Mobile Filmmaking: A beginners guide to Video Stories, Recording, and Editing | Cyn Lagos | Skillshare

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Mobile Filmmaking: A beginners guide to Video Stories, Recording, and Editing

teacher avatar Cyn Lagos, Visual Storyteller

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.



    • 2.

      Class Project


    • 3.

      Begin your Mobile Journey


    • 4.

      Shot List Techniques


    • 5.

      Story Overview & Getting to Know Adobe Premiere


    • 6.

      Premiere Quick Set-Up Guide


    • 7.

      Bringing our Clips Together


    • 8.

      Dive Into your Main Footage


    • 9.

      Enter the Editing Zone


    • 10.

      Gaining Momentum


    • 11.

      Surprise Footage


    • 12.

      Text and Graphics


    • 13.

      Export and Share


    • 14.



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About This Class

Let’s boost your video content creation skills with your smartphone in this Skillshare class taught by your visual mentor, Cyn Lagos.

In this class, you will learn how to film your friends and surroundings with your mobile device by adapting cinematic filming techniques that will take your footage from beginner to mobile pro!

We will be using a Google Pixel 7 Pro and Adobe Premiere 2023. That said, the majority of the techniques and principles presented here can be applied to any mobile device and film editing software.

Are you a content creator, an aspiring filmmaker, or a creative wanting to add another tool to your arsenal or in this case your pocket? If so, I’ve gotcha, my friend, together we will be making the most out of the technology and features that your mobile phone provides to enhance your video-making skills!

What’s even better, in this class I’ve also got you covered on a beginner's guide to using Adobe Premiere Pro for your video editing content.

  • Tips to create your own visual shot-list
  • Tips to create your digital tool kit with add-ons
  • How to enhance your video capture skills using your smartphone
  • How to customize your setting for high-quality and creative footage
  • How to enhance your audio setting 
  • How to edit your videos with an easy workflow on repeat!
  • How to export for youtube and other social media platforms with the help of Ai Sensei!
  • ....and of course, bonus pro tips sprinkled along the way just for ya!

Continue to the skill level up with this class!

Hi, I am a creative roaming the digital universe just like you, stay connected, and don’t be shy:

Meet Your Teacher

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Cyn Lagos

Visual Storyteller

Top Teacher

Cyn Lagos is a Latin American visual storyteller with a focus on multi-diverse digital expressions; Street Photography, Graphic Design, and immersive technology. Because of her personal journey as an immigrant pursuing the American Dream, Cyn has embarked on a mission to inspire social change and educate the world on conscious visual storytelling.

Cyn Lagos has been remarked on by global tech companies such as Facebook, Google, and Instagram. Most notably, she was awarded the Adobe Creative Residency, where she cultivated the passions of aspiring artists by mentoring them in the techniques of Visual Language that advocate Storytelling via a more empathic lens.

Longer-term, Cyn Lagos aspires to focus her craft on philanthropic efforts using her technical p... See full profile

Level: Beginner

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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.