Transcripts
1. Introduction: Hi, my name is sin
logos and IMA, Latin-American visual
storyteller with a focus on multi-device
digital expressions, photography, graphic
design, and film. One of my dears pursuits
in the past years has been education and the mentorship of aspiring artists
such as yourself. Today, I will share my go-to
mobile filming technique and video editing workflow to supercharge your filming
potential wherever you are. Whether you're a content
creator and aspiring YouTuber, or simply want to expand
your skill sets with video. Today we will learn how to
use our mobile devices. I'll put the best footage
and we'll wrap it up with a bow by introducing an Adobe editing tool,
your shirt or love, just like I do Adobe
Premiere Pro 1st. And we will take out our phones
and explore the areas of improvement in our settings to set our video footage success. Then we will develop a shortlist focusing on
compositions, movements, and duration, which will become our best help when it comes to collecting footage on the go. And finally, I will
guide you through the exporting process to
share your masterpiece. Video storytelling
is a special medium in my experience that will lock a new way of senior surroundings as
they move in your world. Get ready for a frontier of beautiful visual
memories with video. Let's go.
2. Class Project: This class is meant to give
you a guide into collecting, an editing your own
footage for storytelling. The project for this class will be to collect footage in sets of three that showcase your
use of three compositions, three movements,
and three durations in your very own film. It can be your morning routine, your walk to the park, or a new adventure with friends. This will be a great
practice for when you are ready to step
into higher tech, or simply to practice what
interests you the most. It quick guide, when
you're ready to share with the
Skillshare community. You will find that in
the project gallery, you'll be able to
upload an image, a video, or a link. I welcome you to
share screenshots of some of your favorite
compositions of the video clips you've
collected so far so that we can follow your
progress along your journey. Once you've gotten
a chance to receive feedback from me and the Skillshare community
based on your compositions. Then definitely keep that
in mind while building your video sequence
in Adobe Premiere. And once you're ready, share with us your final
project via a YouTube link, a Vimeo link, or a
link of your own, so that we can preview
your final footage. A tip to keep in mind
if you began your career photographing
like many of us have, consider how any of your
favorite images will look. If instead of hitting the
shutter, you've clicked record. Maybe it would result in
an awkward smile from a dear friend who
expected a photo. We know the one. Maybe in place of capturing a still image of the landscape, you capture the leaves as
they flutter down to earth. The goal will be to get used to recording with your
shot list and mind. This way, you will
begin to develop your instincts as
a videographer. I encourage you to see the world and movement
and enjoy telling the stories from your own
unique perspective in motion.
3. Begin your Mobile Journey: This lesson will focus on your
video camera, your phone. We will be exploring our options from the time
this video was filmed. And keep in mind, these options are
only going to get better and more fun
as the tech evolves. Let's begin. I will be exploring my Google Pixel Seven Pro that
at the time of this video, has a really nice 50
megapixel camera, a twelv megapixel wide, and a 10.8 megapixel selfie. Let's take a look at
how these fancy specs are used in my video footage. Okay, First my settings,
my brush solution. One of the most valuable parts for me is the size
of my footage. It is incredible to say, but my phone can
capture Forky footage. That means it is already above
the average expectation of an HD footage that is
only 1920 by 1080 pixels. All those numbers
mean two things. I can use it to upload
high-definition to my website, to social platforms like
Instagram and YouTube. And you can also zoom into your footage without
losing quality. We will see this illustrated
into practice a little bit more once we get to our
Adobe Premiere workflow. So let's talk about
frames per second. My second favorite
part, arguably, Maya Number one,
is the frame rate. More frames means I get
to slow down my footage later in post and create
a cinematic experience. I find this method to feel a
little bit more organic than the automatic slow down
effect native to our phones. But both can work in
your favor depending on the emphasis you're trying
to make in your story. Finally, audio. If I plan to speak to
the narrative, my story, I consider turning on speech enhancement
to let the software, the tech, my voice over any environmental noise a
little bit more accurately. A pro tip. Consider your story
and how the feelings can be enhanced with the
features we just talked about, but also with the ones
that your phone provides. A time-lapse, e.g. can give a sense of time
passing while a crowded joys, mighty meal or slow
motion mode can showcase the majestic elements
of fire as it slows down for us
to mesmerize duty. Cinema mode deals with
depth and it can guide your viewer from the
foreground to the background. Or put simply, it can help
you create that sense of bouquet in the background so your friend appears to be
right in front of you. The key takeaway is to recognize how you
can use your device to give you the best footage possible with your storytelling. Always in mind. A bonus. I have a kid I like to keep with me when I'm on the
go to supercharge, my chances of capturing
really good footage, a tripod to keep your
scene static and let the movement happened
without unnecessary shake. This will give the impression of a more professional shot. Also handy when you want
to record yourself and an environmental place where you have no one
else to help you. Okay, moment lenses, one
of my favorite lenses is a macro lens because I enjoy creating transitions and
only seeing the details. External mics, you can up your footage quality by
simply upgrading your audio. My go-to is the
road lovelier mic that connects directly
to your phone. You just have to have
this external cable and pretty much just
plug in play after that, after selecting it
from your settings. All that said, remember that the characteristics of
your phones image and footage is unique
to its time and that alone makes
your video special. Now that we have our settings prep and we got some
bonus tips underway, we are ready to go
and hit Record. Up. Next we will develop
our three set sharpest.
4. Shot List Techniques: Okay, so composition, this is one of my
favorite techniques to explore as I begin to point my phone in any given direction. So consider composition
as the arrangement of elements that your viewer will see as they navigate the screen. This arrangement is composed of a hierarchy commonly centered around an important
primary subject and a secondary element, e.g. your environment, as you
may know in photography, composition is king and in
film, it's no different, although it can be easily dismissed if you don't
keep it in mind. Trust me, this element will strengthen the
cinematic were sold in your footage no matter what tech you may have in
your hands to capture it. So consider using the
rule of thirds markers on your phone to place
points of interests. And each cross point. A centered image is always
a loyal competition to rely on from time to
time and try exploring, placing your subject to
the left or to the right, maybe even framed
by an element to increase the viewer's
curiosity towards that scene. Once you have achieved
a composition, anchor yourself
in that scene and begin to film, movement. Movement can be a
variable of things. For our shortlist, We're looking for two
kinds of movements, subject movement and,
or camera movement. So subject movement,
remember your subject can be a person or your environment. In this quest, we are keeping our eyes open for any
environmental movement, like the leaves falling. Or alternatively, we can
consider movement from our friends to
incorporate looking to the right or in looking
back to the lungs, e.g. we can also introduce
an activity like riding a bike that can fulfill our
movement. For this scene. Camera movement, sometimes
movement may not be available and creating it with our camera can increase the
value of our footage. Consider panning to the
left and back to the right, or tilt up and then down. Try using an object to hide
and reveal your subject. Those are all very
interesting viewpoints. Duration. How long should my
video clips be? Oftentimes, the
law of the land of B-Roll footage is more is more. B-roll, by the way, is footage that supplements your a roll, which is usually you're talking
to the camera like this. Now back to time, I like to keep my video clips on my phone at about
five to 10 s long. So that when I
explore for socials, I can have a variation
in my video, but yet still have a short-form video for
my viewers to enjoy. Duration is also
something to consider when you want to
emphasize an action. In particular, someone mixing t for a very long period
of time can be dull, but making that a short
preview with three sets of five-second perspectives
in a bit of slow motion can increase your viewer's curiosity
to the next scene. The same applies for the
elements of hide and reveal. You want to begin your
clips and hide mode and, and your time at the point
of reveal or vice-versa. Knowing when to start
and Andrew time will ease your editing process
in post-production to very, very important pro tips. If you're looking to create a time-lapse, record,
longer footage. Keeping in mind that this will shrink once you create
the effect and post. For the most part, when it comes to timing your video clips, I want you to focus on creating at least three variations of the same scene so that
it appears longer, but you're providing
a new perspective to keep your viewers and treat. Okay, great. Now we have ourselves a shot
list that will yield us a nice assortment of video
footage from our phones. Now let's conquer that Adobe Premiere with an
easy workflow that will flow you right into
editing your very own short real. Let's go.
5. Story Overview & Getting to Know Adobe Premiere: In this section, typically
we want to guide the viewer through a set of actions
in a chronological order. E.g. I. Will be
guiding the viewer through a cozy morning at camp. I will begin mine with a set of three scenes that
reflect me waking up, doing a little reading
and opening the blinds. This will be followed
by stepping out to the airstream to enjoy the
scenery with a morning tea. Finally, we will show a
set of three clips that show me strolling and rejoicing and the
beautiful outdoors. Now let's make sure
we're acquainted with Adobe Premiere
Pro interface. Our timeline is like
a time machine with a timecode indicator
or play head. You can choose in what area
of time you want to be in. The preview is a bit like
a crystal ball showing you a sneak into the
time you've selected. So in our case, we want to begin at the zeros 00 mark to create our intro.
6. Premiere Quick Set-Up Guide: Okay, let's get started
on Adobe Premier Pro. The goal of this
lesson is to dive into an easy beginners workflow, into Adobe Premiere Pro that will give you
that confidence to step into the shoes of an editor in your video
creation journey. Now that's a big dream,
but don't sweat it. I will guide you
through each step. And besides, I believe in you. First off, let's get
ourselves organized. In the project files. I've provided a folder structure
for your sample footage. These will be all the
folders you will need to simply drag and drop into
Premiere to get started. Our story will be
told in three parts. The intro, the main, the outro, and that's it. That's simple. You may have noticed that we have a common theme going on. Our golden number is three. We want at least three sets of video clips from each scene. And we will also be creating our story in the
three tier structure. Okay, let's get started
on Adobe Premiere Pro. Let's make sure our Canvas
or sequence settings are up to our standards
for social media output. Okay, we're going to need a
nine by 16 vertical layout, any 60 frames per
second timeline. Let's create a new
project and call it Skillshare class project. On the left-hand side,
you can see that we can browse all of our
documents and folders. I'm going to bring in a
folder to start my timeline. I like to import media
to start is another way that you can bring in full
folders with full contents. Let's drag it into the timeline. And already you
can see that we've created a vertical layout. But let's go into the
sequence settings here to change it to
social media sizing. So 1080 by 1920. Let's also change the frame
spit to 60 frames per second. Now you can see
it's a little bit bigger, but that's okay. We'll change it to 50 per cent. Looking good. Pro tips. You can save
these settings for future use by saving
it as a preset. And also keep in mind that Adobe has presets
available to you.
7. Bringing our Clips Together: Now that we've gotten acquainted
with the interface, oh, Adobe Premiere Pro, Let's
begin importing our footage. So I'm going to click on
import media to start, to double-click and bring
in those video clips, samples that you
have as a reference. So we have them in
order here from a to D. So all of them contain a set
of three clips within them, and potentially a
surprise one at the end, we'll see, we're going to
begin by importing one folder. And you'll see what
happens when we do that. When we click on one
single folder that contains more than one file, we can actually
begin to import it completely with all of
its contents within it. That's pretty cool, right? Okay, so we're going to bring in this file and start to
review some of this footage. Now I'm going to double-click
here and it's going to give me a preview right
here in the center. But notice that this
is a source preview, meaning that it's
coming directly from my source file, right? So this isn't quite
yet on our timeline. Now, if you want to
see what happens, what is being visible within
the timeline in the same way that we spoke about just
earlier in our time machine. Then you want to click on this tab right here,
which says Program. At the moment it says
there's no sequences. So there's no working file. In essence, there's no
media files within it. But we're going to change
that in just a minute. We're going to review this. And this is already the first
scene that we talked about. And it's me and just waking
up essentially and reading. Yeah, I do think this
is the first one, so let's begin there. So the clip goes as follows. I am reading and then there's
an action moment that happens when I close the
book and put it down. I like to cut on action. And that is an interesting
pro tip just to consider whenever you're
wondering, well, where do I cut? Where do I stop the moment
we've talked about duration. And duration is very important. So I can include this entire clip or I
can choose where to cut. So I'm gonna hit the
letter I to begin my clip and the letter
0 to end it, right? So I know that I want to end it about when I put it
down and a smile, a little hint of a smile, which is really nice. Alright, so we've selected
our inputs and our outputs. So we've cut, essentially
trimmed our clip. So now we can decide to bring in either the clip by itself
or the clip with audio. So most of these clips
don't involve any audio. We're going to be putting
our own audio afterwards, either as a soundtrack or
afterwards in social media with all the multiple amounts of soundtracks out there
in the world wide web. So this time we're just going to be importing our video clip. I'm going to click and drag
directly into my timeline. Just like that. Now I have something
on my timeline to review and its existing
within the first track. These tracks here below, or the audio tracks. These tracks here above, V1, V2, V3 are our video tracks. Alright, so we're starting
our zeros 00 mark. I'm happy, I'm excited. This is our intro. So we're beginning here
and I close my book. And you can see now
that we've switched over to our program preview. So now our program is show showcasing our sequence
which we just made. Now, something to think about is that premier
picks up all the, all of the specs or
settings of your videos. So as I dragged this
file in, it in fact, created or learned
the settings from your video clip and decided this is the size of your sequence. Now, I know that my phone can record oftentimes
at four K by 2s2. So maybe I don't
want to output at, for K, I want to output
at 1080 by 1920. In the same way that
I showed you earlier, we were creating our project. So let me show you
that one more time so we get acquainted
with this process. So let's go into sequence
and sequence settings. And we're going to go into the section here
that says frame size. You can see that in fact, mice, my file size is about
2000 pixels by 3,000. So almost the four k
for k quality, right? So we want to change that
because we only want HD. Hd is 1080 by 1920. So I'm going to change
that over 1080 by 1920. And my vertical ratio
now changed 932-916. That's pretty cool. So don't worry about this. This is going to stay as is. And we're going
to make sure that our frames per second is
60 frames per second. In this case. Let's hit okay, and
now this is going to customize our sequence. You can see there
it got zoomed in. So like we learned earlier, Let's hit 50% and it
will fit our frame. Awesome. Now we have our
first clip within our scene and I am
excited. I can't wait. Now we know we have a supplement of two other clips for
this particular scene. And that's really
important because that's going to give us variety. That's going to give
the viewer a sense of the experience
without it being too dull and slow and the
visual imagery of it all. Let's review the second file. This time I am jumping
off of battery. Right. So let's go and follow this
in a chronological order. So I'm going to jump off of bed. It's gonna be right about, I love how this happens. This motion happens. So now we found motion,
which is awesome. So now where do we cut it? Good question here. Maybe it's when I'm
about to exit the frame. So maybe right there. Leaving some things in a matter of mystery
is good, right? You expect this person
to get off of bed, but you don't complete
that whole scene. You leave it so that the viewer sees curious about
the next step. So let's go into the beginning and we're gonna hit I because I like it right at the start. It's already there. And
then we're going to hit 0. At the very end. We have 0 right about there. And I can drag this over to my timeline and put
it next to my scene. Now these two are bonded together and they're
going to be continuous. Another pro tip to
consider is that you can also use I, the letter I, and the letter 0 within
the timeline to mark your in and out points
of your work area. Now we learned a
shortcut that works onto spaces in our source monitor and also within our timeline. I'm going to move on to
this third video clip. And this one is when I open
the blinds, right, cool. So again, with finding the right moment
in the right duration, we're going to mark our in
and out points strategically. So I'm going to mark
this one maybe, right about when I
touch the window sill. So start here and move
on to the next one. There, right before
I'm going to end it. I'm gonna hit 0 with that same mindset of not completing the
action at the end. To maintain that curiosity. If you want to bring
all of the elements that a video might contain, e.g. if it does contain audio, you want to drag
directly from the frame onto the timeline and it will
bring all of its elements. But if you just want to drag in the audio or just
drag in the video, those can be
individually brought in through these two
little icons here. Okay, so now we have our three scenes from
one single concept, right? That's pretty cool. Now this one got zoomed in. We know the trick. We're
going to hit 50 there. This one's a little bit
to the side, right? So we're going to
go into our effect controls again and
hit the rotation. So this area is where we make
adjustments to our files. So it's really
interesting to see all the different ways that
we can make adjustments. Of course, we can flip
this upside down. Sometimes. Just figuring out how to
transform a file can be a thing, but just know that the
effects control is there to modify or make adjustments
to your media in general. So let's rotate this just slightly bit so our horizons
a little bit more straight. Okay, that looks better. And I think now I can increase the size so I can
remove those borders. So I can just drag
the scale until it feels right about there. But before we go, you're
probably wondering, what is this new file that
was created right here. Those little lines will tell you a little bit
about this file. So this is actually
our sequence. A sequence is represented by this tiny icon that
looks like a timeline. We want our sequence to be in a special place because
this is our working file. Essentially, I'm going to create a new bin and make sure
to store my sequence. You can make multiple sequences and store them in
the same folder. Great, that was
already really simple, so let's continue on with
the rest of our footage.
8. Dive Into your Main Footage: Great. Our interests set time
for our main footage. Okay, Here's another way
to bring in your footage. Just simply drag and drop the folder from
your Finder window into your source monitor. And just like that, it brings all of its
elements with it. And just like before, we're
going to review these files. So let's click on
each one and find the right placement
and the right trim in order to bring it over
to our storyline. Okay, so let's start
with this one. I know that I am going
to open this door. However, I am definitely kind of prepping right there
in the very beginning. And I really want my viewer to see the moment smoothly as it happens right before I'm going
to open that door, right? You can see that little nudge
as it's about to happen. You can see the little bit of lighting surface from there. I'm going to start right here. I'm gonna hit the letter
I as we did before. And then it opens up and voila, you get to see this
beautiful scenery. And I loved that so much. This entire clip is full
of a lot of goodness. As I pan up or tilt up, you can just see all of
the foliage is gorgeous. So it's really hard to want
to trim this video at all, but I definitely think there are different elements
going on in this scene. First, I'm coming in and
I get to see the scene. So there's a reveal
moments happening, right? There's the reveal. Then you get to see me
pan over to the right. We talked about panning over to either side and tilting
up and down, right? So we pan over to the
right and then we tilt up. Now we can choose
to include all of these different movements
within my scene. Or I can choose to
just operate on a single one or maybe
two double up, right? I might end maybe around here because I know it's
pending to the right. Let's see how that works out. Let's drag this over. After our last clip. Let's go over to our next scene. And I like that this
is also a moment of reveal and you notice that it's also padding to the right. So that's one of the reasons
why it's helpful that our last clip was
panning to the right because this is now
going to feel smooth and more cohesive as it rolls
through each of the clips. Let's go back here and pick that very precious
moment when it's hidden. So hit I in that moment. And then as it goes out, I looked down to my
feet and down to all of the beautiful leaves
that have fallen. It's kind of amazing,
very relaxed. I really like this is a
moment where I look down because I have a clip
supplement that perspective. And that's really interesting to shift perspective, right? So I'm going to stop
it right there. And I'm going to bring that
over to my timeline book. I noticed, I'm noticing
something in my timeline. There's not a lot of
space left unless I keep scrolling over
with my play head. Another way to see
more of your space is to hit that Tilda icon. I can't really call
it until the icon. I, I'm much more comfortable
calling it a squiggly. So I'm going to do that. So you hit that
little squiggle above the Tab key and you're going to find that it zooms EGN to whichever section
of Premier you are in. Right now I'm in the
timeline section, so that's what it assumes
into I love that. I get to see that
because this is a full preview of
what I'm looking at. Now I can hit the
minus button or the plus button to zoom in
or zoom out of my timeline. Really cool right? Now we're not just navigating
backwards and forwards, but we're also going in and out. We're zooming into
our, our timeline. It's really cool.
We can do that. We can also have
more visibility of our different cliffs it
by hitting Shift plus, you can see that clip more
visible and its contents. You can see that
those little icons to give you a preview. Now if you want to go
back to where we were, we just hit that Tilda
or squiggly button and we are back to our scene. But now we have a
little bit more room. So let's bring in
our clip again. We're going to
double-click into that. So we are, we are in
our source monitor. So let's drag in this clip and I'm gonna do that by
dragging in just the video. You can see it's much smaller, but you can start
to see how this is going to go together. Now these are still zoomed in. And even then he looked. So seamless, right? So let's make sure
that that is also 50%. So we have full
visibility of our scene. However, feel welcomed
to change the cropping. This is a great space if you're
coming from photography. Competition happens also in
post editing, really special. So you have a chance to change the composition
if you wanted to, by simply zooming in and out. Okay, so then we go from here to opening
this amazing view. It makes complete
sense because we were waking up opening
the blinds and now we are opening the door onto this gorgeous view
and having tea. And right at that moment
where I looked down, I want to bring in
this next clip, right? So remember, you want to
double-click it and in order to see it in the source
monitor, right? So we're here and
you can see it here depicted just in case you get a little bit frazzled with where are your
previews of things? I know that was something that I experienced at the beginning. So don't fret. These are very easy steps for us to follow where we're at. As I double-click, I get
to see my source monitor. I get to see this view
as I was looking down. So something like that, right? I love that I extend
my foot and back in. So maybe something like that
could be a cool movement. So hit, I boom. Okay. So now we get to
follow the eyeline. Eyeline as I looked down, right. So that moment where
I was looking down. Alright, so we get to follow that eyeline
and then supplement a clip that shows the viewer
what I was looking at. And this is a great
way to also consider as you are filming
and recording. What do I want to film? Do I want to film
something looking down? And because I did
just in fact watch someone look at something or maybe someone's
looking at the sky. So the next clip could be of the sky right following
that eyeline. Let's add this in here. Again, double-click. We're in our source monitor, we're going to drag
in our clip. Great. It's right there, flushed, right next to the next clip. So as we observe this scene, we get to see it open to
this beautiful scene. This is probably
the longest one. So this is something
to keep in mind, is that the duration of that, that clip is much longer, but it is very
interesting, right? So like the clip within
itself has a lot of intrigue. So it's not that bad that it stays for a longer
period of time. Because this video clip opens a door and then it
pans to the right. So in it of itself is
already multiple clips. Just keep that in mind. There might be something
useful there too. You can see as I looked down, I look back at the
beautiful leaves. I think that is
looking so awesome. It's already telling us a really interesting
story that starting from the beginning
to the middle, and now we're moving on to the closing elements and also the climactic
elements, right? So let's move on to the next scene by bringing
in the rest of our folders.
9. Enter the Editing Zone: I love this scene so much. It's just, it just has
that powerful depth of field that is now included in
the Google Pixel Seven Pro. And it's just amazing. I love the way. It makes it a little
bit more dynamic. I think I like that
moment where it transitions from focus to the foreground to focus
to the background. So that was kind of interesting. So we have the background and then a focus to the
foreground. That's nice. I like that. So I'm going to
hit 0 on my keyboard to get my out point and then
I get my end point. So this is interesting because
it's also zoomed in scene. So this is going to supplement that last scene where
we were able to see hints of the beautiful
ambiance, right? So that's going to
supplement that. I'm going to drag
in that clip over. Boom. Let's extend our
work area by just clicking the end
and dragging along. So this time not hitting 0, but just dragging that in the same fashion as
you would your clips. Beautiful. How do we trim the clip? Now that's part
of our timelines. So we're gonna go into our timeline just
here and make sure we have this line extended so we can
see more of our clip. I'm going to hit Plus to
see even more so, right? Where I'm going to be trimming. I'm gonna go back so that I can see my preview as I am trimming. So what I want to cut is all
of that space before it. From here to here, right? Okay, so I want it right
there where it's blurry. So it can do a couple of things. I can drag this clip over two. That marking point, right
where my play head is at. That's pretty cool. It creates this space. And I'm just going to delete
that space backspace. And now it starts right there. That's pretty easy.
Now another way to do this is to hit Q, right, where the playhead is, knowing that there's already
a line division, right? So it's not going to
remove everything, but it will remove the
point of the playhead up until the next split, right? Okay, so let's hit Q and
that cuts that entire area. Nice. That's looking really good. Now, if you run into issues
where that doesn't work, that's potentially
because you've stacked up several files or audio files that are preventing
that from happening. But if you're following
along this workflow, it should be easy and
should work just fine. So now we get this
transition much faster. And I think I want to also
close it in at the end. Beautiful. See, that's
a really beautiful crop That's already zoomed in
and it looks gorgeous. So that could be
really interesting, or we can zoom out
a little bit too. So it's kinda like
there, That's nice. So there's more focus on our leaf and also
the ambiance, right? I love this scene so much because this is one
of those moments where we can play tricks
and post editing. Something that maybe doesn't
happen in real life, but that's the beauty
of getting creative. I'm going to hit Command R, which brings up the clip
speed and duration. So that's Command R
or Control R on a PC. Okay? You can also find speed and duration by right-clicking
and finding it right here, right at the center,
spindle, speed and duration. And it will give you
the same panel, right? So we have our panel here. And what we wanna
do is in this case, we're not actually preoccupied with the speed or duration, but this is a space where
we can modify that. What we're going to do is actually one of these
different options here, which is to reverse the speed. So I'm going to reverse
that speed, hit Okay? So now it's going to do
something like this. Cool, right? So that's really nice
to be able to create a really interesting
effect and bring your audience into a bit
of quirkiness or magic. So we recorded some
of these clips at 60 frames per second with the ultimate strategy
of slowing down these clips to create
a cinematic view. So this one has a 60
frames per second. And the reason why I know
this is because I can right-click and go
into properties. And it will tell me right
here that we have a 59.94, which is essentially
is our 60 frame, frame rate that we
pre-selected on our phones. Okay, So now that
we've done that, I can right-click and go into that Speed Duration
panel that we just Previewed, we're going to
go into the speed option. Since speed option,
we're at 100%, but we want 50 because
we can achieve 50 because we've given
it 60 frames per second. If we had the ability of
reaching 120 frames per second, we can go as far as 25%. So that's really, really slow and really,
really beautiful. So in this case we
have 60 available, so we can do half
the way, so 50%. And you can see that
the timing has changed. So we were at 100, so the duration was 1 min. But as soon as I
hit 50 per cent, now my duration is much longer because now the video is slower. So it's no longer
in duration too. So let's hit okay. And then you can
see as it happens, it happens a little bit slower. And so we might want to cut the clip like right
there so that the climactic moment
happens much faster. Nonetheless creates
that really cool coming back to my hand moment. And it makes it a little
bit more cinematic. Loving that so far. Let's move on to our next clip. And I love this clip. This clip was taken by one of my friends who's also
a photographer, John. John, he's incredible
photographer. And in this moment, we were experimenting with
the Google Pixel Seven Pro. And we wanted to achieve a bit of that slow-mo
effect we just did, and we were experimenting
with our options. It was a really beautifully
organic collaboration where you're just sort of
figuring it out as you go. So this is what we got. And so you can see
that maybe we want to start this right where
the action happens. So maybe right there where it looks like
it's right above me. So I'm gonna hit I. And it comes down. Awesome. So I'm going to hit 0 as it's been almost
completed because I think that's a little
bit more precious than if you finish it
at the very, very end. Okay, so let's drag this in. And I know that we were
experimenting, so in fact, we decided to make
this a 60 frames per second to give ourselves
that option of post editing. So we pulled it into my computer and I was able
to do this exact step. So Command R or Control R
brings up that panel again, and then we're able to
either hit reverse, which could be an
interesting approach, or hitting that 50%
are both, right. So let's do 50, 50% there. And so you can see how that
extended the clip, right? Try that again, Command Z redo. So you can see how it extends a physically extends that clip because the duration is longer. So now we just created this mesmerizing slow motion with our phones and a little
help from our friends.
10. Gaining Momentum: So let's review these video
clips like we have before. You can start to
notice that we have, we're gaining this
momentum from just having a workflow that
we're acquainted with. So the more you repeat this, the more you'll get
used to processing different scenes and different
clips as you record them, those may change, but your
workflow remains the same and eventually begins to grow as you continue to
grow as an editor. I love this clip because
it's basically a, not only is it a
beautiful scene, again, that is just adding
to our storyline, but it's also a follow scene. So I'm following a
subject at the same time, multiple subjects in this case, and at the same time
it's an activity, something that is showing off
movement within my scene. So I don't have to be too preoccupied of the
movement of my camera. In this case, I just follow and the movement is
happening because my subjects are moving and doing this really cool
biking activity. I'm gonna go to the beginning because I really love
that vanishing point. And I would love for this to
last as long as possible. I definitely was
writing my own bike, So that definitely helped
and just following them. But at the same time, I was hoping not
to shake too much. I think I'm gonna go up until they're not to make it too long. It's already very, very long. Maybe we can just follow and there once it starts
to shift, right? So these are catered to
social media platforms. So those tend to navigate
a very fast paced rhythm. So this is why you're
finding that I am cutting clips and
very short duration. So that's something else
that I'm keeping in mind in on top of the creative strategy. You're also thinking
about the format and platform that this is
going to be outputted. So I'm going to
double-click on this clip and starting at
where I'm smiling. I liked that moment where
I'm smiling because it's a good transition
from here, right? So you have this
focal point on me, and I'm smiling there
at the very end. So then we go into our source monitor and we see that
I'm smiling there too. So sometimes those could be the little nuances of actions. It's not always someone's
doing a thing with their body. Sometimes it's an expression that might be a very
interesting way to Transitions something like
the person's expression. I liked that this is a
scene where we get to see me and then we see
where we're at. I think this actually
deserves to be first before this scene of following
the bike, the bikers. So I'm actually going to zoom
out here in my timeline. I'm going to click the timeline. Hit that squiggly to
completely see the timeline. Drag this clip over
so that I can make some space for my
next clip to belong. So now we go from this
to this beautiful. That's looking much better. Now what it can bring in
this file closer and hit the backspace and delete that that area so that they can be right
next to each other. That's really cool
because your eye is traveling down the middle. And then it goes
into this scene. With the vanishing
point, beautiful. The key objects is to bring your audience along
with you in an activity that leaves them feeling a sense of the same emotion that
you were experiencing. Two, the chances are
that your audience will also feel that
same experience translated through your videos. And this will enhance
their day too.
11. Surprise Footage: We're almost there at
pleading our storyline. So let's bring in
our final footage. At this point. I think
I feel good about ending this story altogether. And I know here we still
have one more left. And I do that intentionally
because I like bringing in an element that leaves a little bit of a
surprise towards the end. And so much like we did earlier, I think I wanted to
do the same reversal into this one so that we sort
of connect the dots there. So this is an ongoing theme
throughout our storyline. So I'm going to bring in this last scene all
the way down here. So this is a pretty
long one, right? So I'm going to bring
it in at the very end. Lengthen that work area. Okay. Just dragging
it. It's perfect. Okay, and then we're going to right-click speed and
duration or Command R. And we're going to hit
that reverse button here. Okay, Let's see if
in our properties, we recorded this at 60
and it looks like we did. So that's looking good. So I'm going to also
slow that down. Let's make sure this is 50. And you can start to see, we know what we're doing here. We're just going with the flow. It's a few, a few steps
that can help you get more acquainted with the Premier and remove that
sketchiness of it. There's so much
more to do in here. But just being able to get
to know these simple steps, it's already going to
get you started into creating a variety of different stories with beautiful different
clips in your adventures. So I love the way this looks. Okay. I think I wanted to actually get it right when
it fell on the floor. So let's go into, we're going to right-click
and hit reveal in projects, not in Finder and projects. And double-click here in
case you ever get lost. Because I want to know that I know that I have 60
frames per second. I can slow down the action and where it
comes back to my hand. Much have we did in
the previous one, but I don't want to
slow down this part. I don't want this reveal
to take too long to do it. So I'm just going to bring in that clip and remove
this one. In fact. Just introduce it right
at the beginning, right? So we're gonna do that. We're going to make
this about there. That looks good. So I didn't do 50 per cent, I did 59, which is pretty cool. So we're cropping, we're making our own
compositions nice. So we're going to
make this 50% because we know it's at 60
frames per second file. And we're going to make
it a reverse speed. Okay, great, right there, so ends right there. Now let's go back to our file. And now the, the beginning is
going to be our out point. The start will be right
here, right there. So we're still going to reverse this section because we want it to actually
work backwards. So we're going to
reverse this command R. Hit Reverse, extend
that workspace. And we're going to zoom
out into the scene. And this isn't an
interesting way to just create a variety
from the same scene. Just by cutting your clip, making one part of
it slow motion, and then opening the wide angle and leaving it at 30
frames per seconds. So the normal view that we're accustomed to,
That's pretty cool. I'm liking the way that looks. It just looks amazing. And I'm just going to now
introduce text and graphics to involve our audience a little bit more
on the narrative.
12. Text and Graphics: We're in one of my
favorite parts, which is to add text and graph. It just helps us guide the viewer to the
special narrative. So I'm going to either hit Command T
because I love shortcuts. So Command T or I can go into
the texts panel here it's the type panel tool on
the left hand side and then go directly on top of
the frame and click there. And you can see now that's
created a special clip there, that is a graphic clip for text. So I'm going to begin
to write their wake up. So now we're not
going to be modifying these graphics with
Effect Controls as much. We're actually going to be going into the Essential Graphics. Again, if you think of
modifying any elements, you're often going to find them up here on the right-hand side. If you don't see
any of these items, definitely go into
Windows and you can find all of the
different options. Once I get to my
essential graphics panel, I have all of these really
cool options right away. I see my texts panels. So it says here, wake me up. When I click it, I
know it's selected. Okay, when I click it, I can also change the text
to anything I want, right? So I don't always have to
manually click the space here. We often work off of these different panels
on the right-hand side. We also have these
really cool options to adjust my space so I can center it to the
horizontal space and I can center it vertically. Here. I also get to select my text, which is the fun part, because you get to play around
with different options of texts and find something
that fits your mood. I think I'm gonna
go with this one. And in this case, I have a background color. So how do we get that? Oftentimes, a background
color is very helpful because if the background
clip is very busy, at least this makes it a
little bit more visible, but I can also pick a
color from my environment. I can click on this
color here and go into the eyedropper tool
and go find a color. And what's really cool
about this is that I can find a color
within this space, within my actual clip
or in my outer space. So anything out here,
maybe this yellow, maybe anything that maybe I like the screen
up here or maybe I have my browser open and I have a color there that I
want to pick off of. I can do that. I can select anywhere
in my screen. And that's really helpful. And then if it doesn't
have enough visibility, we can also scroll up and down
using this anchor points. So we get to move our graphic up and down
and also horizontally. Okay, That looks cool. Now I want to add another text below it because we're
creating a sense of hierarchy. So I'm going to
just hold Alt and pull that same graphic
up to the next track. And now it doesn't look
like it's visible there, but we're going to
actually pull it down. And now we can see
there's a copy. So that's the next sentence. We're going to center it. And we're going to
align it to the center, just like we did
for the other one. And we're going to actually
reduce the sizing for this one which lives around
here. So it's at 100. We're going to reduce
it to start to begin to create a hierarchy. Maybe we shift the color into something a
little bit darker. The Sunday site ups. And then we're
gonna make one more to create the words are ready. And again, we're just
going to shift this down exclamation point
because we're excited. To be fair. There's no Sunnyside
ups insight, which I'm very disappointed
by, but that's okay. It's more about the essence
and theme of the story. Thumbnails are very helpful because it's the
first thing that someone sees in
the grid platform. And they get to decide
whether they're interested or intrigued enough to
take a look, take a peek. So this is a cool way because
we are already creating this narrative about how interesting and
quirky it could be, how fun it's going to be. We have some really
cool color elements playing a role also. So I'm going to create a thumbnail and
we're gonna do that by creating a screenshot. We're going to create
a screenshot here. It says Export frame. So that's actually
the right term here. We can do that by
hitting Shift E, or we can just click
this little button. Now, if you don't find
that little button, you can find it here
and the button editor, you can find a lot
of different buttons here that can do
different functions. And bring it over to just drag and drop and bring it
over into your scene. So I'm going to actually click. Sport frame from the button there and import
into my projects. So if I want to use
it within my project, I can also have that
file readily available. Okay, so now I have a thumbnail, I have an intro and
a thumbnail already. That's That was awesome. And we just didn't meet
all of that in Premiere. We didn't have to
navigate anywhere else. That's really helpful workflow. What I can do is borrow from my already establish
bonds and bring in a bit of narrative by introducing maybe
my voice, right? And we can bring
in one of these, maybe a little one here. We're just going to
click and drag it over. Now we've dragged it on top of our opening the door out to
the beautiful ambiance scene. So now that I've
dragged it on top, I can see it right here. Now. This may not have
as much visibility, but it does have the
font that I want. And I can continue to modify it. So I can see I have
a lot of brown here. I'm probably going to create
maybe on opposite color. So since we have warm colors, maybe we can find a cool color to give it a little
bit of contrast, and maybe something more pastel. There you go, and
starts to match the color palette on the
RV, on the airstream. So let's see, that looks good. I think I want to
use a backdrop on this one and maybe
make it a color of white or something
like it. Cool. And I think I want to reduce
that size a little bit so it's not as pronounced. Think that looks great. And now here I can
write my expression, wow, this is beautiful. I could actually
make that a brown. I think I'm, I'm down for that. Where do you guys think? Sometimes creating color
mashups, an experiment. While this is beautiful,
yeah, I like that. It's looking really,
really earthy. However you want to express it. You can write
little footnotes of things that you were
feeling or you can have written
establishing sentences like this is so and
so location, right? So in this case,
this is Catskills. So that's pretty cool. We
can add that somewhere too. And so that begins to take a different form
because now it's our voice is a
different narrative, even though we're borrowing the same font and we do
that so we remain cohesive. I have this scene and I want
to write something here too. So when I bring it along
to a different scene, I can just click and drag
over to that moment. Now I get to click on it and write something different
in this moment. So now we have this narrative
going on along with it. So you can see it says, wow, this is beautiful and it stars to inform the story
as we watch it along. Catskills, New York. Beautiful. And right here is about the place where I would
like to introduce a few graphics so we
can continue to stay connected and creative
online community. For me, that means I'm
going to introduce my logo. And I can do that in
two different ways. I can have my logos
saved in a folder, in the Finder folder
that we've created. Or I can create a
brand new logo here. Or I can also have
my axis library. I love having
everything connected on the Adobe Creative
Cloud because I can access all my different assets and I have mine living
on the library. So I'm gonna go
into the library. The library is an
online resource where you can store everything. I have different
elements in here. So I'm going to go into some actual graphic
elements that have logos, I have quotes. It's pretty cool because
I can repurpose them and maintain a cohesive
space within my scene. I'm going to go into some of these scenes and
introduce my logo. So I have the C letter here, so I can just click
and drag it over, which is amazing because I
didn't have to overdo it. I can just click and drag. You can see my logo
introduced into that scene. I can also click
and drag and bring in a different color
palette of that logo. So I highly encourage you, as you get acquainted
with this program or the Adobe Creative Cloud to make use of the
library section. Because that's going to become really useful
resource for you to always have accessibility
to your brand assets. So I'm going to
actually bring this in, in a way that it feels
a little bit softer and creates a sensibility
of this is the end, right? So now that I've done that, I'm going to go into the effects panel which
lives right here. Again, if you don't see it, go into Windows and you can find it in the effects right there. Cool. So now that we're in
the effects panel, Let's see what we're
gonna do here. I want to be able to add a
transition to my graphic. So I'm going to go into the solve is one of the
easiest ones to use. It's very subtle and
it doesn't require too much of an intense invests, visual investments, I would
say it's very versatile. So I'm going to bring
the cross assault dissolve over to the
start of my clip. Okay, Now that's
really, really tiny, but you'll have some visibility here as I hit Plus, Plus sign. So you can see the length
of that dissolve, right? We can see the duration changing also determines how slow that there's always
going to come in. Now when it comes in, it comes in really smooth
there we smoothly. And it's also going to be
transitioned towards the end. Smoothly, right? So it goes like that. Maybe we make this
shorter about here. I love it. That looks really great. And I think I'm
actually going to lower the opacity on this. So you still have this ability, the person on the bike. So you navigate through the scene and then
it's gets introduced, maybe lasts a little bit longer. This is essentially
my exit scene, and I'm going to write in
here just like we did before. And now we have a way to
have folks connect with us and also find more of
our work along the way. Instead, it's really
interesting space for you to include your connections, your forms of connections,
your different platforms. Or a final sentence
that you may like. That was so much fun. Let's watch our final result.
13. Export and Share: In this lesson, we will explore how we can
use the most out of our edited pieces
and reframe it for various sizes and
multiple platforms. Of course, I have your back
and I want to make sure your work gets all the
eyes that it deserves. We will make sure to
repurpose our final edits for various aspect ratios so everyone can enjoy
your final video. This step is quite
simple really, and yet the reward is bountiful for the
creators workflow. Outer re-framing works by
repositioning your footage based on Adobe Sensei
is ai technology, which uses machine
learning to recognize your subject and recenter it
within a new chosen ratio. That's all a very
fancy way to say. It creates keyframes
for you to reposition your video clips to
your new aspect ratio. And that's it. Basically after a few buttons, you have told Premier
to do all of the work. Now, we know computers
aren't perfect. So a times a will take a human discerning eye to
adjust the ideal positioning. For these situations,
I like to remove the attributes
altogether and manually resize and adjust
the positioning in the effects panel for any
clips that need adjusting. The beauty and outer
reframing is that these steps are non-destructive. So your original file, so lives and its own sequence with the original
specs left intact. Of course, this project would
not be complete without exporting our masterpiece out
into the internet universe. My export settings
are as follows, keeping in mind a
high-quality output and a fast Download for
the Internet to handle. A pro tip here to consider is
that Adobe has incorporated a native export to Premier to post directly
into your YouTube account. So your workflow becomes
that much easier. I hope you find this a lesson that is a helpful
resource for you to return to whenever
you want to export your videos for
optimum sharing power.
14. Congratulations: You made it congrats,
You did it. A quick recap of
everything we've learned. We have supercharged our mobile filmmaking
skills by understanding our own capabilities
more deeply and by developing a reliable shot list with a golden number three, I encourage you to try
it for yourself and collect footage that
explores composition, movement, and duration
in your own short video. You bet I'm excited to see your work in the
project gallery. So make sure you
share your set of three clips for each category as you progress in your
filming project. Of course, tag me
on your socials too so I can see your
final short life. Also, if you have any
questions for me, Let's chat away in
the discussion board. Finally, if you're interested in continuing to develop
your skills with me, take a peek at my other classes
and I'll see you there. I'll leave you with
this inspiration. The most honest form of filmmaking is to make
a film for yourself. Thank you for spending
this time with me. C on the other side.
Cyn Lagos, Visual Storyteller
