Master Real Estate Video Editing: Premiere & After Effects

1. Welcome! Start here: Welcome, congratulations on starting this course. By the end, you'll be able to take raw property footage and turn it into scroll stopping professional real estate content, the kind of viral captions, tracking effects, and AI power transitions that are dominating real estate video right now. This course is for anyone who wants to break into video editing or real estate video editing, whether you've never opened premiere and after effects, or you already edit, but you want to know how these specific effects are made. Quick background on me. I used to edit content for clients, helping them get serious views on social media, and I apply everything I teach on my channels, too. Over the last couple of months, I became one of the fastest growing editing channels in the world. This is in theory. This is the exact process I use getting real results. Course was also built directly from real questions asked by working editors. The specific effects they found confusing, the workflows they didn't understand and the questions that kept them stuck. Every lecture solves an actual problem, not a made up one. You'll learn capture animation, head tracking, rotor brushing, speed ramps, and cinematic transitions, plus AI for day to night charts, room staging, and full speed builds. Beyond the editing, you'll know how to build a portfolio that actually gets you hired. You'll get practice files, so you're editing from day one and not just recommend watching videos in order because every lesson builds onto the previous one. You can control the volume and the playback speed of every video to learn at your own pace. If you can have any questions, be sure to drop them in the Q&A section below. Just make sure to check the existing questions first because there's a good chance that the question you want to ask has already been answered in detail. At some point, you'll be asked to leave review. Please wait until you've had a chance to fully experience the material. Your honest feedback helps me improve the course and better serve you and future students. Thanks for joining this class. I'm genuinely excited to help you build real estate skills and to give you the confidence to use them in projects where the personal Oaklans based. Let's get started, open the software, and I'll see you in the first video. 2. After Effects vs Premiere Pro for Real Estate: Welcome. And let's talk about the software choice. Premiere Pro, after effects, which one? Long sir short after effects. Premiere is a great tool, but when it comes to real estate videos, there's nothing compared to after effects. After effect just has some of the tools that premiere just doesn't have. Like, for example, forcing the motion blur. There's no forcing motion blower in Premiere Pro, but it's a vital thing that makes these realty videos just much, much better. There's more sophisticated graph control, sophisticated in a good way, not that it becomes hard to do it, but it allows us to do speed drums, for example, that's just not possible to do in Premiere Pro. We'll still be using Premiere for some of the tools, but a lot of the advanced work will be done in After Effects. So get After Effects ready, Premiere Pro ready, as well, and let's jump into the next video. 3. Must-Have Tools for Realtor Video Edits: Welcome, I just want to quickly mention that throughout the course, we'll be using a lot of different tools like TextEvo and precompose, Deep Glow flow, Epidemic Sound, in Vato some of those links will give you special deals if you use the links directly. For example, it will give you a free trial or some sort of extra credits. Some of the tools are absolutely free, some of them are paid so that you have the variety of both depending on your situation. And I also quickly wanted to mention that some of the links are affiliate links, meaning that I earn a small commission if you purchase through them at no extra cost to you. You'll find the links somewhere around the video player. Just click through them if you want to get the tools, and I'll be going deep into each tool when we'll be any questions, let me know, then I'll let's jump into the next. 4. Rec 709 & Log Color Correction: Now before we start doing any sorts of animations, adding text, doing speed ramps, it's important to do color grading first, color grading, color correction. What this is? Well, let me drop this clip here, and I will also use in voto to download some of the clips. As an example, for example, this shot looks really good of the houses. Let's go ahead and click on Download and I'll download an ATP that it's done. I'll drop it here. Now, we have a bit of a difference in terms of the color of these two clips. So I'll this footage here, this footage is recorded in four K, and then this clip here is in 1080 as we download it. So I'll just make sure to freeze it by 200 inside. We have this colorful video, and then we have this very great video. What's the difference? Well, the difference is in the color work space. This video is recorded in Log color book space, and this video is recorded in Rec 709. That's all you have to remember about the different terms of the names Rec seven oh nine and Log. So this Rec 709 is what we're used to seeing. This is kind of what the final footage looks like, and then Log is almost like raw footage. If you are doing photography, there's a file called aw. It's very similar to that in terms of the file is not edited, and it stores a lot more information. So Log has a lot more information, even though it looks gray. This is what we get if we record in normal Rec seven oh nine. And the reason I'm showing you this is because there's a good chance that if you edit reality videos, you'll receive footage in Log. Why is this also important? Because we have more information. We can stretch the information further. So we can make darker us darker. We can make brights brighter, vice versa, and especially important when we have, let's say, a window, a bright window, and a dark interior, so that we can balance it out so that there's not a lot of contrast. Now, how to work with these two files. So if we were to work with this file, we can go ahead and edit it directly in terms of the color grading, but we're not able to present clients or people on social media or whoever, however you work with with this gray file. In order to use it, we have to use a thing called a lot. A conversion let specifically. A lot is basically like a filter that you apply on top, and it just changes the colors of the image. And there's a thing called conversion lot. A conversion let means we take this footage to similar to Rec 709 and then customize it further. So if I select this footage and I go into the color work space, it's just a little bit easier to do here. We have the lot in the basic correction or in the creative. So let's do input lot, click on Browse. And specifically for this, I'll be using a lot called Plosed and I'll explain some of the extra stuff in a second. So if I click on open, it turns the footage from absolutely gray into this. And from here on, we can customize the colors. Camera brands, they have lots prepared for different cameras, like for example, Sony or Cannon or even Apple because this was recorded on iPhone. So this is like an Apple log. And you can just download that and apply it onto the footage and then customize it for them. You don't always download it directly from the official website. You can download it from Calrist online. And in this case, I downloaded from the Colris because Long Storesort, the Apple Log can be downloaded only by a developer and I'm not a developer, so I'm not able to download it. Of course, there's a way to go around this, but it's much easier to just download somebody from the Internet which is free, takes like 2 minutes. So why would I waste a lot of time? Now, with this, we can now customize it further. And you'll see that now our footage is similar, this and this in terms of, let's say, like, colors and saturation. But with this footage, obviously, we can stretch the dark areas. For example, I can increase, not the blacks, the shadows a lot, and like my shirt looks great. It's not really, what do you call it? It's not grainy. Really good, even though it looks like really dark here. And if we were to use Reg seven oh nine on this cliff specifically, we would just get a lot of grain in the darker areas. So how do we go about color grading? With color grading, we need to look at lumetri scopes here at left. That's why I went into the color work space. Specifically in order to see the vectorscopes in the waveform. Just click on these two and you'll have these two graphs. So this thing on the left, this is just information about this image or it's a reflection of the image in terms of the brightness and the colors. 100 is going to be the brightest is. You can see 100 here on the left. And zero is going to be the darkest areas. And you can see that most of the information is somewhere in the middle. On the left, we have this big wall, this is the wall, and on the right, we have, you know, this shelf. This is the shelf. Take a look. And then in the middle, which is more colors, this is me. Now, we can stretch this graph and change the information with these sliders on the right. What we're trying to do is to make sure the blacks come close to zero, but do not touch zero because once it touches zero, it loses the information. And the same for the highlights and the bright areas, almost hitting 100, but not really hitting 100, otherwise, we lose the information. So first of all, we need to drag this little bit down until we start hitting black. So let's put to minus one. Like, it starts touching, but we're not losing information yet. For the highlights and bright areas, I'm just going to make sure it goes a little bit higher with whites and highlights like this. So now, the image isn't as dark. Now, I am, and my shirt, for example, my t shirt is too dark, so I will increase the shadows as well, so now we can see things better. But now the problem is that it's not really contrasty, because the way we increase contrast is by lowering the shadows and increasing the highlights. So we need to stretch that information. For this, we can increase the contrast, you know, see exactly what happens. So now the image is much brighter. We can see things definitely better, and we can click on this Effects battle to see the before and after. Now, this is in terms of, like, how to set the correct brightness. Now, how do you set the specific skin tones? Because the skin tones are super important. Let's them in my face. I do look a little bit too red here, in my opinion. So I'll go to the effects control, click on the object mask tool, click on the ellipse mask and draw a mask around my face. Select this, press on V, and now I'm just going to stretch it and change the position. Right click, change to a paste mask. Now if I come back to metroscopes, this line here represents the skin colors. If our information lies on this graph, it means it's good. But you can see, it's a little bit on the red side. Let's look footage. A couple of things we can do. We can either do it through HSL secondary because we can set con plus, click here and click on the gray scale. We can select specific colors of the face, and then with these handles, customize it further, and then change, for example, the tint, add a little bit more green so that it becomes less red. And you can see how the information here starts to move a little bit down as I added a little bit more green. But it may get too green and so my face will seem green. So we can do the color correction through this well. Like, we can drag it to be a little bit more on the green side to maybe like this. And I'm just trying to make sure that the information lies on this graph here. Another thing we can do is we can click here, and we can customize the specific the highlights, the dark areas or sorry, them tones. And the highlights all separately. There's many ways to achieve the same effect, and that's why I'm showing you different ways. But the way I would do it, I think the easiest way is to go into the sorry, not creative into the curves, go specifically into the let's see Hue versus Hue. Actually, let's come back to HSL secondary and disable the color, the gray scale. Now, come to curves, and let's increase the hue versus hue. Look at my face. It's going to select the specific colors. And here, I'm just going to change the hue a little bit down so that the information lies there. Also, we can set hue versus saturation and desaturate some of the red. And hue versus Luma, we can make it a little bit on the brighter side, let's say, like this. And then once we come back to the basic correction, we can also increase a bit of the saturation. If I disable the curves, this was the before. And this is After. You can see I'm a lot less red, and I actually prefer this a lot more. Now we come back to the effects control, delete the mask. There we go. Now I have the perfect skin color. This is how we do a person. Now, let's work a little bit here. Let's this footage, go to the mitoscopes. Now, for this footage here, what I'm seeing is that we have a bit of this fade, which means it's a little bit hazy or foggy. The reason it happens is when we increase the black. This is basically the effect that they have. But in order to get rid of that, we need to slide the blacks a little bit down so that the blacks actually become black. And overall, this is a pretty well done video. I do think maybe it's a little bit too saturated, but oftentimes with social media, we want to almost like oversaturate the image or the video. And a good recommendation would be to just take a look at what others are doing in the real estate news and compare their videos to your videos in terms of the saturation, how it looks. So let's do this as an example. Let's just use one of the videos. So, for example, we have this video here that I downloaded. And yes, for example, this video, right? It's pretty saturated. And if you compare it to this, actually, we need to add even more saturation because this video is super, super saturated. This and then this. So we actually need to add even more saturation here, maybe add a little bit more contrast and potentially set the correct white balance. I don't think it's really white. So we set the white balance by clicking like this. Did change a little bit, not dramatically, but a little bit. So maybe let's see if this is set as white. Okay, so now it's better. So this is how it was before, and this is after. Now the white balance is much better. You can even see how the colors change here on the left, as well. This is another thing about, for example, this video as well. It's pretty good here in terms of the white balance, but if we were to do it, let's say, manually, we'd need to click somewhere and it would set the specific white balance. Basically, what this does is we need to find a thing that's white in the image, and it will adjust everything else automatically. For this image, it's actually pretty good, so there's not much adjustment here. Now, Long sor short about color grading is you want to make sure that the skin colors are correct. You want to make sure that the white balance is correct and just increase the contrast and saturation. So for this video, we can actually increase the contrast and saturation even further, comparing it to, let's say, this video. Now it looks better now that I increase the saturation because before it was a little bit too dead, let's say. Now, this video is much better, as well. So this was the before, and this is after. You can see the big difference in terms of the colors. And once again, I would just compare it to what already exists and works really well, what people really enjoying social media and what clients are looking for because clients will be looking at what already exists. That's pretty much it. So if you have any questions, let me know, and that's pinto the next video. 5. Transcribing Text & Choosing Fonts: Welcome. In this video, let's talk about how to get your text onto the screen. First of all, I have this project file or I have this file, which I'll drop into the project panel, and it's going to be linked somewhere around the video player. So let's take it and drop it into the timeline in order to create a sequence. Now, in order to transcribe the text, and for text transcription, I always recommend Premiere Pro because it's automatically built in, it doesn't automatically. You don't have to have an extra plugin in After Effects. And since we'll be creating all of this in Premiere in terms of, like, the beginning, it's also good to end here because we'll be able to do the sound design at the end. Let's just go into Window, make sure we have the text panel opened, and let's go into the text panel into the transcript. And here I just make sure that the transcript is okay. So this is the viral reality practice videos recorded in 48, 30 frame second. Let's see what we can do. Great. Now we need to click on CCO of the captions. Best way to go about this is to create a single word. But the problem is that when we create a single word, we have these gaps in between the captions. So I was pressing commands. I don't do that step. It's just for some of the people might be asking, why don't we just click on the single word and to create single word? Well, that's the reason because it has gaps. So if we set a single line and the maximum lengthy characters to minimum, which is seven, click on Create, it's not going to have any gaps in between. I mean, we do have in the beginning, but that's just because I started speaking a little bit later, so we can actually cut this, and now we don't have any gaps in between. So look this. At the end, sometimes you do have to you know, extend it a little bit. So let's select this, and first, let's go into the Properties panel. So, I usually put text in the middle and increase the scale to 100 just to see the text better. In terms of the fonts, there are different fonts that you can use, but you don't want to use something like Monoco or Comica or any of those kind of funds because these fonts are let's call it cheap. They don't look premium, don't look professional. They don't look elegant, luxury. And that's most of the time what you're trying to do with real estate. So there's a good font that I always recommend. It's called Inter. It's similar to what Apple uses. It is very well used in the space. It's overall a good font on anywhere. Let's go into back to the text panel. And in the captions, oftentimes I always try to delete commas and dots. And here, we can delete the if we search for comma, we don't have any commas, but if we search for a dot, we have three dots, so you can see. And if you click on replace replace keep this with zero with nothing. This empty. Click on replace all. It's going to replace. Basically, we replace it with nothing. Therefore, we delete it. Now, we don't have any punctuation here. Now we can select this, go to captions titles, upgrade captions to graphics, and now we are able to take this into After Effects. This is the beginning stage. After this, I literally just right click and replace with After effect composition, and I replace everything. So there's a way we can do where we take just the captions, but we will not be able to see the person, which is really important for us. So we just select everything, right click Replace with After Effects composition. It's going to start After Effects, and we'll have the window pop up of where to save the project. I just usually save the project in exactly the same folder as where I save the premiere file which is here. I'll click on safe. And here we are. Let's jump into the next video. If you have questions, let me know, but then see you in next video. 6. Typographic Composition for Captions: We've taken everything into After Effects, we have captions added as precomposed, which is not something we want. The reason that is because we are not able to customize those captions, but in order to take them out of the precomposed, basically, if I double click, it's located in the composition. So in order to avoid this, we need to install a free plugin called Unprecompose. So let's search for precompose. It's for free. I'll leave link somewhere around as well. So you just put price of zero. Obviously, if you can support them, please do so. But then click on AtocarG through the installation. It's super simple. Takes like a couple of minutes. Now, let's come back here, select all four captions, layer, and precompose. Click on Okay. Something happened there at the end. Not sure what happened there. Let's do it again. Okay, interesting. I'm going to pressing Command Zt here. I'll actually come back to Premiere Pro, pressing Command Zt to make sure that yeah, things are okay here, so I'll press Shift Command set to redo. Sometimes we can have a few problems. This is really interesting. This is literally the first time something like this is happening, and I'm not sure why. Let's do it like this. I will select everything from here and delete it from here. We'll come back to Premiere Pro, press on Command set, and we're basically back to word one. Let's do exactly the same thing. Replace with After Effects composition. And I feel this is good because sometimes we do have problems that I don't show on YouTube, but I can show it to you. Hmm. Interesting. Exactly the same thing. This is really interesting because I'm not even able to click. So let's just save it and try to restart After Effects because maybe that's some sort of a problem there. I'll just reopen the project. This is so funny because this is literally the first time this is happening, and I'm able to select the layers, but I'm not able to select them. Okay, well, let's try to troubleshoot. If you ever have the same problem, you'll be able to potentially solve it, as well. So I'm going to delete it from here. Come back to Premiere prome and potentially, I know, let's try to move it onto another layer and do it like this. Sometimes it could be one time thing, sometimes, maybe not. But this is really, really weird. But okay, let's just ignore this part because you most likely are not going to get it this problem. So I will delete this, I'm, like, this part works great. So let's just see what we have there at the end. Let's see what we can do. Okay? So I can just literally copy this, or I can either paste it here or you can type it one by one. So I'm going to duplicate the word second. I start speaking around here, pressing Command T to select the textal. Let's go into cut the layer, C, cut the layer. I cut layer with Shift Command D, what Shift Command D, we, what we can do. Okay, let's see what we can do. Is that it? Yes. Okay. And now we can just reposition it this ad. So now we have the captions perfectly here. Now, this video is recorded in four case, so I'll just lower the resolution to like quarter, and it's good for us to see what's happening, but you'll see it's worse quality on the video. And the good thing about this that we can just put it back to full when we want to export the video and will be good to go. So let's just make sure that we can select all the layers. Yes, everything is good. So I'm not sure what the problem was, but sometimes we can have some problems with After Effects. Okay, so now let's talk about the different compositions that we can do. This is called typography, and in terms of typography, by the way, we can now just save the Premiere Pro project and just completely quit Premiere Pro so that it doesn't take power of your computer, and we have all power to After Effects. So in terms of the text compositions or the way text is basically placed in our video, we can take a look at typography. So I would just search for to graphy, and literally open some of the websites, and you'll be able to see the kind of typographies that exist. So maybe this is not let's search for kinetic typography styles. So for example, something like this or something like this, you know, those are specific styles where this is a very boxed look. The text is different colors. It has specific palettes in terms of have beige, red, green, black. That's it. You can get inspired by searching for something that's online, or you can just literally take a look at what other realtors are doing and just get inspiration from there and try to replicate what they do. That's usually what I do with basically any type of video that I do. Let's see what's available here. Okay, so this is interesting, although this is from Adobe Stock, but we can take a look at the way the position texts, things like that. So a line to the left, box, the line to the right or different styles. So you get the idea. And now all we have to do is just to place the text in the same matter. So let's do it for this first batch. I'll just mark it with a separate color. This is the viral Real te practice video. I'll come to the end and press on option sorry, select everything option right bracket to make sure that the text is all visible at the end here. We can zoom in, and now we can create our composition. So we can start with this and we can do something like this. Let's say if we want to align it to the left or we can just select this and literally align it to the left. Sorry. Not like this. Let's do it like this. But you'll see that it aligns it on a person commander to add the rulers. It adds it like this to the left, but we can also add it like, let's say, like this to make it straight line. So it depends on what you want to do. It's all creative stuff, so we can experiment and do whatever we want. This is the viral reel. By the way, I made a mistake because it's not a real. It's a real tour. So we can just type that in. Real term, don't we? Practice. So for practice, we can put it Oops. We can put it a little bit lower or we can put it to the right. But if you put it to the right, there's not much space. So I would actually prefer to put it somewhere just in the middle for this. We can do it pase it a little bit out, practice. And then the word video, we can just lower down like this. So we already have a bit of a composition. Thing we can do is to play around with different fonts and different boldness and different colors. So for the word this, for example, we can put a different color or we can start with medium or actually because we have this, here's what we can do. Can do medium or, like, regular for the first two lines and then align it like this so we have a good line. And for this, why don't we do medium, and for viral Ralter we'll do black like this. We can actually select the two texts if they are not super aligned because I can see there's slight difference. I think we can click on this button and it will align it horizontally, both of them. This is the viral RalterPractice video and the word realta moved a little bit to the right. We can actually move the word viral to the right as well. So this is our comp, let's call it main Ralter comp. I'll rename it, and we just have to find it. There it is. I'll duplicate it so that we have two. And also for organization purposes, I'll just select all of those compositions, and I will put it in a folder like this, put everything into that folder so that it's organized better on the left. So duplicate this, if I want to go for a box look, then let's just select all of these captions, align it so that they are in the middle, select the part, move it a little bit higher and for the word re alter, move it a little bit down. Select all of these. Let's make it the same. Let's just make it bold. And now we just have to one by one, decrease them in size so that they look boxed. Select all of these and see if we can do horizontal alignment, which is good. And if I disable background, you'll see that we have this kind of boxed look. And in order to do it for the bottom part, we just have to increase the size like this. So now, this is box, and if we compare it to what we have here, we have one typographic composition and internet typographic composition basically with the same words, but it has a different style. So that's literally how you do. You just see what already exists and then try to replicate and make it good. If you have any questions, let me know. A than that let's jump into the next video. 7. Basic Slide In/Out Text Animation: Now let's talk about the basic slide in animations. Specifically. Let's select all of our captions, and we'll do it for the first batch because the second batch will just keep it like this appearing one by one. So this will be as an example. First of all, I want to press and command and double click on this button, which is pan behind tool to center the Acho point. I just like when it's in the middle and it's not on the side, so if I increase the scale, it's going to increase based on the center of the word and not based on somewhere outside of the screen on the left, because if we don't press on that button and try to increase the scale, you'll see what happens. But if we double click on this button by preson command or control, I see. Now it's good. Okay. So first of all, let's select all of our captions and press on P and then shift T because we will also animate the opacity. So I'll create keyframes for both, and selectal keyframes, move it a little bit to the right. In the very beginning, we want to offset the position. So we can move this word to the right, sorry, to the top, then this phrase to the top as well. For this, we can move to the left and this to the right. For the word practice, let's move to the left and this to the bottom so that we have this kind of movement. No, I'll come to the first frame by pressing on shift, I will stick to it. And by selecting all the layers, I'll increase the opacity so that the opacity goes to zero. Select all captions, press F nine, go to the graph editor, determine for the movement, I'm going to select these keyframes by doing it like this. And now the movement we do is this. We start very fast, but it's going to end on the screen slowly and smoothly. Let's come back to here. Now we just need to change where it starts. Like this. Usually, I found what works great is just to make the layers start a little bit earlier, select all of these, and then just start the animations a little bit early because the way it works, let's say here, the new word appears as we start speaking it. But when we have the animation screen, it takes some time for the word to appear on the screen. So it's not instant, and it needs a couple of more frames before in order to appear on time, let's say. Usually these animations are a little bit too fast when the keyframes are too close, I'll just move it a little bit further away to let's say something like this. Already looks great. If you have any questions, let me know and listen Bin to the next ide. 8. One-by-One Text Reveal in TextEvo: In the previous video, we animated layers, even though we animated text, but basically, we animated the layer with the text. But there's a tool that allows us to do a per character control of specific, letters and just do more customization to animating the text. This tool is called a TextEvo. Once again, it's going to be linked in description similar to precomposed. Just put a price of zero. Sorry it's not going to be linked description, but somewhere around the video player. No. The way it works is we will have it like this when you open top. So once installed, you'll go into Window and then scroll down. I have the specific blue icon, which you don't have, but it's just for me to easier identify it. So the way it works is, let's animate the word record it. Or let's just find if we have, let's say, a couple of words. Actually, let's do it for the word four k. I'll come to the beginning of the layer and click on plasm TextEvo. It's going to create two keyframes, and we just need to customize the initial keyframe. And its values because the final keyframe is this position what we see on the screen. In order to change the position of the first keyframe, we don't have to be over it. So even if we do changes while we are somewhere in the middle, it's going to only influence the first keyframe. So let's start with transform position, and let's lower it down a little bit. You'll see what happens, slides up. Now, if we also pair it with opacity, and let me just disciple myself, so that it's easier to see four K. Slides very smoothly. As you can see, I'm not over this keyframe. I'll change this to zero, and it will have just appear one by one like this. So I short, this is how TextEvo works. It's super simple depending on what you want to do if you want to do like per character animation or word by word animation. If you want to add, let's say, some like blur, there's a number of different styles. It's a very useful tool. So if we increase the blur to let's say, like 50 and not 500. 50 and 50. It will come in from the blur because it's very blurry here and not less blurry here. So it needs a little bit more time to finish. And why I also like TextEvo because it allows us to easily change between characters and words. So let's lower down. Now we have per character animations lighting up. But if we click on, let's see, the Spastn mode, can click on Words, and we'll have now words appear one by one. Very simple, but it's just another way to animate the text. Now, for the second batch, I'm just going to select all of these texts and lower down so that it's in front of my shirt that is dark. Now it's very contrasty, and I let it play slides in very smoothly. So that's how you do TextEvo. Once again, link somewhere around the video player. If you have any questions, let me know. Other than that, let's jump into the next video. 9. 2D & 3D Tracked Text Animation: In this video show you how to do a tracked text. We're going to track text to something like the background, and we're going to do both for two D and three D. I have another video, which I'll drop here, another practice video. Let's just drop it here to create a new composition. Here, I'll be walking. Now the camera is not static, it's moving, and a lot of the times for these realty videos, the camera will be moving. To ways we can do this First of all, let's add some text first of all. So we have some text on the screen. Let's make it bolt and put it right in the middle. Not to track, we need to go into motion tracking. If you want to go for two D, basically, there's not going to be any perspective change, then we can do something super easy like track motion. We have this tracker up here. Let's make it a little bit bigger, and we need to find a very contrasty point somewhere in the screen. So, for example, if you want to put at, let's say, here, or actually, let's do this. Let's put this trucker right on the edge there and click on play forward, and it's going to analyze all the frames. It will take some time to analyze it. And also, if you work with four K footage, it will take more time to do it because four K is not two times the ful gD resolution. It's four times the fullst D resolution because we have full HD, let's say. How should I put this? So, if this is full HD, then four K is like four of these. I have only three pads, but you know, it would be like this big square, this giant square. By the way, the analysis went wrong a little bit at some point, so we have to press on you to reveal the keyframes and just go to the point to which it went wrong. So some point just went craze wrong. So we just go to that point and then recenter it so that it's going to reanalyze based on that point. I'd like to zoom in so that we can see. Yes, it's just reenter. No, it went wrong again. Very interesting. So I'll just go back. So it went wrong here, reenter, do it again. This is interesting. But this is one way to do it. Usually this way, it can be faster, but in this case, as you can see, it's not faster. Goes crazy. Why? Do that. Okay. Well, you get the idea. You just have to do it like this. I'm just going to delete it up until this point. So we have this tracker, which attracts that specific point. Now, I'll come back to the composition or actually, let's stay here in layer first. But we'll create a null shift option command Y, and for this video, I'm going to select it. Click on Edit Target, and let's go on the null. Click on, apply X and Y. Now, if I click on you on Null, it has the tracking point as you can see on top left corner. So if I delete the tracker from this video, for the null, we have that tracking data. No, all we have to do is to parent our text to that null and click on A and change its anchor point. So if you want the text just stay, let's say, here, now it's going to stay there. But you'll see it doesn't change the perspective. It's only based on that one point. Sometimes it can be useful. Sometimes we can use another way. So if you click on text, it's now parented to that, and the great thing about it is that we can have multiple things parented to that null, and they're all going to be tracked to that specific point. So actually, if we put the text to that point, text is going to stay. Let's delete Dinell and let's just put the text somewhere in the middle and press on commands and double click on this button to enter the its anchor point. Now, another way to go about this is if we select the footage and click on track camera, it's going to do automatic analysis of the whole video of all the frames, it's going to create its own tracking points, which I found to be more reliable if we have something very contrasty. If it's not contrasting, it can be a bit of a pain, but most of the time, you don't really have to do a lot of this crazy tracking. And if you do, it's going to be near a house or inside the house, which has a lot of sharp corners, which is good for us because we have good points that we can track onto. So on top left corner, we can see the progress, 15 seconds left. Let's just wait a little bit. I was going to solve the camera. It did. And now, as you can see, we have, you know, this red thing up here. And if I really zoom in, you'll see it's barely visible, but we have this tracking point here. Another point here, it's for some reason, it's really small probably because we're using four K image footage. I want the text to be put, let's say, here. So we need to find a good spot right click, create solid and camera. Now, our solid will just stay in that area. Or let's person command Z and see if we can find a better spot. So this is I mean, that point wasn't bad, but I was thinking if we can find better point. Maybe like this. Let's see. Okay, so this is great. I will select our tract solid press Shift Command C to precompose it, cut our text, double click on this composition, delete the solid and just paste the text here. We can go back to the default workspace and increase the text and size. See like this. I come back here, our text is just going to stay there. And in this case, our text is three D or our track tool was three D. We turned it into precomposed and then just replace it with the text. So now our text is three D, which we can see here and uses a three D track or camera you know to do it, so this is a three D. If we wanted to, we could we are in classic three. So if we want to, we could go into Advanced three and open, for example, some geometry options. And if we actually, in this case, we're not able to do it because we have our text here. But if we were to make our text, let's say, three D and get go to Advanced three G, we could increase the extrusion depth to make the text actually three D, I would reflect here as well as we can see on the screen there. But it's not really a proper way to do it because right now the text isn't really three D. So if we wanted to actually have the three D text there. Let's say, we need to select our footage, go back to motion tracking, click on the three D camera tracker. Let's add another in this case, let's just create a text. And for this text, because it's now three D, we can add the geometry option and make it actually three D. So now if we rotate it, it's actually going to be like three D, but I'm going to delete it. So that's how you do the three D text tracking and two D text tracking. If you have any questions, let me know, and I'll just jump into the next video. 10. Chaotic Slide-In Caption Effect: This video also, you have to do a chaotic sliding effect. For this, first of all, we'll come back to this composition, and I will delete the TextEvo from the four k. So we have this animation. The way we delete it, we just click on the bin and just delete it. That's it. So to do the chaotic sliding, it's a similar situation where we have to first create a composition and then do the animation. So I'll select, for example, this part, click on Option Right bracket or light bracket, and usually it creates one extra frame so we can just freeze it so that it's all correctly here and doesn't let's just create a composition. Zooming. The way we do this is we just put the text randomly. Actually, I think we need to make it a bit longer because this is the whole phrase. Frames A, and then let's say the word second. Here, I'm going to select all of this and just make it a little bit higher on the screen. Now, in to click on R, and we need to change the rotation a little bit, but you'll see that the rotation changes based on the ca points, select. All of this. Come on, double click, center the co point. Now if we change the rotation, it's going to rotate correct we just need to change how the text is positioned throughout. Say like this looks chaotic, great. I'm also going to add a shadow to this text. Drop shadow, increase the opacity and increase the softness so that you can see this little bit better. S it like this. We can see the text better. No, similar to what we did in the very beginning, press on P. And actually, for this, we need to make the text all the same length in the beginning and at the end as well. So press on P to put the position like this, and we need to change the initial position so we can lower it all down, select all the key frames. And for this, I'm actually going to use an extension called flow, which is going to be once again, linked somewhere. This is a paid extension. It saves a lot of time. Instead of pressing F nine, customizing the graph editor, making smooth like this. I'm going to double click on this button, and it's going to add a smooth zoom in like this. And I completely forgot to do the opacity animation as well. So I'll put the keyframe, come to the beginning and decrease the opacity. Oops. Select everything, decrease the opacity to zero. Select all of this and double clock. Now it's going to move in smoothly, but I'm using this specific smoothing, and there are many different options. There's this one, which is exactly what we did in the beginning where it starts fast and zoom and moves in slowly. So it's the same one. Starts fast but zooms in slowly. And another thing is that if we press on T for the opacity, we don't necessarily have to create the same movement because otherwise, it's very visible in the very beginning. So we can play around a little bit with easing. We can do kind of similar to that movement, but we shouldn't make it as crazy. So it like this or like this. And then we can also do a bit of an offset. So we can select some of these and just randomize the position, so it doesn't slide all in at the same time. We did this for I. So that's a bit of a mistake. Let's select everything present to reveal all the key frames, and now we can properly offset some of them so that they appear one by one. Se like this. So this is how you do the kotic sliding. If you have any questions, let me know. Other than that, let's jump into the next video. 11. Glow, Blink & Difference Text Effects: In this video, talk about the different effects that our text animations have, specifically just not necessarily the animations, but the text itself. First of all, if we come to the beginning of this animation and select the viral and real term, click on Toggle Switches. If you don't have it and we need to go into the blending mode and set it to. Let's find it, difference. So it creates this interesting effect where the text is transparent and shows us the difference. The interesting thing about this is if first of all, if I put it to the full color, it's going to be much better quality beta quota, just so that it loads faster. So we can change the color to some like, let's say, green or purple or, you know, blue, and it's going to reflect in the color that it chose. That is the first effect. Second effect, which is usually paired with this difference effect, it's called glow. So if we search for a glow, it's going to add a bit of a glow. In this case, it's not really good glow because the glow by After Effects, it's not super grid, honestly. So there's a an extension or a script called Deep Glow. By AE script, it is a paid tool, but it's much, much better. So if we add it, we have much more customization in terms of exactly what we want to customize. In this case, it goes a little bit too crazy here. But if we dial some of this down, it becomes much, much better. So we can add a bit of a glow. It's a similar effect if we duplicate the regular After effect glow multiple times, but it's still not at that level. Or if we add some, like, a shadow for this one, we can achieve sort of like a similar effect a little bit, although the shadow needs to be slightly different color. And yeah, we can see there in the background. So glow with the difference. Now, another effect that's been popularized is let's do it for the word. Let's say, record it. It's called Radio FAS. Lure. So here we need to customize a couple of things in order for it to work properly. First of all, the amount, we need to increase it, and we need to change the mode to brightest, darkest so we can go for the brightest, increase the amount, we'll see what happens. If we change the center, this is the kind of effect that we can do. It's almost like highlighting towards us. It's almost like light rays. And then we can do the animation so we can put a position for the center, go a little bit to the front and then animate that effect. So if we were to do this effect, there you go. Another super important one is called Blink. It's like when we make our text blink, let's do it for the word second. So Winter pressing T, and we can either do it manually by literally just animating the opacity and creating a number of keyframes, but it's waste of time. So what we can do is we can press Option or Alt and click on the subwatch in order to add an expression, and we can write wiggle. And here we just need to write what kind of wiggle we need. So we need to put two values here. One value is like how fast it's going to be and the other one by how much. I would like to put let's go for 15, which is it's going to do 15 times per second comma 100, which is going to be the value of the opacity. So we'll go 0-100. And if I click somewhere, it's going to start blinking like that. Last effect is if we select all text, click on Toggle switches, of course, it is to add a motion blur because motion blur will make the text look just absolutely next level in the animations. So if I put this to fall, going to, I mean, it will take it absolutely to the next level. Let me just zoom out so we can see things a little bit better. It makes it look a lot more expensive because it looks like it was shot on a camera rather than just having an animation without any blur. And these are pretty much kind of the main effects that are used here. So if you have any questions, let me know at Dum Bintu the next video. 12. Text Out Animations & Finishing Touches: No, let's talk about the last part of animating the text, which is the out animations. For this, we just have to understand what's the animation that we did the animation in. So if we did the slide in animation, we can do the slide out animation. The loud slide out animation is if we select all text Press, we have the position, the opacity. So I'll just put a keyframe for both the opacity and the position, go a little bit to the front and literally just animate the position to go down, for example, and decrease the opacity. Select all keyframes. Go to the graph editor, Zoom in. Let's select all of these keyframes and do the opposite movement to what we did in the beginning. So let's do it like this and like this. So it's going to start slow and then end very fast like this. Let's see. We have the text appear and then just disappears very fast. For the other slide ins, it's a similar situation. If you did, let's say, like some sort like a pop up or another slide in from the other side or a typewriter you did with TextEv, you just basically do the opposite of what we did in terms of animating in. And that's the long story short. With text Evo, I will show you this. So, for example, let's do it for the word we going to Ada plus in the beginning. It's lower down and decrease the opacity. So it appears word by word. Let's say like this. I will extend it. It's very fast here, but I will hide it the other layers. So it's very fast. That's why I have to extend it. I will click on Plus to add other text Evo. So we can see the key frames. So let me disable this move the key frames a little bit closer, and now we're working with just this layer which I will highlight with yellow. So we have it going up. And then we have the second text table, which we have no animation in. And what I would do here is just to come to the end and exchange the key frames so that the keyframes that we have to customize is later. For the second text table, which I will animate the second one, not the first one, change the transform position, let's lower down and decrease the opacity so that it goes up, it goes up and then it goes down. And then for the movement at the end, we need to go to the graph editor and customize it and do a similar movement like this. If you want it to happen faster, let's just put the keyframes closer together, overlap them more like this so that the word just comes up and then comes down. So it's almost like it jumps. So that's what we do. If you have the questions, let me know, that the jump into the next video. 13. Head Tracking Fundamentals in After effects: This video, we can do head tracking. It's when you track a phase, and then that face stays perfectly in the middle. It's actually very simple to do. We just have to suck the footage. Go into the opera coordinate and click on motion tracking. Here. We need to click on stabilize motion and not track motion. So let's click and stabilize. We have this little tracker appear. And for this, we need to drag it by the handles and make it a little bit bigger. And then I usually put it right in the middle of my nose. I mean, you can track any place of your face or the clench face, but the nose kind of in the center, so it's the best thing because if you track one of the eyes or, like, one of the eyebrows, it's not in the center. So but have to click on analyze forward, and it's going to analyze every single frame, keeping the noise in the middle. If it doesn't track perfectly or it goes out of the like it goes weirdly, present space, pause, move a little bit backwards to the point where it went wrong and then reanalyze. And as you'll see, it's not super perfect, but it's definitely better than Nothing. And because we click on Stabilize motion, it automatically selects the same clip as the target because when to select the target where we want to apply this tracking or the stabilization, too. So when to click on Apply. X and Y. Okay. And now my face will always stay in the middle. You see what happens. My nose is in the middle, but then the footage actually moves around, and we get to the black edges in some of the areas. Or, you know, the white areas like this. And to avoid this, all we have to do is to click on S and Zoom in. And now, if I play it, the nose stays perfectly in the middle and everything else just moves around it. That's pretty much it. That's where you do it. If you have any questions, let me know, and that let's jump into the next video. 14. Rotobrush for Subject Isolation: Video, we're going to isolate our subject from the background so that if we put anything between our subject and the background, have this interesting effect. We have to select our potion to do it and then go into this button, which is the object metal. If you use a previous version of after effect, you can still do it. I think they added in 2019, so if you use anything before that doesn't work, but anything in between works. So we need to click on this, and you will have if you use the previous version, you will have just the rotobrush. But in this case, I have the object mato. So let's select it and double click on the footage. Literally just here on the screen. And because I have the object Mtel it's very easy. I can just click on the subject, and it's going to select the subject right away like this. If you don't have it, you just have to use the rotobrush tool, which is I'm not even sure if I have it here at this point. I don't basically, you just have to select the subject around pros and command, click on the left button of a mouse and scroll up and down in order to make it bigger or smaller the selection, delete some of the parts if you click on. Point, we just need to let it play. So present space is going to analyze everything. You don't have to analyze it until the very end right away. You can just click on, let's say, freeze, and it's going to do the analysis, but you will not be able to make changes. So that's why I present space, I let it play, does the selection, and let's just wait a little bit. Okay, so it does a pretty good job. We can take a look at the whole video. And we can just click on freeze at this point. And the reason we click on freeze is so that it doesn't keep it in memory, because the way you've remembered it before, is it kept it in memory? And so it was taking power of your computer. And if it had to, let's say, forget some of those parts and then start analyzing it again, it would take extra power. It would slow the process down. So it's easier to just do a proper rotobrush to make sure everything's okay, the freeze it and it's not going to take as much power. That's exactly what we're doing now. Okay, great. So now we can close the layer, and now we are fully isolated from the ground from the background. You to add the background ten, we just have to duplicate the footage. And on the bottom one, click on E, Object Mat tool, click on delete. And we are back, but now we have two layers. We have layer of M and the background. So the great thing about this is that if we put anything Oops, I start drawing a mask. If I put anything in behind these two, I'm going to stay in front of, you know, whatever object we add, it can be picture, it can be text, whatever. And you can see where I'm going with this because we can add text behind us so that doesn't obstruct our face and be in front of the background. So that's what we'll do in the next video, where we will combine the text with the tracking of the nose and with this frost brushing. If you have any questions, let me know, let's jump into the next video. 15. Dynamic Follow Effects & Hidden Captions: Welcome. In this video, let's combine the rotobrush with face tracking and with the video that we've already done and we are in progress of. I recommend you to first track the face and then do the rotobrushing. Why? Because when we track the face, we only need to have one layer. When we rotobrush, we need to have two layers, and we either have to do tracking the face and then rotobrushing, or we have to rotobrush first and then do two trackings on two different layers. So as you and it's not going to be super perfect because it's going to be, it can be slightly different tracking. Or I mean, you can copy the tracking from one to the other. But still, you have to do this the extra step. Let's first select the footage of me and go into motion tracking. So let's come to the very beginning, stabilize motion, put it to my nose. Let's see if it works if we make it super small. And let's analyze. The smaller it is, the faster it's going to analyze. You can see it does it way faster than in the video that we did just the tracking. Hey, it went a little bit wrong at one point, as you can see it jumped. Not sure where it jumped exactly. Yeah, it jumped around here. It was a little bit weird, so I'm just going to move some of the tracking points and then click on analysis. Click on Apply X and Y. So we've already been to this stage. Let's click on S, select our footage, click on S and increase the scale. We can increase the scale significantly to whatever we want. And now we can see the text of rocking my face. So now, all we have to do is to duplicate this footage, press Shift command or shift control and write bracket. I will put it to the top, or you can just drag it manually. Well, let's select the object M tool, double click on the footage, and I'm just going to select myself. And I'm not going to go through it because it did the analysis very well. So I'll just click on Freeze right away, and it's now going to analyze each frame and then freeze it at the same time. So once I said the same thing in the previous video, you can do this step right away, but the problem is that you're not able to do the changes right away if you see something going a little bit wrong. I don't have to have to make it perfect right now, so that's why it's okay. But if you want to make it super precise, like for client work, it's better to make sure that everything is okay. So let's just wait. And by the way, the tracking that we did, that's tracking of the position. I believe it. It does the position. And so we'll have to change the ca point if we want to change the position of the footage or vice versa. If it did the analysis of the ca point, we'll have to change the position. But I'll show you this second, let's just wait a little bit. This is great. Let's come back to this composition. As you can see, right away, I'm already in front of the text. So the text that we want to be in front of me, I'll just put it above my layer like this. Now we're staying in the middle in front of the text. Now, if you want to change the position, let's press on on our layer. So we have there it is. That's the Ica point. So this is the tracker which we can delete, and then we have the Ica point which we have to or it's easier to show to here. So we have the tracking point, and then we have the Ica point which moves the video. So now all we have to do is press on P to change the position, if let's say we want the image to be a little bit lower. Or my face to be a little bit lower, let's say, here. Don't be afraid about this about this offset because we just have to copy this position and literally just click on Command V to Pac here, and it's going to be exactly the same. That's it. If you have any questions, let me know, and I'll jump into the next video. 16. Congratulations!: Congratulations. If you're watching this, it means you've made it halfway through the course content. I know we've covered a lot, so congratulations to you for making to this point. And there's a lot more valuable content coming soon, but before we get to the next video, I want to simply ask you if this course gave you values so far, could you take 60 seconds to leave a quick review? Your feedback helps the next person decide whether the course can help them too, and it helps me continue creating better lessons for you. So leave your feedback now. And of course, if there's anything I can help you with, let me know in the QN section below. You're doing great. Keep going. And without being said, let's get to the next video. 17. Speed Ramp & Time Remapping Basics: Welcome. In this video, we're going to talk about time remapping and speed ramping. Basically, it's the same thing, but it's done in After Effects. In order to show you how it's done, I don't have a big variety of real estate shots, especially with different properties. So I'd like to introduce you to tool called and Voto. It's really useful website for video editing because we have different photos, pictures, video templates, lots of music, sound design, graphics, graphic templates, and a lot of other useful stuff. And specifically for this, I found this very good library of real estate shots of really expensive looking property. I download a lot of the shots. And and so this is what we'll be using today. In one of the future videos, we'll also talk about building a portfolio, and this is where I vote will come super, super handy because it gives us access to incredible professional looking library, professional looking shots. Let's jump in. So we have a number of these shots, and literally just download some of them, like, for example, some of the green ones that you can see that I highlighted. I love bottom value that doesn't limit us to how many we can download. So I just downloaded a bunch of them from here. I'll also leave a link somewhere on the player for you to create your own Vato account and for these shots specifically. So here's a list of the shots we'll be working with today, for example, this drone shot going down, you can see it's very smooth. And some of these shots of showing the property, which looks really amazing, going to the front to the back. So let's come to After Effects. I'm going to close this window, go to the project panel, go to the default workspace, and we're going to drop all of the shots into the project no, I want to begin with this draw shot. I'll just drop it into the composition in order to create the composition. Let's person Command K to open the settings. So this is in 1920 by 1080. The frame rates 2999. Let's click on. In order to create speed vamp, to right click on the footage, click on time, Enable time remapping. If you don't have a shortcut here, don't remember if you do it by automatically into click on Option Command and offer comma. It's going to open the shortcuts, and let's search for time. Remapping. Enable time remapping, you can just put a sorcer for yourself. In my case, it's option command And instead of every single time going into the right clicking on here, I can just press Option Command It's going to enable time remapping. What it does is it creates two keyframes, as you can see here on the screen, and usually want to put these keyframes a little bit close to each other because the time remapping allows us to speed up the footage significantly, and the length of the video is going to decrease. This is basically the equivalent of speeding up this video like six times because it was 12 seconds. So now we just have a faster video, and now it stops. So the way it works is just create two keyframes. One is going to be at the end, one's going to be at the front, and we can move these keyframes around in order to speed up the clip. Now, in order to create the smooth speed ramp, we need to select the key frames. And actually, before we even do this, let's go into the graph editor. And we'll see that the speed right now is roughly like at 6 seconds. And if I select these keyframes and pull them let's see, to the very beginning, let's go to the graph editor, select this, set these keyframes. We have 1 second/second. Basically, for 1 second, 1 second of the video goes by. But if I move these keyframes together, or actually, let's do this. Let's do it here. Now, the speed comes to almost six times the speed, and it's just almost like playing the video six times faster. But we can select these keyframes, press F nine, go to the graph editor, and we'll have this kind of movement. And we'll see that in the very beginning, we have very little movement. But at the top, when we have the faster speed, we have a lot of movement, and then at the end, we have barely any movement as well. So here and here, the speed is zero. Literally, like on the keyframe, the speed is zero. If you want the speed to be not zero, but let's say like one, we just need to lift it up a little bit to one. Or 0.99 or two, whatever works. The thing here is that it doesn't really matter what speed we use at the ends of the keyframes. What's important is that we just speed up the clip and it looks great. Now, if we drag these two handles to increase the speed, here's what's going to happen. We'll have the video in the beginning, play like normal. Then it's going to increase the speed here in the beginning, and at the end, it's going to slow down. Let's take a look. Looks beautiful, right? And it's not going to slow down. Now, we can drag this to, let's say, zero or we can just double click on the keyframe and then put this to zero and zero. So the outgoing and incoming velocity is basically which side of the keyframe we have the movement so this is going to be the incoming and this is going to be the outcoming if we were to do it for this keyframe. So let's double click on this one is going to be the opposite in terms of the outgoing, so let's put this to zero. If we do it like this, it's going to come from complete stop to very fast. But before it was like this, it was playing like a normal video until it stopped. Now, we can do this with any shot that we have. So, you know, let's check with this shot, and just going to double click on it. Yeah, it looks interesting. So I'm going to drag it here to create new composition. Close this. And for this option command T. Move it closer, do it over 1 second, select these, and we can use flow for this, by the way, as well. Double click Open top. Let's click on one and one. Double click on this keyframe, one, one. Okay. Let's take a look. And as you understand, we can do any sort of moment. So whatever moment we can do in terms of the normal keyframes, we can do exactly the same thing here, so we can do the opposite movement of it being's like this when it starts very slow and then speeds up by the end, and this is something we'll talk about in one of the future videos about transitions. But, yeah, that's pretty much it. Whatever video you have, just create a new composition or you can just add it to the already existing composition. Like for example, here, let's add it to here and enable timely remapping of the keyframes closer to this movement. Let's take a look. So if you have any questions, let me know, that to jump into the next video. 18. Fixing Motion Blur on Speed Ramps: No, when it comes to speed ramps, you will notice that some of the shots have motion blur on them, but it will sound a little bit confusing to you at first, but I'll explain how it works. So the way motion blur works in After Effects is, let's say we create, like, a shape on the screen, press on P to put the position, move it a little bit to the front, change the position, and in between, if I enable the motion blur, we'll have the motion blur so it goes from this to this. Well, that's when we move a layer, but how are we able to add motion blur on something like a video like this? Well, there's a tool built in directly into After Effects. Let's say we do it for this shot here. We don't have any motion blurs you can see, and if we enable the motion blur, it doesn't work. Well, we have to search for an effect called pixel motion blur. If we apply it, you can see it goes from this to this. And whatever can be do to set here is increase the shutter samples to something like eight is going to make it a little bit better. So before and after. Basically, what it does is it creates pixels in between to create the blur. And then if you really want to increase the blur, increase the shutter angle a lot. So we can put it to 360. You don't want it to be too much so that it becomes natural. And one thing, as well, is it's a significant power for your computer. But when we add it it makes it so much better. It's crazy how good it makes it. If you don't want to go for pixel motion blur, there's also another one called force motion blur, and it works in a similar way, but I found that the pixel motion blur works a little bit better. The similar situation here can increase the shutter angle. There's a very long explanation how the shutter angle works. But basically, this is the effect. And once again, the this motion blur is just way smoother. It's it's way more natural looking, but we can increase to 1,000, it's going to be even crazier. Yeah, this is a bit too much. So 360 is really good. And whatever clip you are working with, you can just copy that effect and just paste it in, and it's going to ddt everywhere. So you can see even for the drone, we didn't have it before, and now we do so. This was the before and after. Big difference. So that's how we do it. If you have any questions, let me know. Other than that, let's jump into the next video. 19. 3D Text Tracking on Moving Subjects: In this video, we're going to track three D text to the speed ramp. There's a specific process we have to follow. So if we want to add something like three D to some of these shots, it will become a bit of a problem because we did the speed ramp. So we're not able to add it to the speed ramp itself. We have to add it to the original clip. There's a couple of things we can do. We can either do the tracking first when we add the clip. So it's going to be this one, this is the above, so let's create another composition with it. We can do a similar situation to what we did before. Go to motion tracking, stabilize the motion, add it grade. Or another thing we can do is if we come to this composition where we already have the speed vamp, we can select our clip, press Shift Command C to precompose, and we're going to leave all attributes into this sequence or this composition. And in the precomposed lay in the precomposed composition, we will have the original clip, which we can customize. So if I click on you, we have our time map and the effects, we have the effect, but Shift Command C or Shift Control C, click on. Let's double click here. If I press on you, we have nothing we have no effect. And if I come back here, press on you, we have the speed ramp and we have the effect. Grit. So let's close this, close everything to make sure we don't make any mistakes. Now we are here, similar situation. Let's track camera. It's going to analyze it automatically so that we don't have to go through it. This is going to be pretty fast because this is not four K. This is full HD, and you can see the difference. The clip before in four K took much longer, even though it had a lot less frames. Okay, so now we can add whatever we want, so we have this we can add it on a house. We can add it on the floor, whatever we want. So if we want to add it on the floor, let's see if we can find, like, a good spot, create text and camera. Okay, so we either have to decrease the size of the text, which is, once again, something I don't like. Click on R, and then we have to change its rotation, say like this, or we can just change the rotation directly here. We can change its position. So we can say this is like floor or not floor, cobble. I'm not sure if that's how you spell the cobblestones, but there we have the cobblestones. And let's decrease in size a little bit. So it's just going to stay there or the other one for the other shot. Let's put something on the wall. This is a great position. So Create text. Let's select the text, change its rotation as well, decrease the scale significantly, and let's just reposition it. Actually, for this, I'd like to reposition it like this, make it a bit smaller, move it to the right, zoom in, and let's make it a bit smaller. Move it to the right. And let's write wall. Let's make it white color. Make it a bit bigger. This looks great. So now we'll have this text stay here, although the wall actually it's not super well. So let's move it higher. And let's see if it's going to stay there. See, it doesn't stay there very well because the tracking points weren't super well. So let's delete this wall. Let's add another point there should be some points in some of the corners, I think, but I don't really see them. So we might have to do it manually if we want to add something like on this wall, for example, because it's not tracking, like, the edges of the wall. It's tracking the grass very well, but not the wall. What if we do it here? Let's see. Yeah, it's not doing super well because it's not the actual wall that is striking, it's striking the reflection. Another thing we can do is we can select the points ourselves, like the tracking points, specific tracking points, the ones that we want to choose. Like in the beginning, let's say want this one, this one, and this one. So if I create text and let's make it much smaller, text is going to stay very well in that area. Now, we can change its rotation. Let's say here, move it closer to the wall like that, decrease the scale. Let's see if it stays there. It does. So now we just need to customize it a bit. And let's write wall. Now, it's going to stay there perfectly because we put our own tracking points. So we just put the ones that we wanted. We just need to make sure to select the three D camera and then track some of those points. It's interesting that didn't select the wall. Yeah, and of course, we can do we can track the motion ourselves. We can track the position and rotation and scale. For this, we need to edit target, sorry, for this, we need to edit the target points at first. So I'm going to put this one here and the other one. Let's put here, increase the scale, and let's analyze forward. It should do a good job because it's pretty contrast to those points. Although you see, not really. So present, you go to the point where it goes wrong. Actually, maybe it went wrong a little bit earlier. Yeah, I did. So somewhere around here, let's just reposition it. This is not a good point, I think. So maybe we should go for this point which is better in terms of the contrast. Let's analyze this. Yes, as you can see, this is much better. Now, anything that we boot below is going to work really, really well. When the tracker goes out of the frame like this, we can where does it go wrong here. This is the last working frame. So from this point onward, we can click on option. Our cursor turns white and we can change the point to another point and analyze from there, but it's going to keep the point our point there. So we're just changing basically the inca point of the tracker, something like that. When it goes out of the frame again, we have to re analyze it again, and we just have to do it multiple times. But if we don't want it to be throughout the whole video, we can just put it for a section of the video, and that's how we can get away with this. So let's Enull select. Click on Eddy target. Let's null, click on Okay. Let's come back here. Let's write the word. Well, let's go to the default workspace. I'll sort it three G and change the orientation, lower it down and change like this. And then we need to parent it to a null, and it's just going to stay there like that. And of course, some of the imperfections, we can animate manual, like animating the scale or the position, and that's it, so. And then if we come here, all of this is going to stay in perfect positions, and we'll even have the motion blur on the text as well. So that's how we do it. If you have any questions, let me know. Other than that, let's jump into the next video. 20. Smooth Speed Ramp Transitions: This video, let's talk about smooth speed ramp transitions. What these are are just transitions between the different scenes, and we play around with speed in order to make it super smooth. So I will create new composition 1920, 1080, 29, 99 97. Okay. So I will add a couple of shots here. Let's select the ones we haven't used yet. Have we used this one? We something similar. So let's go for this one when we're going to the front, and we also have this one. Let's see which one is better. So this one isn't really stable, but we can stabilize it. So let's use this shot. Okay, so let's use these two shots as an example. Let's press Option Command move the keyframes closer, and if I let it play, you'll see it's not really stable. It moves a little bit and want to make it super stable. Make it shorter. It's basically the same thing as stabilizing the nose. So let's go to motion tracking, select that. Let's click on stabilize motion. And stabilizing motion doesn't work together. So shift command C to precompose and double click there, and now we can do stabilize motion. Now we just need to select the point of where we want to stabilize it too. Why don't we pick something on the background? So this is the middle let's stabilize it to, like, a contrast the point, let's say, here. Let's analyze it and wait a little bit. It's not crazy, jumpy, but to make it super smooth, like battery smooth, this is the way we do it. Like, the slow motion looks perfect. It doesn't look perfect when it's not slow motion. We just need to click on Apply X and Y, and should be much, much smoother grid. Let's come back to this comp, press on to reveal the keyframes, put them a little bit closer. By the way, if we get to the black frame like this, all we have to do is to come to the keyframe and type minus one keyframe. So if it's 11 oh four, we need to do 11 oh three, and it's not going to be. This shot is pretty stable, so just enable the time remapping, put them together. And let's go back to the default workspace. I'll select the keyframes right click keyframe interpolation, and we need to click on bezier. It's the same thing as pressing F nine, but if we go to the graph editor, they're going to sit straight. If we move them, I select them and move them closer together, we'll have the graph exactly what we need, smooth the way it works in terms of the transitions is we have to increase the speed before the transition so that one clip goes at a higher speed like this. The other clips the one clip acceleratees, and the other clip decelerates. And at the point of the highest peak of the speed, we make a transition. So it would look something like this. Let's create a put a keyframe here just for the bottom clip, go to the graph editor, and at the end, want to increase the speed like this and do this kind of movement so that you know, it kind of goes slow, slow, and then the end it accelerates really fast. But we do need to take a bit more time with it so that it really acceleratees, like at the front. Now, for this keyframe, we can actually just press on command and to make it linear. And for the velocity, we can put a one. So it's going to start smooth just going to the front, and then we're going to really increase in terms of the speed there. And for the next clip, we need to do the opposite. We need to put a keyframe. The last one, let's go to the graph editor. Let's double click on it, and let's put it to one. But for these two, we need to move them closer and to movement like this for the last keyframe person command to make it linear, and we'll do it like this and then increase the speed like that so that if I select both maps, you'll see what happens. We make a transition on the point of the highest speed like this. It works best when the clips move kind of in the same direction. So these clips, the first clip moves to the front, and then the second clip moves to the right. So if we were to use another clip, let's find a clip that moves to the front. Actually, the join hot would work really well here. So let's find the drone shot, drop it here, and delete it. Option command T. Let's find the last frame and just move this keyframe here. Yes. So let's put another keyframe here and we like that. Maybe this is a little bit too far. So let's do the transition over, like, 8 seconds. Boom, Okay, so select these. Right click keyframe interpolation. Let's put it to bezier. Click no actually for the last one, it can be straight. And for the movement, let's do this kind of movement so that it slowly transitions in. And then we can play around with keyframes to see what easing we like. And you can see because it's at the point of a high speed, it's very smooth and if we add pixel motion blur to really blur the transitions. So I'll put this to eight, copy, paste it in. Let's render it out and see what it looks like. And that's pretty much it. You just play around with key frames, see you see what you don't like experiment. And the more you play around with it, the more you start understanding it, and it becomes much easier to control that. Like, maybe confusing in the very beginning, totally get it. But the thing is that you just have to practice this a lot until it becomes boring to you, and then you'll understand what each keyframe does. Maybe you find a better workflow that works for you. I'm just showing you kind of the tools that this allows us to do. If you have any questions, let me know at that jump into the next video. 21. SFX Layering & Music Selection: Welcome. In this video, we're going to sound design a viral realty video. I'll show you basically everything you have to know about this, and we'll be using a platform called Epidemic Sound. I've been using Epidemic Sound for, like, six, seven, eight years at this point, don't remember when I started using Xactly I think in 2019. So really reliable great guys. And the reason why I use them is because if you use free music and Sound efects Library, you might get a copyright strike. So I remember I used about six months ago. I think I tried to find a free way to show my students how to get a free option. And then I posted a video with that free music, which the website says I'm allowed to use, but then I get a copyright strike because I use the song. So that's why I switch to Epidemic Sound and I'm not going to switch to any free libraries anymore in the future. So if you want to give Epidemic Sound the try, they are giving you guys a 30 day free trial using the Link somewhere around the video player. Now, let's get into editing this video. So we have two stages. We have the sound design, and then we have the music design. So let's begin with SFX. The easiest way to understand this is whenever you have any movement on the screen, that movement is supported by a sound. So if you have 100 different movements, you have 100 different sounds. Sometimes it might be a little bit too much, and at that point, we get rid of some of the sounds. But most of the time, we have not enough than too much. So for Epidemic Sound, they have an extension right here in Premiere Pro, but it's a little bit too small to show you guys. So I'll be using the Epidemic Sound in the browser because it's bigger, and you can see things more clearly. So I'll go into the sound effects on the left, and let's see what we have. Let's make this a little bit bigger. This is the viral reel to practice video. For every single moment, we can add some sort of sound, and I will search for UI sound because oftentimes these UIs have very tactile and interesting sounds, which we can use for, like, text appearing. Let's listen. Okay, so this is interesting. And I'm just checking the ones that I've already downloaded because I know those are going to be great. What if we just search for your Y without sounds? Let's see. So I like this one. Let's download it, put it in, and I'm going to use this because we have first of all, I'm going to use the solo track or we can just mute the audio. So we have the two distinct sounds like Tunktung and we can use that for the first so for this and is the video is the. Let's see. This is the Actually, it's a little bit too slow for both of the texts, so we can use it for the first phrase. And then let's see what else we have. I like this one. So I'll just download a couple of ones and then we'll add it. For the word for this phrase, I'm just going to add another sound. And then when the viral starts appearing, I'll add it onto the screen with this sound. And then for alter, I will add the same sound, but we are going to change the pitch of the sound. This is what it sounds like real but we can change the pitch. If you go into Effects and search for pitch, we have the pitch shifter. If I apply, we click on Edit and let's just change the pitch to something to the right to five. It will sound different. Now, let's listen. Then for the last two, we can do something like a swoosh. Let's search for swoosh. I'm going to do it by a shock track link first. I like this one. Let's download it, drop it for this word and then for the word video as well. And I'm just going to copy the pitch shifter and apply it to the second swoosh, although we get a bit of some sort of artifacts. So let's lower down to some like three or maybe even a little bit less to two. Now we need a big sound effect for when the whole thing goes down. So for this, I'll be using a bigger swoosh and can be This sounds interesting. So let's drop it in and something like this. Then when this whole big thing appears, I'm going to search for the UI sound again and let's see if we can find something a bit longer. Oh, actually, this sounds really good because it has multiple layers like Tutu. So I'm going to download this one, drop it in here, and we don't need everything, so I'm just going to cut the rest and drop it. Let's put it a little bit lower, and I'm going to drop it here. For the blink of the word second, we can use something like light flicker. So I'm going to download this one, and first, I'm going to drop it here, and then I'm going to select the portion where it does the blinkle. For example, here, let's drop it in. Actually, we need to start it a little bit earlier, like around here. And then when we have the swoosh, I'm going to stop it. Then I'm going to add another swoosh when we have the light rays move a little bit. It needs to be like a short swoosh. So let's find that. Actually, we need it to be not long but short truck length. That sounds interesting. So as you can see, I'm just kind of experimenting and seeing if something works or if it doesn't it doesn't change it if it does, great. And then when everything goes down, we can just use the same big swoosh there from before. So it needs to be around here. And I'm using the top of the swoosh for the moment of the most movement. So when we have a little bit of moment in the beginning, I don't use that, but when we have the fastest movement, that's when I use the highest peak or loudest point of the swoosh. And then for these texts, we can just use something like a click, lots of small clicks. Let's search for click. This sounds good. Et's download it. Let's use this first click. And whenever the word changes, I will use this click again. Here, here, here, here. So some like this. Then when we have a transition, we need a bigger swoosh. So let's search for swoosh again. And here I'm looking for, like, a bigger swoosh. Yes, something like this one. Maybe this one is a little bit too long, but that's okay. We can just shorten it up. So let's drop it for when we have the transition begin around here. Actually, the transition is much faster than the swoosh. So let's see if we can make it work. So I'm just going to shorten up and add this kind of transition. And we need to end the transition here and then drag this handle to make it smoother. Let's see. Yeah, this works. And then for whenever we have transitions between the scenes like these, I'm going to just search for a different swoosh. I like this one. And I'm just going to add it in between the different scenes in the transition points. Once again, the highest point, I will just add to the point of the transition. Here and here. And also here. Now, let's take a look at everything without me speaking. Great. Now, in terms of the songs, Epidemic Sound has over 50,000 tracks created by real artists. And for this, I'm actually going to use an assistant and create a new session. And I just want to explain, like, I need a song to showcase a realtor property that creams luxury but isn't too much. So let's see what it does. Yes, exactly. Elegant, sophisticated feel. I really enjoy this because oftentimes it really saves a lot of time. This is good. So I like this song, and I will just ask it to find similar by literally clicking on this button, and it's going to keep the memory so we can come back to this song if want to, and then it's going to find us something similar. This is really nice. This could work really well as well, but I like the summer one. So I'm just going to download it and let's drop it in here. So here's what I'm going to do. These songs are usually quite easy to break down. So we have the beat start around here. I can tell right away because that's when we have the highest loudness. When we have the highest loudness, that's usually when the beat starts. And I'm just going to use the start of the beat when we have the transition. And before that, usually, it kind of it accelerates towards the beat. And so we can use that for the intro. That's literally the easiest way to go around songs. So let's zoom in and double check that were correct. We have the beat here. Yeah, so the beat is here. So I'm just going to do the selection here and drop the song here. Let's just double check where the beat is. Maybe it's one frame further. Yes, it is. So when we have the transition, on the frame of the transition, I'm just going to put the bit here and lower, and I'm also going to do this. So now, everything that's before, I'm just going to extend it and everything that's after I'm going to extend it, press on G and decrease the loudness by in the beginning, we're going to do -25, and then we'll compare. But after, so this is going to be -25, but for after, I'm going to make a cut. It's press on G, and let's do it 15. Now, we need to work with the loudness of the sound effects. For the swooshes, I'll put it roughly to minus ten. The only way I do loudness is just so that it's not overpowering, so that we can hear it, but it doesn't take away from the video. Like this and in the beginning, we have to see how it compares with me speaking. This is the viral reel to practice video. It's recorded in four K, 30 frames a second. Let's see what we can do. Great, but now we need to decrease the loudness of everything by like -15. Let's see. This is the viral reel to practice video. And also decrease the loudness of the song in the beginning. This is the viral reel to practice video. It's recorded in four K, 30 frames a second. Let's see what we can do. Another thing we can do here is to add a default transition by clicking like this and making the transition of the sound a little bit smoother. Let's see what we can do. I think the wishes are a little bit too loud, so minus five extra for everything else. I feel like it's really great. Let's take a look again. This is the viral real to practice video. It's recorded in four K, 30 frames a second. Let's see what we can do. So that's how you do it. If you have any questions, let me know. And that let's jump into the next video. 22. AI Day-to-Night Property Transitions: Welcome. In this video and over the next few videos, we are going to talk about AI in real estate. Specifically, I'll show you a couple of things. And in this video, we can talk about D two night transitions. Let's come to After Effects, and by the way, this works totally in Premiere Pro and in After Effects, but in this case, I'm just going to use After Effects because that's what we've been using. So I will come to the project panel. Drop the video here, it's going to make it a little bit smaller because it's too big. And let's chop it here. So we have the shot of the property. I want to put a marker. I'll person Command eight, or you can just drag a marker from the right if you want to put it. And I will come, let's say, a little bit closer like this, and let's put a marker here as well. Means that we are going to take screenshot here, which we can easily do by selecting the FX Console and just clicking on this icon to take screenshot. If you go into the settings, by the way, the FX Console is completely free, you'll have a link to that as well. Just choose the location of where you want to save the screenshots, and then it will save the screenshots there. So I'll take screenshot here and screenshot here. We have two screenshots. One Oh, like, far away, and the other one close up. So we have these two shots. Now, for the AI videos, I'll be using Invato. So these clips, by the way, I also took from Invato so we have this clip. We have this clip. Actually, it's this one at the bottom, but I'll give you links to these clips as well. I will come to Invado. I'll go into the top left coordinate and click on Generate, and first, I will go into Edit. And let's upload the image. It's going to take some time to upload the image. And let's say it like this. Keep the composition the same, change on the lighting, make it nighttime. And let's click on Generate. Now, I will click back onto Image. Let's upload in image for reference. So I will just upload the second images uploaded. Let's click on touch. So we have the image attached, and I will put exactly the same prompt. Keep the compensation the same change, make it nighttime and generate. One thing I really enjoy about Invado is that it automatically selects the AI model for you. So you don't have to look at 20 different models, read about them, research about them, which one is better. In Vato does it automatically. So let's just wait until it does the generation, then we'll go into the next step. So, we did the second image already. Just great. Let's just wait for the first. You will find e pattern with these AI videos is that you have to generate the images and then animate the images. The second one is animated. Very well done. Now I will download the original size and for the second image, original size as well. Now, let's go to actually, we can go into video from here, and I will upload a start frame, which is going to be let's just open to so which one is the start frame? Oh, actually uploaded the same image twice, so we have to redo it. Let's go to image and upload the one that is up close. Add Image for reference. Let's do the one that's close. I didn't even realize. And let's keep the conversation the same change, the lighting, make it nighttime. Okay, so now we have the close upshot that's downloaded original size, and now we can go into video. And we can either do it in the same generation folder, let's call it, because if you're going to generate, you'll see we have the generation sessions, we can either start new one or click on the one that we're already in. So let's go for the video. Let's upload the start frame, which is going to be the let's say, which one. The faraway one, I feel like it's going to be better for the start frame atuch and then the end frame, we need to upload the close up and click on touch. Okay. And here's our prompt static movement to the front, smooth, photorealistic. We want no audio for the time. I'll put it to 6 seconds to video. Let's go congenerate, and we'll just have to wait a little bit until it does the generation. And let's take a look at the video So now, let's go ahead and download it. The original size. Let's come to After Effects, drop this video here. This is the video. Yes. And now, if we drop the video here, let's press Shift Option Command G or H in order to fit it horizontally or vertically, but because the same ratio doesn't really matter. Oh, here's the thing. Boom. We have the transition right away, so it's very smooth. Then we to zoom in. And yes, you will see there's a slight kind of perfectness in a way, for example, the background, we can see the horizon level, although there's no really horizon, but that's because of the image that was generated for us because of the JPEG. So potentially we should have used the other one that didn't really show it. You can just experiment with this a little bit, but basically, there's your transition during the night to show how the property looks during the night. Of course, we can add something like a transition top to make it even smoother. So we took a screenshot here, which means this end part isn't used, and we can actually use that end part to do it like this, right? Boom, to finish this up. And the great thing about it is that you can change seasons. You can show the property during winter, for example, which could be hard won during, like, sunset, whatever you want. So if you have any questions, let me know. And that jump into the next video. 23. AI Room Staging & Renovation Videos: Now the second way to use AI in real estate is to do room staging or room renovation. It's very similar to what we did before. Let's start. Let's say this, put a marker, going into drag it from the side, put it here, go a little bit to the front, and let's say here it's going to be renovated. So if the two markers, I can take screenshot. Let's take this screenshot, and this is screenshot as well. Going to come to Invoto, click on Edit, and let's upload our images. This is going to be kind of the first one. Let's upload it. And we need to specifically upload the second image because we're going to start from here and then get to here. So we are uploading the second image, and here's what we're saying. Decorate this empty room with modern furniture, put the pictures on the walls, and click on Genre. So here's what it did. I did change the surrounding a little bit. Like, it changed the framing a little bit because the image that we had here, it's at a slightly different angle. Like, this is a very straight and very perfect image. So if we didn't want to do it, we would just have to tell it, like, keep the composition the same. Like do not change the angle of the image. Don't change anything. Keep the walls in exactly the same positions, then just add the furniture. But as an example, this is going to work great. So let's go ahead and download it the original size, and now we will go into video, let's upload the star frame, which is going to be you guessed it the first screenshot, so it's going to be this one. Let's upload it and upload the end frame which is going to be the downloaded image. Okay, so for the prompt, furniture appears one piece at a time. Each settles into place before the next appears, static movement to the front. Smooth, photorealistic and click on generate. And let's take a look at results. Yeah, beautiful. And we can also upscale it to 1080 or four K depending on what let's actually upscale to 1080 because the images or the videos that Envato does, it does it in 720, right away, and then we can upscale it if we need to. So let's just wait until it does it, and then we'll be able to download the higher quality. Okay, now that it's in high quality, let's download the 1080. Come back to After effect, and just make sure that it is the right video. Drop it here. Okay, so it's in high quality. Let's get to this point, and let's take a look at the video. As it does the generation. This specific clip we will not be able to continue with the second half because it will be in a slightly different position, but in the very beginning, there it is, although we do get a what do you call it a slight jump in the quality. So potentially it would be even better to download the original size and compared. So let's increase in size. And let's see. So for this one, the only thing that jumps is a bit of a brightness, and then we just have to adjust it slightly with, let's say, something Clemetric color or we can just right away use the whole AI animatic cal because we don't necessarily need kind of this part in the very beginning. So there. If you want to renovate the room, it's exactly the same thing. You basically just ask AI to renovate the room, put something modern and do through exactly the same process. So if you have any questions, let me know, at that let's jump into the next video. 24. Empty Lot to Finished House Speed-Build: If you have not understood how to use AI by this point, I'm going to show it to you in a third way, which is a very similar process. Come here and we have this field. I'll put a marker here and a marker a little bit to the front. Let's say here. Let's take two screenshots, one here, one here. And come to In fatto to edit the image first and we will upload in second image first. It's going to be the one that's closer. Let's upload it and to describe a change. Replace the field with the modern house. As simple as that. Beautiful. Let's download the image, the original size, and come at the bottom to the video. So for the start frame, we will upload the image that's a little bit further away and upload it. And then for the end frame, it's going to be the generated image. No, we need a slightly bigger prompt here, which is a timeline drawn shot, slow forward push over an empty field transforming into a finished house, foundation framing, roofing, exterior finish exterior finishing, landscaping, all in fast motion. Camera stay slow and smooth, even as construction continues, photoistic cinematic real estate style, and let's generate it. Let's take a look at the video and let's download the original video, put it into After Effects, and increase the scale. It's actually done a pretty good job because it's not always easy to get these time laps with AIS, but it's actually pretty well done. I mean, you chose the time laps of the house. If you have any questions, let me know. I think that let's jump into the next video. 25. Receiving Footage & Delivering Files: Welcome. Individuals bo receiving Raw files, sending the footage to clients and just overall file organization. So first of all, I recommend using Google Drive for transferring files, whether the client sends files to you or you send files to the client. Why? Because Google Drive has an application on both Mac and Windows, an actual app that you can download on your computer. And through that app, it does a very good sync. If you use Google Drive in the browser, it's not going to be as good because you have to download a bunch of files. In order to download those bunch of files, it will zip the file. It will zip the folder, the files. And when you download those files, some of the files will be missing. I've had this problem for very long time. And then I downloaded the app, which is Google Drive. It works just like a normal folder on your computer, but then you just download some of the files. It's very easy to set up, literally download the Google Drive app on Windows or on M and sync the files. Now, when the client will be sharing files with you, you can just put download it directly on your desktop and then use those files from your desktop. So that's how I recommend you to share the files and you can upload the files in the browser, but it's best that you download the files through the app. That's how you're not going to get any files lost. Everything is going to be great. Now, when it comes to file organization, here's what I recommend you do. Recommend to create a template folder. In whatever work you do, whether that's real estate, whether that's working with other clients, working for yourself. Template is a folder. So in this case, it's just a folder. It's called template. And in this folder, I have exactly the same folders for organization purposes. These folders, this list will be different depending on the tap for that you do. Sometimes my work changes, and then these folders change as well, but this is the kind of stuff that I work on a daily basis. So I have, you know, this kid folder that's that doesn't really make sense to you. But there's a research folder where I do research. I put anything research relate here. Raw files, which is where I put the roles. Rails, just unedited files that come straight from the camera. Then the exports, which is kind of the final export that I would send to a client or to YouTube, whatever. Then the demo project, this is not really related to you, but it's really related to me. So that's why I have it. The final edit is where I put the premiere or After Effects files for organization. So I don't just put it in the default folder. I'll share in a second, why, but I put it here. The reason I don't put it in default folder. So when you start Premiere, you click on a new project and you can set it to this default folder. The reason I don't put it here is because when you have, let's say, 100 different projects there, it becomes a headache to manage that. But when things are very well organized, it's very easy to do. Like for example, here. Another thing is that it's also going to do auto saves. Premiere is going to do auto saves. And if you auto save everything into one folder, of those, you know, all those hundred different projects will be auto saved into one folder, it becomes a headache. Then the thumbnail and I mean, it's not really related to you, but the assets is where I put anything I download from the Internet. And this is my thing. Once again, yours will be slightly different. So whenever you download projects, sorry, whenever you download files from the client, put it into the raw folder, and then you create a project that you put here. And then anything else that you download, anything else that you know, the final exports, those will be those will go into the other folders. If you have any questions, let me know, and let's jump into the next video. 26. Building a Varied Realtor Portfolio: Video we can talk about building a portfolio. When building portfolio, we want to show the client what they will get. And for this, I recommend you to create three videos. So one is going to be a video with just the B roles. So that would be, showcasing the house, and that's where Invato comes really handy because they have batches of those specific videos about one property that you can just use and build a very beautiful al with that. Now, the second one would be just the person speaking so that would be the realtor. You can use examples of my videos, the practice files and do the caption animation, the nose tracking, you know, doing the color grade, and all sorts of other little tips and tricks. The speed vamps, et cetera. Sbp the speed ramps. Then a third video is when you combine the first two together. So that would be the realtor captions animations, them talking to the camera, and then adding the virals. So a combination. In total, you have three different videos, so that would be three different variations. And no more than that. Why not more? Because when we give too much choice to people, sometimes they feel overwhelmed. They find that it's a little bit too much, it's hard for them to understand. And think about this, put yourself in the shoes of the realtor or the realtor company. You are very busy. You get asked about the stuff all the time and a lot. You don't have a lot of time on your hands. You don't want to watch through hundreds and thousands of different videos or dozens of different videos. You want it to be concise on point. Here's what I do. Here's what I can get you. That's it. You don't want it to be too much. Plus, it will eliminate a lot of extra work that you have to do. So three videos as the examples, and that's pretty much it. If you have any questions, let me know. I'll jump into the next video. 27. Last Step!: Congratulations to you. You are nearly 100% done with this course. There are just three small steps you need to take. First, take action. Every big results comes with small action. So if you haven't already, take your first step by editing your first video. All the best information in the world means nothing if you don't act on it, and even small steps lead to massive outcomes. Secondly, if you want to continue learning with me, follow my profile here on Skillshare. Lastly, if this course gave you value, could it take 60 seconds to leave a quick review? Your feedback helps the next person decide whether the scores will help them too, and it helps me continue creating better lessons for you. Although this course is complete, your journey has just begun. I'm excited to see edits online, so be sure to keep me and fellow students posted. V. I'm ke for your success. So if there's anything you need, don't hesitate to reach out in the queue in the section below. Thank you again for choosing me as your instructor, wishing you all the best and looking forward to seeing you in future courses.