they are set to linear. So we have this little triangle here. You have linear, so it's going to move at a constant speed from one keyframe to the next keyframe. Then we have discrete. Discrete essentially is a jump. So it's going to jump from this keyframe instantly to this keyframe. That's to sable the fade in again. So there's no transition. It's just a jump. So that's what discrete stands for. And then finally, we have smooth. Smooth starts a little fast and then slows down naturally. So we can use that for this effect as such. Even push this second keyframe back a little bit. And at the very beginning, I'll make it a little bigger so it doesn't start as small. Let's look. So over here it's 34. So over here, I'll make it 20. All right. I might even change this second keyframe over here to smooth. Now, of course, you have other options in here, which we'll be looking at later. So don't worry about those. You can change the default keyframe type, however, to have it to smooth all the time. We'll be looking at some more advanced features of the effect strips, but just know that in here, you'll find just about everything you could think of. So you have crop, which allows you to crop. If you're not finding something, it could be under a different name. You also have different categories over here to help you identify what you're looking for. So we have all of these different sectors, stylized, motion, transform, distort and such. Now, of course, not all the effects that we have are in the effects stack. For example, to do the time remapping or change the speed of a clip, you don't do it using the effects. So not everything is in there. So things like stabilizing a clip or footage is done directly in the project bin. You would right click on it, then you would go to clip JOBS and you can click on Stabilize, and it would stabilize the clip. You get a little pop up. You can usually leave it to the default and simply press Okay, it's going to create a stabilized version of the clip. So one last thing when it comes to effects, the order in which you place the effects does matter, meaning, I'll grab this clip over here. I'll save, scroll down. Let's add a transform to it. So I'll add transform, I'll hide the key frames. And I'm going to scale this up. I've scaled it up quite a bit. Now I'm going to add another transform. A stack up. The first one applies first, the second one applies second, so on and so forth. I'll disable the keyframes. Now I'm going to move this to the side. And notice it's cut. We know that there's more content, but it is cut right now. The reason for this is when we were zooming in to the original clip, we have all of this information. So this first transform has access to everything. After we zoomed in, this result right here is what the second transform is working with. So the order in which you put the effects really does matter. That means that if I were to move this transform above the scaling one, you see now we can move left and right and still have access to all of the information because we're moving the original image left and right, and then we're zooming in. And that's about it for effects. So in the next lesson, we'll be taking a look at how to work with Audio inside of Caden Live. I'll see you there. 14. Audio Mixing - Kdenlive Basics: Hi, and welcome to this lesson on audio editing or rather working with audio inside of Kaden Live. Alright, quick disclaimer. I'm not a sound engineer. I'm not a master at mixing audio. I get by, I do my sound reduction, compression, amplification, in equalizer, if necessary. I do not do these inside of Kaden Live. I do it outside of Caden Live. Alright, but that said, let's jump right into it. The first thing I'll do is, of course, unmute or audio track over here, and working with audio is quite simple. You add the effects the same way. So if we went to the audio effects, you simply search for what you want to add, let's say, a compressor, for example. Now, if you don't know anything about audio or audio editing, it won't be too hard to learn the basics. For example, we have a compressor. We have the compressor and then simple compressor. You can see it's inside of volume and dynamics, and this would essentially allow us to amplify the volume of our track. Although we don't need to do that for the soundtrack right here, we have things like a limiter. The limiter would allow you to set a volume cap that it cannot go above. So you have different options all available to you right here inside of Kaden Live. For example, you could use the amplifier to amplify the sound. We have amplifier mono stereo, and amplitude modulator, right? So you have a lot of different options. So the most common one you might end up using is, for example, volume, and it's key framable. So you can control the volume of your track throughout different parts. And that is exactly what we're going to be using. So left click on it and drag it over our audio track and let go. We now have the volume control. The reason for this is we're going to add this little sound in our track, but we're not going to add all of it. We're just going to add up to a certain point. So if we go over here, playback. So starting here. So just to have the sound of hot water being poured. So I'll go ahead and set our endpoint, and I'll go over to here and set our outpoint. I'll add it to the project bin. Now we can drag this in and place it around here. Notice, it's very low. To fix this, we can use either the compressor or the amplifier. So I'll try the simple compressor here. And if we play back, so it is bringing up the volume. So let's say we push this up a little bit more, so 35. Okay. Then I'll shorten it and I'll add a fade out, a very long fade out and a very short fade in. So, yes, you add the fade out and fade ins the same way you would for video track up here. And if you wanted to add a transition, so if you wanted a track to transition to another track, you could, of course, add the fade out and fade in manually or you could use the same thing that we used above here. Let me unlock this track here, which would be to let me remove the fade out, unable the soundtrack, simply select your track, press U, and then you would have this over here. So it gradually fades out from the first one and then enters the second one. So I'll remove this. Another method is simply adding the fade out and fading he frames yourself and making them match the difference in a way. Alright, so undo this. I'll place our track down here again, right about here, and I'll add the slight fading. We're going to lower the volume of this track over here, which is why we added the keyframe above volume. So I'll add a keyframe here or move. You can also double click on the timeline to add keyframes because we have the hight keyframe and timeline disabled, so it's showing them. So I'm going to add the next keyframe over here, and then finally one last keyframe over here. With that done, you can change the volume right in here with the slider or directly on the timeline, simply dragging these. And finally, I'll add a fade outut to this track. Even though the volume is going back up by the end, I'll still add the fade out. Now, if you want to separate the channels on your thumbnails, like I have on mine, simply right click on the track so over where the name is, and check on separate channels. We can also activate this by default in Caden Live setting. We'll be looking at that later in the course. Right? So that is it for audio, really. And if you remember, we've already mentioned that you can control the volume of them inside of the audio mixer. Master controls all the sound, and these two control the individual tracks. All right. So in the next lesson, we're going to put a pause on this project just for a moment, and we're going to look at some other features inside of Caden Live. And then we'll return to this project, and we're going to finish it using some more advanced features. But the process is still going to be very simple. See you in the next lesson. 15. Adding Text - Kdenlive Basics: Hi. As we've mentioned in the previous lesson, for this lesson, we're going to take a break from this project, and we're going to jump into some other features of Caden Live. So the first thing we're going to do now, this might seem a little complicated for those of you who might not be used to this, but don't worry about it. We're going to click on sequences, the folder that we couldn't delete. Then we're going to go up to project in our menu bar and go down to add sequence. We get a little pop up. We're going to name this tracking. Alright. How many video tracks? Two, how many audio tracks? Two. Press Okay, and we're done. Now we have this sequence inside of sequences called tracking. Next thing you might notice is above our timeline here, we now have two tabs, one for sequence one, and one for tracking. Now, this is where you might run into some crashing if you push things a little too fast or too hard. So we're going to go at this a little slow. Make sure to save your project, and we're going to make sure to go over to tracking. So we're going to add text to our project. I'm going to grab the first clip that we have up here and drop it on the timeline. I'll go ahead and zoom in to the clips length, but notice it no longer works. This tends to happen, I've noticed once we start entering into multiple sequences. So we'll zoom in manually. And this is our clip over here. We're grabbing the entire clip and putting it on the timeline. This is the whole clip, a person walking on the beach. So we're going to add a title above this person. And to add titles, first things first, we're going to collapse this, or click on empty space so I make sure nothing is selected. And then I'll click on this folder here with a plus to create a folder, and I'll call this titles. You can call this however you want texts, titles, words, whichever. I'll go ahead and make this 04, so we keep it in order. Next, with titles selected, I'll go into the menu up here, the dropdown menu, and I'll go down to add Title Clip. It's going to open this window over here for us. In here, you might not have this check by default, but there's show background, which will show you what is in the background, so visible on the timeline where the playhead is, and now this can help you position your text. So I simply left click once and it added this little text box. If I left click again, nothing happens, we would have to go up here, grab the add text and add another text. And each of these is a different text. Let me remove the background. You can also change the color of this background over here so I can switch it to black. Now we just have a black solid. You can also add a few shapes inside, so we can add a rectangle change the color of the rectangle over here in this menu on the right. Now notice it's over text. What if we wanted to be behind rtex? Well, you have these arrows up here, which allow you to control the hierarchy of your objects. You can see here it's Z index two. So it is two levels above. We can do over here is simply click on these arrows to lower the object. We can also do it manually over here. We have one to go all the way to the bottom and one to just go step by step. All right. So we're not really going to use this box over here, so let's just delete it. Make sure to left click on it so it's selected and press delete, and that's it. I'll delete one of the texts as well. Now to work with this text, double click on it, and now we can type in whatever we want. I'll call this tracking. I'll switch this back to a checkerboard and add the background, and I'll change the color of the text. So inside of solid color, I'll choose something like a sort of bright orange, more or less. It's Okay, and there you have it. Still very small. We can change the scale of the text with this over here. I'm simply going to scroll on the mouse wheel, making it bigger. Then we have the font that we want to use. You can use whichever font is on your system. So I'm going to go with Gautam. Then I'll change it from normal to black. Okay. We have a lot of other options here. Some of them might be evident to you. So, for example, underline, italic or emphasis. We have this over here to add custom characters, the special characters, you could say, Ks. Then we have this button over here, which we could switch to a gradient color and we could edit the gradient of our text over here, right? Or just use a solid color. We can also give it an outline with this value down here. Let me remove the line in the italic. We can choose the color of the outline. So let's say we chose a redder color. You can also pick a color from the screen, so go anywhere here and just pick a color. Or you can add custom color and it will add it to the stack over here. That's Okay. I'll remove the outline. I'll switch this back to black and remove the outline. We can also add a shadow to our text. We can control the blur, the offset. So this is X, so left and right, and then this is Y up and down. Then you can also control the color of your shadow, if you will. Finally, we can align the text. Will it be aligned left, align center or to the right? We also have some animation that we can add to our text like a typewriter effect. To see this, we'll have to go over to the timeline. But essentially, you can do it per character, per line or per word. In our case, we only have one word, so we could do it per character. The frame step, the more frame steps, the slower it goes. So how many frames does it take for each character to show up? So let's say ten frames. You can simply create title down here. We have a few templates down here as well. Nothing too special. You can also adjust the fit of this preview in here. You can also zoom to it. Zoom in, move left and right. All right. Remember, we can add shapes, we can add images, we can open documents in here. Then we have options for background, and this would be a general background. Animation, I don't play with this too much, but essentially you can animate the text. So add Edit Start Point. So it's going to start here, right? Edit endpoint, it's going to end here. You can also change some features like is it going to zoom in by the end, et cetera. Then you would create title, and it's going to have this animation. So in this particular case, I'll just create the title. Now, remember it's going to use the typewriter effect plus delete the animation that we just added. So we get this weird movement over there. So I'll delete this one. Add another one. Although you don't have to delete it, you can double click on it and edit it, but I'll just start fresh. This time, I'll left click. I'll type in tracking. Let's do it all caps this time. Tracking. I'll leave it. I'll change the color. Alright. So I have the word tracking over here. I'll simply leave it at the center and press Create title. Now we have our title. You can click drag and put it on the timeline. Here it is. You can apply effects to it the same way, add transition, so it goes from visible to fading out. So the title clips basically work like video clips in a way, except that they have no video, no footage, right? Alright. So that's it for titles. And the next lesson, we're going to learn how to track elements inside of Caden Live, and we're going to pair this up with the title. See you there. 16. Tracking - Kdenlive Basics: Hi. And welcome to this lesson on tracking. We are simply going to make the title here Track or person over here. So the first thing to do is to track the person. So what I'll do is simply go over to the effects. I'll make sure to be on the video effects, or it could be on general, but I'll go to video effects, and then I'll start typing tracking or track. So we have Motion Tracker. Since we have our strip already active, we could simply double click on it, and it will add the motion tracker over here. Going to place this red square, which we can change the shape or you can go from rectangle to ellipse to arrow, right? So we place it over your target, but I'll go with the rectangle over here. So I'm going to scale this down so it fits around, let's say, the head of our character, which is what I want to follow more or less. And for the tracker algorithm, we can leave it to KCF. There are some minor differences between them. You can look it up in the Kaden Live documentation, but KCF works great. Now, for the keyframe spacing, now this depends on the amount of blurriness and the speed of your footage, right? So the higher the blurriness and the movements, well, you can get away with a smaller value over here. The lower the movements, the more keyframe spacing. And next, we have the shape with over here, so we can see it's a little thick so we can make it thin this is mostly for aesthetics, although you can render this red circle out. Next, we have the blur. The blur really is for inside the square. You want to blur the content of the square. And the blur type right now is set to noun so we're not seeing any changes. But if we switch it, for example, to Gaussian blur, it is blurring everything inside of this little square. So you can use the tracker to blur sensitive information and not have to keyframe the movement manually all the way. Okay, you can change the color of the tracker as well. Just leave it to red and switch the blur to none. Right. Now, once we have the element that we want to track selected inside of the square, simply click on Analyze to apply effect. Give it a moment. It is loading down here. Now, depending on your machine and the footage that you're trying to track, the process might take longer or less. It all depends. So we're giving it a moment. Once the tracking is done, you'll see we get all of these keyframes down here and all of these points representing the location of the different keyframes. If we play back, you see it tracks or subject quite well. All right. Except that by the end our subject walks out of frame and the tracker doesn't know what to do. We can fix that after. We could also just delete those final keyframes or go to the last one, push it off the frame. There are many options. But for now, what we want to do is extract the tracking information so that we can apply it to our title. So if I grab the title clip, drag it in, I'll make sure it expands over our entire footage because we want the word tracking to be there the whole time. And now inside of motion tracker, what we're going to do. So down under here under our keyframes, we're going to click on the Hamburger, and we're going to click on copy all keyframes to Clipboard. Left click on it. We can disable this. We can't even delete it, but we'll simply disable it. Now let's go over to our title clip, and we're going to add a transform effect to it. So I'll go inside of the favorites, double click. And now we simply go to the Hamburger, same thing. And this time we're going to say import keyframe from clipboard, and we're going to get this funky looking graph. We don't have to play too much with anything here other than the data to import, which is just our rectangle. If you add more keyframes copied to your clipboard, you could choose amongst them. But what we want to change is, first of all, it's unchecked limit keyframe number. We're going to remove this. Next, we want to map the position, right? You could also map the X position, so it only moves left and right, but then you wouldn't be able to adjust the height of it unless you add another transform. So it's up to you and what you're trying to achieve. So I'm going to go with position. For the position, you'll notice here that we have the edge of our title, and it is mapped to the top left of the rectangle, which we're not seeing here because we disabled so what we're going to do is change the map position to center, for example, and then change the rectangle to center. And now it's going to put the center of or title at the center of the rectangle. And this is because our text is at the center and not at the edge of the image or anything of the sort. Now we need to adjust the position and we can do this with the position offset. So we simply have to move this where we want it to be. So I'll go ahead and type in, let's say, negative 200. It's not enough, negative 300. That should work just fine. And then over here, I'll put negative 70. Or move it back a little bit more. Then we can simply press Okay, and there you have it. We've transferred the keyframes over to our tracking. So if we play back, let's disable the controls, and we can see it. It is tracking or person. And by the end, of course, we know it's going to start doing some odd little things like get stuck. And we can fix this easily by either deleting those final keyframes over here, right? Or by adding another transform that we keyframe to go off screen by that point. When imparting our keyframes as well, we could have skipped some of these keyframes over here. But anyways, like I said, another easy fix is just add another transform. And once you get over here, for example, add a keyframe and then right after, add another keyframe and push it off the screen. So that right there is an option. So what we could do simply as it's arriving around here. So we know she walks out of frame, we can crop this out, crop it out to here, and simply add a fade out. That way, it disappears before it stops following her. Now you have it. So all this to say that you can add another transform and add different keyframes to that transform and continue from there. Now, in the next lesson, we're going to learn how we can export our project as a video file or even image sequence, and right after that, we'll dive into these more advanced features as well as finish or add. I'll see you in the next lesson. 17. How to Render - Kdenlive Basics: Hi. In this lesson, we're going to learn how we can export our project. Now, this is the unfinished version of the ad, but let's say that this was done and we're ready to render. Also, there are several reasons why you might render a video project before it is done. In order to render, you simply have to go up to your menu bar, go to Project, and then go down to render. Also have the keyboard shortcut Control plus Return or Control plus Enter. There used to be a render button at the top here, which you can get by going to settings down to 2 bars shown, and then click on Extra Tobar and you'll get this render button. I'll leave this off. And let's go ahead and render our project. So I'll go to Project render or simply use the keyboard shortcut. Now, you'll get this little pop up window over here. We have a few tabs at the top. We have the output file, and this is where you choose the destination of your output as well as the name of your file. You can access the file manager through this little icon here on the right, simply left click on it. We can navigate to the project folder, go inside of Renders, I'll click on this over here, and then I'll change the name to V two and save. We've now set the location and the name file. Next, we have our presets, which are the different profiles that we can use to render out or video or even our audio or image sequence. You have different formats for each of them or different extensions. You have video with Alpha. These tend to be slightly heavy, but you can render video with transparent background. We have the image sequence and different formats for it as well. We have loss list, which does produce heavier files, but the export does not suffer any loss of quality. Then we have the generic, which is the default, so HD for web, mobile devices, et cetera. By default, it'll set you to MP 4h264 AAC, which is good enough for most renders. You also have few other formats. Then we have the ultra high definition four k, which is for high resolution, but not the same as lossless, OTV definition, if you need that, and finally, hardware accelerated, which is experimental. Alright. Now, at the bottom here, we have these different toggles, and the very first one full project, let me push this up. Full project is referring to anything on the timeline. Meaning, if this clip was all the way here and we chose full project, it would render our entire content on the timeline, including this blink space all the way to the edge of this last audio clip. So let me undo this. Next, we have the selected zone, and the selected zone is referring to our in and out points on the timeline. Now, notice at the bottom here, we have this little blue pop up window, and it tells you the duration of your selected zone or even the full project. If the value here does not match what you know that you've selected on the timeline, simply left click on the selected zone, so it activates and you will get the proper selected zone timing up here. Next, we have the guide zone, and you could use guides to determine the beginning and the end of your render. And finally, we have guide multi Export, which would allow you to use multiple guides to export multiple files. So all from one project all at once. And before we go into more options, at the top of our presets here, we have the option to create new presets. We can download presets online, and we can save our current presets as new custom presets. All right. So let's go ahead and look at more options. So I'm going to expand this window. And over here on the right, we have video at the top. So that means we're exporting the video. You could turn this off and simply export the audio. It would be the same as using audio only, or it would be similar to using audio. Inside of video, you have render full color range. So instead of rendering out eight bit color, we'd be rendering out, I think it's ten bit color. We have render at preview resolution. The little preview resolution that you can set on your monitors here would be used for the render. You have used proxy clips. So the resolution and quality of the proxy clips is what you would use for render. And these options are good for rendering quick demos to preview your final project. Then we have the rescale. So right now we're working at ten ADP. You could use the rescale to drop it down to a lower resolution, and we have overlays which allow you to put a time code, time code, non drop frame or frame number over your video when rendering. Then finally, for the audio, we have the option to separate file for each audio track, and this could be useful when rendering, let's say, a movie or a scene with multiple different languages or such. We have custom quality. Now I do think by default, this would be set to 75. You can uncheck this and simply use the quality offered by the MP 4h264 AAC profile or whichever one that you're using. Note that some of these options like the custom quality are not available inside of the losslist because you do not get to choose the quality. Loss list is simply no loss of data. All right. For custom quality, you can choose different values. Lower values will give you lighter files, higher values will give you slightly heavier files with higher quality, of course. Now, we have the encoder, and for the encoder, if you hover the cursor over the hand over here, after the equal sign, you can see it says very fast. If you lower this, you can also see the value here down here, presets medium, real time, increase it fast, real time, et cetera. Now, the encoder, the lower the speed, the lighter your file might come out as, and the higher the speed. So the faster it encodes, the heavier your file might come out as. Then you can choose the amount of threads for the encoders to use. A good number might be 50% of your threads, so half your threads. And finally, we have parallel processing, which is unchecked by default, but I usually use it because it accelerates the render, so less render time. They do let you know that this may cause render artifacts, but I have yet to see them, and you can also choose the amount of threads to use. I think by default, it'll show four for most machines. And well, that works fine for me. Now finally, we have these last checkboxes at the bottom here. We can export the metadata that we could set at the beginning of the project. You can also edit the metadata from here, add your information, and you can see here we same little window for creating our new project. All right. So you can also add more fields, et cetera. We can open the folder after export. So the folder where we rendered out our project would then open after we export. And finally, we can play after render. Down here, we have the parameters of the selected profile. Alright, so that's about it. All we have to do now is simply hit render to file. A select selected Zone. Render to file. I then switches over to the job queue. You can have multiple jobs in here. You can abort the job as well. It lets you know where it's going to export to, the amount of time left, the amount of frames that have been rendered, and at which FPS it's going. So how fast is it going? Now we have script. You can create custom scripts for custom renders. Once our render is finished, we get the time that it took to render. We can see here it took 23 seconds to render these 16 seconds with the effects and all. And finally, we have a Share button. Right now, there are only two options down here, but there are ways of adding some more options such as some social media platform, so you could have YouTube in there directly. And right, so that is it. I'll close out of this. If we were to make our way to our project file, go inside of Renders, we now have the Night Owl Brew two. Alright, so that is it for this lesson. I'll see you in the next lesson. 18. Remove Green Screen - Kdenlive Basics: Hi. In this lesson, we're going to learn how to key out some green screen or blue screens, and we'll be doing it with the Chroma key. Now, it's a very straightforward process. All I did over here is create a new sequence, which I called keying so that we could do the keying over here. So inside of images, we have a computer here with a green screen. This is what we'll be using for the keying. You could apply the key to it directly inside of the project bin. You simply make sure that this is selected. So the computer with a green screen, go to effXs, type in key. And then you have Chroma key Advance and Chroma key Basic. For now, we'll just use Chroma key Basic. You also have key spill mop up, which could be to clean any leaks from the green screen, let's say in a footage, for example. And as I said, we have Chroma key Advance, which offers a lot more options than Chroma key basic. Now, notice I simply double clicked on it, and inside of this stack over here, it is actually representing the effects stack of this image over here inside of the project pen. So the Chroma key is very straightforward. All disable the key frame. Simply pick the color from in here or grab the color picker, go on your screen, grab the green, and there you go. That is just about it. Then you can play with the variants. Here when necessary. Now, inside of the view monitor, we're not seeing the preview, but if I were to drop this over on our timeline, we would then get a black background because we've keyed out the screen. Alright. So that is if you want to apply it directly inside the project bin, if not, we can grab this, drop it on this computer, and delete this over here. Now we have it on the computer. Okay. And from here, really place anything you want behind. So let's go inside of our footage, for example, I'll grab this cup of coffee or put it underneath our key or underneath our computer. And now you have the cup of coffee playing under the computer right here. Now, of course, the aspect ratio, the scale of the image here does not fit our entire composition. That's fine. Don't worry about it. So you could add a transform at this point, place this however you want, sce it down to fit inside of the screen completely all up to you, right? So this is maybe the easiest thing we've had to do. Now we have our footage playing inside of our computer. Of course, ske it to match this image or scale this image to match the video over here. Alright, it is that simple. Now, with the variance, this is really for how much of the green is it looking for. So a higher value, it's going to start spilling out more and more because it's exaggerated, a lower value is going to try to stick closest to this value of green and not the variations. So just put this at a comfortable amount here to hide these little edges. Over here, you might want to work with a higher resolution to really make sure a higher quality, to make sure that you're not missing any details. We're not using any proxies on these images. So there you have it. The keying, very straightforward process. There's not much more to it. Okay, so that is it for this lesson. And the next lesson, we're going to learn how to otoscope instead of Cat and Live. See you there. 19. Rotoscoping - Kdenlive Basics: Hi. In this lesson, we're going to learn how we can otoscope elements in our footage, or images inside of Kid and Live. So all I did was create a new sequence called the otoscope, and we'll go ahead and use this hand holding a cup over here. Simply left click on it, drag it onto the timeline, and there we have it. Next, let's go to effects. And let's go look up Roto. Sorry, that. Otoscope. There we go. We have two options. We have Rotoscoping and we have Rotoscoping mass. So for this, we're going to grab Rotoscoping. We can left click drag and drop it on our clip. Selected, we now have rotoscoping. And over here we have the mode, the Alpha operation. We can invert. We can add a little bit of fetter fettering, so a little bit of blur to the edges. We have the fettering passes. So you could have a small width of the fetter, but with enough passes that it gives you a smoother fettering, you could say. Then we have the keyframes, which will be very useful at this point. And when it comes to rotoscoping, make sure that you have show height edit mode turned on so you show the edit mode, because if we uncheck this, you'll see we don't get the points or the indication that we can do anything with this rotoscoping. So I'll turn this on if you take the cursor off the project monitor, you get this little yellow box over here. Click to add points and right click the close Image. So you want to left click so you can add points and then right click when you're done. Now, here's a little copy at. If I were to add my points here, okay? I'm adding points for my selection. I'm not doing the refined one right now, simply a demonstration. Then if you don't close it and you move on the timeline, you lose your selection automatically. So if you scroll by accident or anything of the sort, you will lose your selection. So that is very unpleasant, you could say. Now, let's go ahead and add a keyframe instead, and let's start doing the same thing we were doing and then scroll and notice you lose it as well. So that's one of the caveats of this operation. If something goes wrong, you're simply going to lose the keyframes that you worked on. You can zoom in to the project monitor here, simply hit the Zoom button up here. Let's zoom in. You can use the scroll bars over here. Now remember, if you click or left click on the project monitor, it's going to play, and if you haven't closed your keyframes, it's simply going to remove them, which is quite annoying, honestly, but you can still otoscope, really. So now, let's say you want it to match the curve over here. Another piece of advice before we get into that, always make sure that your selection is slightly in and not slightly out. It's better to be ever so slightly what you want to select versus outside of it, unless you plan on inverting this. But ether ways, let's go ahead and make our selection. And let's say you want it to match these curves over here. Well, to do so, it's only once we've closed our selection. Can we add or can we interact with the nodes, the handles, sorry, that would allow us to make curves. So for now, we can only do these straight lines. And then you would simply make I guess, a rough selection or fine selection that you're going to have to refine afterwards either way. So it takes a bit of work. I said, the very first one's going to be rough because we can't add the curves for a selection. But later, after we're done doing all of our keys, we'll be able to go in and add the curves that we need to follow all of these fingers. 'til we get over here, and now we simply right click and it does the selection. Once we've right clicked, you'll notice the whole background has disappeared. We can zoom in a little bit more here. And now we get these handles that allow us to do the curves. Okay? And you could technically switch this to where is it? Add, right? Switch this to add, and you'll be able to see your image behind so you can more easily curve the mask or yeah, the selection, if you will. That's essentially it. We would simply go in and refine our selection. We're not going to finish this one completely. It would be a game of patience and some tedus process. If you hold down Control on a PC and you left click, you can pan around. But remember, if you left click and you're not holding control, and you haven't closed your mask, it will remove all the points that you've already added. Okay. But here we go. We have this. Now we can switch back to white on clear. Then we can add the fettering. As you can see, it just adds a big blur. Then the fettering passes, fettering with. How big is the fettering? Fettering passes, how smooth, like, how much processing power goes into it. So let's drop the fettering. Let's say, all the way down to two, and then we put two passes. And as I said, you can add keyframes over here in now, if we're working with footage, you would add multiple keyframes and track the movement that's happening in the footage that you want to otoscope, and that's how you go about it. So add keyframes and move it around. Now, the other thing is, you can add multiple otoscope layers here. And let's say for this one, I'll make sure it's selected. I'll create another selection here random. Now, it's overriding this up here, right? If you go down to Alpha operation and you switch it to add, it will add this mask to this previous mask over here. If you were to switch it to subtract, and we can move this mask the selection here with this little X in the middle. So click on it and move it around. You'll see that the subtract will subtract this mask out of this. And then you have these other options, minimum, maximum. So an intersection between the two, you could say, white on clear. Alright, and I'll just delete this one, and there we have it. So if we turn this there are little errors, and it's not curve or it should be everywhere, but this is how you can work with Rotoscoping inside of Kit and Live. Now, just remember to put it to the max quality when using Rotoscoping because you really want to see these edges clearly when working with it. Now I'll zoom back out over here, and there we have it. Alright, so that is it for this lesson. And the next lesson, we're going to take a look at the Kit and Live settings. So we'll go to settings and configure KD and Live. See you there. 20. Configure Kdenlive - Kdenlive Basics: Hi there. In this lesson, we are going to take a look at Kat and Live settings and learn how to configure KD and Live. This will be a brief overview. We won't get too much in depth. So let's get started. First things first, we go up to our menu bar and we go inside of settings. All the way at the bottom, we have Configure Kaden Live, and you also have a keyboard shortcut for it over here, Control plus Shift plus coma. So this is the configuration menu over here. It's a little pop up window. We get different tabs on the left or different parameters. Let's start with the top one here, Misk. Now, we get quite a few checkboxes. These mostly have to do with the default settings when importing media. But all the way at the top here, we have this very important checkbox, which is the active crash recovery autosave. Make sure it is checked on, and it should be checked on by default, so it should already be checked on, basically. Alright, on top of that, we have the open last project on Startup. That's up to you. And for clip Import, if you remember when we were importing our clips, this is where you can set some of these options. Like, the first checkbox up here has to do with the pop up that we would get when importing or video or media. If you don't want the checkbox, just uncheck this. If you were to import a piece of media that had multiple audio streams, you would get a pop up letting you choose how many of these streams you would like to import. If you simply want to import all of them by default, simply check this on. Next, we have the automatically import image sequences. This is checked on because we checked it on when we were importing our media. Same goes for Ignore sub folder structure down here. It is checked off because we had not checked it on in there. If we check it on in here, it's going to affect the other vice versa they're connected. Now, you have the tab position. So remember, each segment has multiple tabs, and you can choose the position of those tabs, bottom, top, left, right, et cetera, and this dropdown. And finally, we have the preferred track compositing composition. You can leave it to Auto. Just note that QT blend works best when there is no compositing on the timeline, and this one over here works ever so slightly better than QT blend if there is compositing on the timeline. That's about it. Next, we have the project default. So this is simply the default settings when opening up Kid and Live. And these are the same settings that we had to set up, creating a new project. So you pick the profile that you want by default, the frame rate, you pick where you want the case files to be safe, default location or parent folder or custom location. How many video audio tracks, et cetera. Same things. You can create new profiles, so on and so forth. Next, we have the proxy clips, which we touched on very briefly. So if you plan on using proxy clips, you can just enable this in the configurations. You can also automatically generate proxy clips for well, you set a size cap, which will automatically generate the clips. You can do the same for images as well. For videos, you could maybe set it to automatically make proxy clips if you import four K footage. You can set the size of your proxies and choose the encoding profile. We'll learn more about how to choose the proper profile in a moment. Next, we have the timeline. So a few settings for the timeline down there. If you want to automatically separate your audio tracks, you can do it with this third check box over here. The two top ones are simply for the thumbnails for audio and video. For playback and seeking, if you're playing back and you click anywhere so you seek somewhere else, the playback will pause. So if you don't like that, you can uncheck this, and you have these other options here for the playback. So jump the timeline start if playback starts at the last frame. KNN Live does not do this by default. You have to manually push the playhead to the beginning. So if you don't want that, simply check this on, and that's that. And a few more options. And you also have the option to choose the height of your tracks down here. Alright. Next inside of tools, all there is in here for me is options for the subtitles. Yes, Gating Live offers some great subtitles features, and it's very customizable. Feature extensive, you could say. Next for environment, this is where you could set the default location for temporary files, capture folder because you can do screen capture with Can Live, where some codex stuff goes, et cetera. And you can choose the amount of threads when working with proxies, low CPU priority when working with proxies, your cache data limit, so on and so forth. Now, for colors and guides, you can change the color of your clips. So your audio thumbnail, for example, you can change the color here to preferred color, monitor overlay color, monitor background color. Next, we have the speech to text. Yes, skating Live can turn speech into text, and it uses some AI speech models. You can download them from here. The instructions are very straightforward, honestly. You have two options up there, you can research and find out some more about them. Next, we have the playback. Now, I would not really advise changing any of these settings unless you really know your configuration, your machine, and what you're doing. For capture, these are the settings for, again, capturing your screen, if you're using black magic hardware, your audio settings, et cetera. For the jog shuttle, this is referring to these devices over here. And finally, you have the transcode profile. All right. Now, if you've made any changes that you'd like to keep, simply click on Apply and then Okay. If not, you just click on Cancel or Okay and they will not be applied. You can also restore to default. Apply Okay. There we have it. Next, how to choose the transcode profile when working with proxies. Let's go up to your project, down to project settings, go to your proxy. And inside of the proxy tab, you have the encoding profile over here, and to the right of it, the first icon. This allows you to compare proxy profiles efficiency. Click on it. Let's scale this up ever so slightly. You can test proxy profiles, and what it will do is, well, test different profiles, and it'll give you the render time and the file size for the different profiles. This will help you choose which one works best for your machine and for your needs. And there we have it. So close out of this. Cancel. After that, we have inside of settings. Next inside of settings, we have Run Config Wizard dot dot dot. Inside of this window here, simply click on Check hardware acceleration. It will check your system and pick the option that's available to you, if any, now this little blue box up here is simply letting me know that there is the media info missing, but this is optional. Don't worry about that. If you see it as well. Once it's done, simply press on Okay. There you have it. You also have inside of settings the color scheme, the style, and the icon theme, which you can force upon Katan Live. And then finally, we can configure the keyboard shortcut down here. In most cases, you can hover the cursor over one of these icons. I'll give you the name of it or some information, which you can use to find it in here. Right. So that is it for Caden Live configurations. In the next lesson, we're going to finish the ad, starting with sequences. Then we'll add some final effects until we reach picture lock. And from there, we're going to do some color correction and color grading. See you there. 21. Zoom Out Transition - Kdenlive Basics: Hi. In this lesson, we'll be learning how to create this zoom out transition and add the final touches to our previously created transition. Alright, let's get started. We're going to delete this transition over here, so let's delete this. And we're going to focus on this clip over here to add our Zoom out effect first, and then we'll focus on this clip over here for the second part of the transition. Starting with this first clip, I have a custom made effect stack over here for this effect. So it's made up of a box blur, a transform, two mirrors, another transform, then we add two more mirrors, and then finally two last transforms, and it gives you this effect here. Now, it's very blurry because we're working with a proxy clip and we're at a low preview resolution. Now, for this effect to work, we're also going to duplicate this clip over here. So in order to delete all of these effects all at once and not have to click through them individually, or right click on this clip and I'll go to Delete effects. Alright, then I'll hold down Alt on the keyboard, and I'll press the left arrow just to place the playhead over here at the edge of this clip. If in your case, for example, when you hold down Alt and you press left, it jumps all the way to the beginning or somewhere else. It could simply be because the V one track is not enabled as an active track, you could say. It has to do with this little green button here over the V one. Alright, so I'll go back to our clip, hold down out, press left. Then I'll right click on it. I'll go to Copy. I'll make sure that this top track is active. You can either click on it or use the up and down arrows to change clips. Alright. So with this clip active or press Control plus V, so I can paste the copy of this clip down there. For the moment, I'll go ahead and hide this top track, and let's focus on this bottom one here. So the first thing we'll add is the transform. We have it in the favorites. Double click. We have the Transform. Now for the very first transform, we can disable the keyframes and all we have to do is zoom or rather scale the size down to 50%, so right 50, press enter a return. Then we're going to use the align keys over here so we can align this image to the right, click on Align right, and then at the bottom, click on Align bottom. Then I'll check on this stort up here. Next, inside of our effects, we can look for mirror. The book click. We're going to need to mirror effect, so add another one. Now, the top mirror will be horizontal, collapse this. The bottom mirror will be vertical. Okay. Now we'll add another transform. We'll disable the keyframes, check on distort, and we're going to scale this down to 50% as well. And we're going to align it at this bottom right corner again, so align right and then align bottom. Now we can add two more mirror effects, and the bottom mirror effect will be vertical. So we can collapse these. Now we're getting closer to what we want. But we have four repetitions. What we want are three repetitions. This is why we add this transform here, disable the key frames as well, enable the start and scale this up to 133. Once you press Enter, you're going to get a 132 point something. As cading Live has some issues with non rounded numbers. So for this one, we're going to align it to the left and then to the top. Now we only have three repetitions of our footage. Okay. And this is where the final transform comes into play. We add our final transform. For this one, we'll leave the keyframes active. We'll click on this Stort and we'll scale this up to 300%. And there you have it. So if we enable our top footage over here, you can see they are aligned nicely. All right. The reason why we have this top one is also because this bottom one, even though let me go ahead and I'll right click on it, go down to clip and Project Ben, right click the Sable the proxy. I'll take a moment to load. Okay, so let me Okay, there we go. So even though here, it looks pretty sharp. Let me up the preview resolution as well. It looks pretty sharp, but it is still slightly blurry compared to the original clip, which is at Frees. And the reason for this is simply that we are zoomed in at 300% here for this clip. So you don't really have to do this since we are working with four k clips in a ten ADP Canvas. But this can help you preserve the quality of the image. Alright, so I'll turn on the proxy clip again. Now, what we need to do now is to add our key frames. So I'll hold down out and press the right arrow key so I can go to the end of this clip over here, and then I'll go back 12 frames. 12. Then I'll add a keyframe over here. Now, my keyframes right now are rounded, and this is because I change the default keyframe type to smooth. You don't have to do this. You can change them manually. So we have a keyframe over here. We'll click the right arrow over here to jump to the end and we'll add another keyframe and we'll scale this down to 100. All we are missing here would be the box blur. Let's go ahead and simply put it at the top. We'll make sure to set both values here to zero. We can open the transform down here to use the arrows to jump to the keyframes, add a keyframe up here, so click jump to the end, add another keyframe. So by the end here, we want a small percentage of blur. Now, because we are on a preview and using proxy, this is not really what the blur is going to look like on the full resolution clip. So if you want to see that, you'll have to disable the proxy. But for this, you can do the fine tuning once we reach picture lock. So let's say 20% for vertical and horizontal and at this keyframe, it's 00. All right. That's it. We've created the effect. Now we have our keyframes and the effect itself. We can click on these two disc up here to save effect stack dot dot dot. Simply left click on it. We'll get this little pop up here, name it, however you want to name it. So Zoom out transition. Give it a description, whatever you want. So mirrors and transforms. Simply click on Okay. And if you go to the fourth option here on top of effects, let's clear the search box. Inside of custom, we now have the Zoom out transition that we just created. You can right click on it to change the information. You can also export it as an XML. There are ways to import these and you can import them inside of these templates over here. All right. So that is it for the first part. Now, with our clip on top, all we have to do is add a transform effect as such. And with our bottom clip selected, it'll make it easier to jump to the keyframes if we use the keyframes down here. We'll add a key frame to this. Let's jump to the end, add another keyframe, and at the end keyframe over here, we're going to scale down 33%. Let's enable our track up here. And you can see it zooms out with a nice seamless effect, close enough. Now, the only thing is that we're missing the blur up here. We can simply grab our bottom clip, click on the box blur, drop it on it. Left click, hold drag and drop it on it. Let's move this above the transform, and there we have it. You can see that the blur is a bit strong, however. So for this top clip, the blur effect, I'm going to drop it down very low, so it still gets a bit of blur, but not as much as the surrounding. Matter of fact, even for the surrounding ones over here, I would lower the blur a little bit. And in this case, you would have to save the effects stack again or change the blur each time you apply it to a new clip. Now, to address the second clip over here, we're going to add a transform, okay? And then we're going to go to our effects or video effects and we're going to look for lens correction over here, the book click on it. And now we're going to check on distort for the transform. We're going to create our keyframe. So at the very beginning, we have our very first keyframe, and we're going to move 12 frames in. So 12, and we're going to add a keyframe. So this is how we want it at the end, and at the beginning, we're going to zoom in considerably. And for this part, we can use some guides or some indication on the viewport, so we can align this shot more or less. With this shot. So to do so, we'll go on our project monitor. We'll go at the top here. The second option on this grid says change overlay. Click on it once, twice, three times, and there we have it. So if we move by the end, we can see that her head is on this top left quadrant. So for this one over here at the very beginning, I will put her head at a similar spot as such, even though she's zoomed in. I'm simply left click holding, and I'm sliding, there we have it. So it's going to go from let me change this to smooth. At. Okay. Now, we can add a box blur to this one as well. But before we do so, we're going to play with the lens correction down here. What we want is the lens correction keyframe both. So same thing. Let's open the transform. Let's jump to this keyframe, add the keyframe, collapse this. So at this point, it will be back to normal. But in the very beginning, we're going to push the center correction in a little bit, and then the edge correction ever so slightly. So that way, it has this nice bendy effect on the edges. Okay. Now we can apply the same effect here, this lens correction, key framable to this as it's zooming out to create this lens spending effect. But we're not going to do it now. We're going to do this in the next lesson once we learn about nested sequences. So now that we have this, let's add the transition between this clip on the right and our clip over here. And this is a simple one. Let's go to the compositions tab. Let's go and look for push, just like we had it before. We're going to grab push left. We're going to drop it right over here. Now we can push it as such, whatever length we want. I'm going to expand this top clip over here for the push and drop it like there. I'll change the keyframe to smooth for this one. You know, push the keyframe to the end, make sure it completes the transition. So we have this push over here, we adjusted the values of the keyframes, making sure the last one is all the way to 1,000, first one to zero. I changed the interpolation over here of the first keyframe. We get this transition over here. And the next lesson, we're going to learn how we can convert this into a nested sequence, and we're going to add the final touches to it. Alright, see you there. 22. Nested Sequences - Kdenlive Basics: Hi there. In this lesson, we're going to learn how we can create nested sequences inside of Kaden Live. Let's get to it. So if you want to get rid of this overlay on your project monitor up here, simply go to the little menu on the right here and click on Overlay once, twice, three times, and there you go. It's gone. So last time we left this effect like this, and we said we're going to nest this sequence. So last time we created certain sequences like the tracking and the rotoscope so we could do these different effects on them. So it's like having different projects within one project. You can also import the sequences onto other sequences. So basically, I could grab the tracking here, left click hold and drag it into this sequence over here, and we would have this tracking track in here. Now, there's no audio on it. If you double click on the sequence itself, it will open the tab. You see here there is no audio, but we have audio tracks, and this is why it's importing it with an audio track. To create nested sequence, however, Zoom accordingly. All you have to do is select all the clips that you want to include into the nested sequence. In this case, it would be this clip over here of the lady drinking coffee, this transition. So you can hold down Shift and click on each of them or simply hold down Shif and click drag over all of them. We have all of them selected. Right click. Then go down to create sequence from selection, choose the amount of tracks that you want for this and they need two tracks, two video tracks minimum, either way because we are working with two video tracks even here. For this effect work, we don't need any audio tracks. You can call it however you want. So we can call this the Zoom transition. Press Okay, and it will add the sequence that we just created. So the Zoom transition in the place of our previous clips over here. Now, sometimes there are some bugs, some errors that happen with the clips, and sometimes all it takes is restarting gating live to fix the error. But if really it's giving you issues, one thing you can do is go over to Zoom transitions, for example, okay? You can see your project needs more tracks. I'll handle all streams, also for this over here. So we can add the tracks that it's asking for, although it's not necessary, it might help. We add a track. Okay. So what we could do is come in here, hold down shift, left click, hold, drag over all of these, press Control C or right click and go to copy. Go back to our sequence, make sure that the playhead is at the beginning of our sequence. Wherever our sequence fits, these clips will fit as well. Then you could delete the sequence, press Control V, and add these back in. And if you want, you can delete this sequence, the Zoom transition up to you. All right. So once a sequence has been deleted, however, it cannot be undone. But I mean from the project bin, not from the timeline. Hold down chip, grab all of these, delete them, or grab the Zoom transition and drag it back in. Right? We haven't we added in Audio track or undo this or grab the video and just drag this in over here. All right. So here we have it. We have our effect here together. And now we can add a single box blur. So if you go in here, grab our box blur, we can add a single box blur and simply map it to the timing of this. So right over here, I'll add a keyframe, then I'll move to about the middle here, add another keyframe, and then move to when this clip ends like such to where the transition ends and add one last keyframe. So I'll make sure that these two keyframes over here are set to zero, so as well as this very first keyframe, because the box blur starts with 1%. So just make sure they'll drop it down to zero. Then we can grab this middle keyframe here, this one right here, and add a bit of horizontal blur to it. So unlike the method from earlier, we're not getting a straight cut line in the middle because now these two are considered as a single track, so the nested track down here. And that's really it. Now we've just managed to add our blur. The first blur comes in a little too soon, so I'm going to push this keyframe in a little bit more. We can do it directly from the timeline or from the effect. And I want this to the blur to disappear a little sooner. Okay. Okay. Maybe I'll lower the blur a little bit. As such, add a tiny bit of vertical blur, and even less than that, and we'll have our effect. All right. Now we can also add the lens correction key framable to our nested sequence over here. So that at this ending part, so I'll hold down all, press the right key. Can see it ends here, which seems off, but I'll click to go to the end. I'll add a keyframe, then I'll move back 12 frames, so one, two, three, four, five, six, seven, eight, nine, ten, 11, 12, and I'll add another keyframe. And at this last keyframe here, I'm going to add a little bit of this warping. So I'm going to move the center correction in the edge correction a bit. As such, let's see here. Let's say like this. Now, if we look at it, we get this Zoom effect real quick. And there we have it. Now, it seems a little snappier. So that's essentially how sequences work. Now, for example, if you are on a sequence that you want to delete, Kaden Live will crash. There are certain abrupt actions done with sequences that do cause a bit of bugging or that could cause Caden Live to crash. But other than that, when they work, they work nicely, and it's not difficult to recover what's inside of them if you have the tab. Alright. That is it for this lesson. In the next lesson, we're entering picture lock where we're going to remove our proxies and do some color mostly color grading for this, and that's about it. Alright, so I'll see you in the next lesson. 23. Color Grading - Kdenlive Basics: Hi, and welcome to this color grading lesson in Caden Live. Okay, so the first thing we're going to do before we jump into the color grading is make sure we reach picture lock so that everything, nothing is going to get changed from this point on. And the only things I can think of changing is how early the logo starts to appear. I want it to start appearing a lot sooner, maybe reach its last position or its first position a little faster. Something like this. Alright, and then I'm going to push this in a little bit more. Now, at this point, we can go to our footage. The first one is from a different track, so we don't have to bother with this one. So we'll grab the second one. Hold down Shift, click on the very last one. All right, click on it, and I'll disable the proxy clips. It'll take a moment, so everything goes back to full resolution. And there we have. At this point, if you want to get smooth playback with all of these effects, how heavy it might be on your machine, so on and so forth, you have this little play button here above the timeline, which allows you to create a preview render. You can create different preview render zones which are made using the in and out points. So you can create in and out points in certain areas to create different preview zones. You can use the proxy clips for previewing. For this stage of our edit, you wouldn't use the proxy clips to preview. You can set it to automatic preview, so it's always updating the preview areas. And finally, once you have a timeline preview, you can also delete it. So for this over here, let's say we don't really need it, but I'll go ahead and activate it. So I'll click on Review zone. So with that out of the way, the next thing to do is to start adding our effects to our clips for the color correction. In this particular case, all of our clips are on a single track. If you had clips on multiple tracks, adding effects could become a little bit more tedious, by the way, you can see we now have a green line up here, and if we playba, let me turn off the sound. We're getting a smooth playback, 24 frames per second, no lag. So for this particular project, we have everything on a single track. Or other projects, you would normally you will likely have clips on different tracks. Now, of course, you could compact everything into a single sequence, and then you can add your effects to that single sequence or multiple different sequences. So there are many ways to go about it, but let's go ahead and learn the hierarchy of the effects from Project Ben to clips on the timeline to entire tracks to master. And yes, that is the order in which it goes. If you apply effects to your clip from the project bin, it applies first. It applies everywhere that you use those clips. You can then apply effects directly to your clips in the timeline. These apply after the ones in the project bin. Next, you can apply your effects to the tracks themselves. So inside of a track, you can add effects, so it affects everything on the track, and these apply after the effects on the clip. And then finally, you have master where you can apply some effects to your to the master, which will affect absolutely everything on the timeline. Of course, video effects will only affect footage and images, and audio effects will only affect audio tracks. All right, then. So what we want to do with these clips is to make it look a little bit more like nighttime. We can apply the effects directly to the track since everything is on a single track. And we don't want our color grading to affect the logo anyways. So I'll grab the track, so click on it. I'll go to effects, and the very first one that we're going to use is exposure. So you can left click hold drag it onto the track or simply with the track selected, double click. Now, you might notice that our preview area has turned red again, and that is because it recognizes that a change has been made to this entire area here. So we don't really need any keyframes here, so disable the keyframes. We can find any one of our clips. Let's drop the exposure here. So significantly, we want to remove the highlights, make the simila dimmer, all lower the radius ever so slightly, and we can look or scrub through a timeline to see how it is responding with everything. Okay? Next, we're going to add contrast. So let's search for contrast. We have color contrast, and we have contrast. We're just going to grab contrast, turn off the key frames, and I'm going to increase the contrast a bit. So now, next, we're going to drop the saturation. So let's search for saturation, grab saturation, turn off the key frames, and we're going to drop the saturation significantly. Not too much, though. We also want to keep some Colors in there. Okay. Now, for example, this clip over here, this particular clip could use some effects applied to it separately to really dim down some of the brightness around. Next, we're going to look for curves. So right curves. We could use Bzier curves, but curves, the normal curves will work just fine as well. So double click at the curves or collapse saturation. We're going to start with Luma and we're going to drag this top right corner point here, so left click hold and drag it down. To a certain point. Then we're going to hover the cursor over the line. So next to the point, left click hold and push it up ever so slightly over to the left. Then we can click further down the line. Left click hold and drag it up a little bit before and after. So we're reducing the strong highlights. We're going to add another curves adjustment here, and in the channels drop down, we're going to go for red, and we're going to reduce the reds from our image. So simply left click on the curve and drag it to the right and down, or you can simply drag it to the right. Okay? So we're trying to knock the reds out, not too much. Certainly around the highlights a bit. So the highlights are at the top right and the shadows are at the bottom left. That's a rough way of putting it, but more or less. Okay? And we're going to add another curves. And this time we're switching to blue. And we're going to click in the middle and drag it up ever so slightly. So we add a bit of a blue tint to our image here. Now, there are some more advanced things that we can do to it, but we're going for an easy night ish look. This clip, as I said, could use its own personal effects to really try and dim down those lights. But once you have the sky and you're shot, it's hard to make it look like nighttime. Let's say we didn't want any of these effects to touch this clip over here. So the clip holding the Okay, how would we go about this? Now, there is one way. It would be slightly tedious at this point, but it would be to use what is known as the effect zone. So this pogo next to the I to disable our effects. So to the left of it, you have use effect zone. If you click on it, let me go ahead and disable our other effects for a moment. So I'll click on exposure, so it is active. And you see this pink line at the top here, that is the effect zone. And essentially what it does, it determines where this exposure effect takes place. So what percentage or what areas of the timeline does it affect? So you can see here this point of the cup is bright. Once we touch the pink area, it is dark because it's being affected by exposure. So for this particular one, we won't be using the effect zone. So if you wanted to avoid this affecting this last clip, we can simply move it to a different track. So right click on the V one, say, insert track, one track, video track above. You can give it a name if you want, press Okay and you create this new track over here. And we're using this transition. So the Luma spiral. Once we move our cup above, it will eliminate the transition that we had. For this over here, all we'd have to do is extend this clip in a little bit more. We can also push the cup in, if you want. Click on transition, or on wipe. Let's switch over to Luma so you can type in Luma. Click Luma. You can leave it on automatic. We're going to go down to spiral let's check if it's working the way we want it to. We're going to have to invert, and there we have it. This clip over here, as I've mentioned, this lady with the clip selected, let's go to effects. And let's look for levels. We're going to grab levels, not color levels, just levels. If you double click on it, it will add it to the effects and composition stack, and it is applied to this clip over here. You can see it now has a little star on it, and the star represents that an effect is active on it, right? So we can hide the key frames, and we can disable the effects on this track by clicking on this magic wand over here, so left click on it. If we activate the track, you can see it simply unchecks this eyeball up here. So check it on. Everything applies, check it off, everything turns off. Alright, so let's click on the clip again. Now we're going to check on Show Histogram, so we get a visual representation of the limits in here or the distribution. Input black level is pushing this arrow here, so it is pushing the darks where they could be. We don't want to make the brights brighter. We want to make them dimmer. So on the white output, we're going to drag it in. It's going to move the bottom arrow here, which is dimming down the brights. And we don't want to go too far either, because we already have some effects that are going to get applied. So if we apply the effects now or enable them, let's go back to our clip, see with and without. It's not updating real time. Give it a moment. So it's a lot brighter. You can see up here if we enable this, and let's say we move a little bit. Darker. All right. So this fixes the issue for this clip because it was the brightest one. And for this one over here, we could say that it is darker than our other clips. Now, all of this seems like guesswork. And if you don't want to do any guesswork, let's go to a different workspace and let's choose colors. And in here, you have everything needed to get more precise results or precise readings. So I recommend you accustom yourself to using these for your workflow. So I'll go back to editing, right? And then finally, let's go back to effects, and we're going to search for LUT. So LUT, we have Apply Lut over here. You can download some custom Luts. Now, the Lut itself, you could apply to Master, which will apply to all the tracks. That's if you want to do that. But again, if you have things like logos and such, you might not want to do it. So you could go online and look for some other custom Lutz. You also have this little download button here for online resources. You can explore the options. But again, there are luts available out there for you. So for this clip over here, I'll go ahead and disable the histogram down there, so I'll click on the clip and I'll disable the histogram. Alright. Okay, so on the track, again, as I mentioned, we have the appli ut. You can download custom Luts. You can also apply the ut before everything else. So it already has a look before you start working. So here you can see if I use the blue tint ut before everything, we get this nice blue look over everything. Okay, so it really helps to tie things in together. For example, we could go ahead and apply the ut to this last track over here. So let's go to the track. Well, let's just grab this one, grab the ut, drag it, drop it on the track, and we have this little greenish blue tint over it. All right, so that is it for this lesson. We've completed or add. All that is left to do now is to render it out. Alright, and there we have it render finish. This is a 16 seconds clip. We've rendered it in 26 seconds, and we're all done. 24. Online Resources Pexels - Kdenlive Basics: Hi. In this lesson, I'll be introducing you to Kdn Live's online resources. To access them, it's quite easy. So on the default layout, if you go over to the Project panel on the Project Ben tab, go where we import our media, click on the Dropdown. And at the bottom here, we have online resources. Alternatively, you can go up to the menu bar, click on View, and then go down to Online Resources and check it on. Now, it's going to show up somewhere on the interface for you. In my case, it shows up inside of the Project panel grouped with the Project Bin. So once inside the online resources panel, all the way at the top, we first have to choose a service. So where do you want to get your resources from Freesound, Internet archive movies, Pixels photos, Pixels videos, or Pixel Bay photos. So in this case, let's say we're getting some videos from Pixels. We simply have to search for a term. So in this case, I'll go for a coffee matches the theme of our ad. It takes a moment to download them. You do need access to the Internet. And then we get the titles of the different clips that we can download. Over on the right, we have at the top here created by the name of the creator. And a link to the asset. Then we have down here created by as well with a link to the creator of or rather the person who uploaded the content, the size of the footage, and the duration of it. Okay? We can also preview the clips that we have selected with the preview button down here and it will open it over on our view monitor. It does warn you that it could take a moment because it does need to download it from the Internet. So it could preview different clips. And once we find one that we'd like to download, all you have to do is click on Import down here. So with the clip selected, we click on Import. It gives us the option to choose the resolution that we want to download it. Or go with something small just to make it fast. Click on Okay. Next, we get the option to add some license attribution to the project notes. This is optional, up to you. You can simply click Add if you would like to add it. We have do not ask again if you want this to go away. And finally, we have continue without, which is what I'll select since I'll be deleting this shortly after. Next, it will open the file Explorer. From here, we can simply go to our Assets folder inside of video and maybe drop this inside of Bro. You could assign a name to it if you want. So maybe the name over here rather than these numbers, I'll simply click on Save. And finally, it lets us know that the clip has been downloaded. Now, of course, we get the little warning about the profile, so the size of the footage in the frame rate, we can simply hit Cancel. Now if we go over to the project bin, I'll take it out of the sequences folder. We now have our clip downloaded in our assets folder. So that is it for the online resources. Remember, you have different categories, so different services that you can download from, and you can go to the website itself. That is it for this lesson. 25. Class Project - Kdenlive Basics: Hello. Okay, so you've made it to the class project. You can use the assets provided in this class in order to follow along and create your own ad and give it your own spin. Or what I recommend is that you explore a few ideas, see if there's something you would like to get out there or maybe someone else's idea that you could bring to life. And remember that the project does not start in the program. So find an idea, a message that you like to convey, feel free to explore videos on pixels and see if it sparks an idea. And then you can get started with your own project. And I encourage you to share it with the class, and don't hesitate to ask any questions. I'm here to enter them and to clarify any doubts that you may have. 26. Happy Editing - Kdenlive Basics: So you've reached the end of the class. I hope you learned something and you had fun in the process. I myself enjoyed preparing this class for you. Don't hesitate to ask questions or to leave a review and share the knowledge with your friends. Again, my name is Jonathan. This was basic editing with Kaden Live. Now, go out there and tell your story and happy editing. I'll see you next time. Hey, before you go, quick question. Did you notice the color of my shirt change? Alright, Chow.