Transcripts
1. Intro: This class is going to show you why keyframing is so underrated. And why you should be focusing
a little bit more on it. Keyframing is a technique that we don't focus on
until we need it. And then we go in there
and we're like, Uh, that should be good
enough, and that's it. But give me 30
minutes of your time, and I'm gonna show
you how to make your videos way more dynamic, way more entertaining,
way more digestible. I'm not going to keep
going. My name is Hart. A lot of people call
me Hart to plug. You can call me
whatever you want to, but don't call me late for
dinner. Sorry about that. I've been a full
time content creator for about half a decade. Basically, traveled the world. I learned how to do a lot
of really cool stuff. And still keyframing is one of my favorite
things to play with. And just so you get full transparency of what
you're getting into, we're first going to talk
about what keyframing is, the uses of keyframing. And then we're gonna
hop straight into actually creating our keyframes, our Beziers, which is the, you know, adult version of keyframing, if you
know what I mean? And at the very end, I'm
going to show you how to make your very own
keyframing presets. If you want this to be the last video you watch for How to keyframing Premiere Pro, you
come to the right place. I'm going to take very
good care of you and let's hop right into it. Two.
2. Class Project: Before we hop into it, let's
cover the class project, which I kind of
already explained. You're going to create your
own keyframing presets by the end of this class. You're not going to
do it right now. The second to last lesson we do, I'm going to show you how to
take the effects you built, the keyframing effects and save them as a
preset so that you can drag and drop them onto your clips the very near
future, I'm hoping. That will mean it doesn't
matter if you're working with your ten ADP timeline or
your four K timeline. You will have dragable
keyframing effects at all times. It's really nice to
have. I'm telling you. Also, find the zip file in
the projects and resources. I have some sample
footage in there of my talking heads of my videos that we're
going to work with. If you want to follow along
with me in that way, you can. If you don't want to
and you want to use your own footage, you
can do that, too. It would be better if you had your own footage
so that you could tailor your keyframing effects specifically to how
you make your videos. Either way, really
doesn't matter that much. The ones we're going to
do will be helpful to you in some way in the future. So with that being
said, let's get into Lesson one. What is keyframing?
3. What Is Keyframing: Before we get started,
go ahead and go down below and download
the follow along zip, extract it, bring
it into Premiere. We're going to work with
the vertical footage first, and then we'll move
to the horizontal. I'm assuming most people will need to see the vertical first. So go ahead and drag that vertical clip
onto your timeline, and if this comes up, just change sequence
settings, okay? This is ten ADP footage, but all the key framing
that you do on a clip, it basically affects every clip you put it on the same. And
I'll show you that right now. We can all go to File New, and sequence and
just press Okay. And then we're going to drag our horizontal clip on
this sequence here. And now we have both vertical
horizontal sequences. I'm going to put one of my presets on both
of these clips, and we're going to see that
they react exactly the same. So the vertical
starts like this. And the horizontal
starts like this. This one is four K, and this one is ten ADP, you see it reacts exactly the same. So don't worry about making multiple keyframe presets for a ten ADP clip, a four K clip. You don't need to do
all that. So let's quickly go over what
key framing is, like, actually,
and what it does. So all key framing is a
reference point to mark a start and an end to a
change that you want to make. That's pretty much it. It can be position, scale, that's motion. It can be audio,
it can be opacity. It can be color, anything
inside of your video clip, you can keyframe pretty much. If you want a specific part
of your video to undergo a change over a certain
amount of time, you keyframe. We used to only have one
place we can keyframe, and now we have two, the effect controls
and the properties. The effect controls,
the keyframes are right here on the sides, these little stop clocks. The property keyframes are right here. It's how
you insert them. Being able to keyframe
in the properties tab is kind of new 2025 version
premiere. I think it came out. So I don't really use
it like that because I'm very used to using
the effect controls, and I feel like it's
perfectly fine. If you are already keyframing, you probably aren't coming into these sub menus where you
actually have this slider here. And that's because no one
really talks about it. But this is where the
actual magic happens in key
4. The Little Things Pt. 1: So now that we've
covered what key framing is and what we can use it on, let's go ahead and
just start keyframing. Before we do, I want
to show you everything you probably don't know about
the process of keyframing. So the first thing I want
to do is show you how to change your view
inside of this box here. It can sometimes get a little confusing when
you're looking for certain keyframes and you have all this information
available, okay? To only view the properties
that you've put keyframes on, go ahead and go
down here to this button that looks like a filter. Click on it, and you'll
see show all properties, show only keyframed properties. Show only edited properties. What you're looking for is show only keyframed properties, and you can see
it's gotten rid of all the other properties that
don't have any keyframes. Is really convenient
when you know you're not going to
touch anything else, and you know you're going
to be doing a lot of work with these
specific properties, then you can filter
the other ones out. If you ever need to
go back, of course, you can just go back down
to the filter button and click on Show our
properties again. And you. Next, I'm going
to use these shapes to show you how to
manipulate your path. So with my clip selected, I'm going to go up
here and initiate a keyframe for both
scale and position. Let's scroll forward
in time a bit, and let's go ahead
and change this to the middle and the center. Now come back up under
the effect controls and go ahead and click
on the motion property, and you'll notice that
this line appears. Notice that the line is
straight. That is a linear keyframe, which is created
from your basic keyframe. These are linear keyframes. I'll show you right here
under temporal inepllation. Linear is pre selected when you create keyframes
from the jump. We'll get into the rest
of these very soon. So let's zoom in on
these keyframes, and we're going to
just press play. And you can see how that
moves in a straight line. It's very rigid, right? Next thing we're going to do
is go in the middle here, right about the middle, and we're going to
add another keyframe. Now you can see that a
middle one has been added. If you press Alt or option
on your keyboard and then click the middle
keyframe and drag it, now it's going to keep it rigid. So now this should make a very
sharp turn in the middle. So any keyframes that you add up here will show up in the path, and you can manipulate the
path from here if you'd like. Now, something like this
isn't really that practical, but I can show you how you can improve on this in
just a few clicks. I'm going to go ahead and
take the scale keyframes off, and we're just going
to work with these. And honestly, let me
just filter these. So one thing about keyframes, people don't tell you
is that there is a way to manipulate the
keyframes themselves and then the
keyframes that exist in the middle that
the software creates. These are keyframes here, but all of these dots
in the middle are also keyframes created
by the software we put in our parameters, just so that you
can make the paths that you want very quickly. Premiere does most
of the work for you. So how do we take a sharp
turn or a linear pattern like this to the next
level with a few clicks? We're going to go to our
middle keyframe selected, and go ahead and right click it. Go down to Spatial
Interpolation, and we're going to turn
this into a Bezier. The spatial interpolation
settings are the settings for all the
in between keyframes. Temporal interpolation controls
your actual keyframes. So the behavior of your
actual keyframes lies here. The behavior of the in between keyframes lies here,
okay? So remember that. So take a look at this path, and we're going to
go ahead and change our middle spatial
interpolation to a Bezier, and you can see that
it rounded that out. So now the path looks like this, it cuts out that jarring turn.
5. The Little Things Pt. 2: More thing before we
move on, we're going to go ahead and talk
about pin to clip. This is a kind of unique situation and not that unique because it happens
every time I keyframe, but I'm going to go ahead
and make two keyframes here, and we're going to go ahead and shorten this clip like that. So sometimes when
you're keyframe, you're going to have
situations like this where your keyframes are just
off of the clip, right? And usually what you'd
have to do is lengthen the clip both ways
so you can get access to those and then drag them back where
they should be. But that's annoying. So here's how you're
going to fix that. With your clip selected, go up to the Effect Controls panel and then click on this right
here, little hamburger sign. You're going to
scroll down to pin to clip and select that. Now, all you have to
do is go down here to your scroller and
then just extend it. And now you can see everything
outside of that clip. Basically what pins a
clip does is it ensures that the Effect Controls
panel like this right here, everything in here, doesn't go outside of where the
clip starts and ends. So instead of
extending your clip on both sides and trying to find where your key frames
are and pulling them back, just go up here, click that setting, and
then highlight these, pull them back into
the white area, and then you're good to go. Make sure you go back
and change that back because it is actually
a helpful setting. So this actually
is very important because sometimes you want
to adjust the keyframe, and it's really hard
sometimes to get exactly on it when you're
scrolling like this. Go ahead and press Shift on your keyboard, and then
you're going to drag. That is going to
snap your playhead to your next keyframe,
wherever you're dragging to. Very, very useful. Use that. We're going to cover something
called responsive design. And this is mainly for graphics. So I'm going to
use a text graphic to show you this
little technique. It is really helpful.
Now, this clip I recorded in Toronto. So I'm going to type
Toronto Canada. So I've keyframed the
title to look like this. Pretty good for something quick. If I want to drag
this graphic out, but I want to keep the
same keyframing that I put in there across the whole clip, it's not
going to work like this. If I want this to last
over the entire clip, I have to use responsive design. It's very easy to use, and it's right up here. Now, you can barely see
it, so let's go ahead and stretch this out so you can see what we got going on here, and I'll put this
playhead in the middle. I'm going to zoom
in so you can see these little blue
rectangles here in the corners right
there and right there. You get these points which
you can drag around, and everything that's
highlighted inside of those points is
basically safe area. These things will
remain the same. So I'm going to
highlight my front two and my back to with
these little areas. As I stretch this clip out, you can see that these get further and further
apart from each other. The position of those
will not change. Basically, where you can
get something like this. And then on the
out, you have this. But when I stretch this out, it doesn't matter how
far I stretch it out, that animation will
remain the same where you left it on the front in the end of the clip.
Pretty cool, right?
6. Keyframing Types: Going to have our circle and
triangle race each other. This is going to sho us how
the different keyframes work. Okay? If we look into
our options here, we have linear Bezier, auto bezier, continuous bezier, hold, ease in and ease out. Now, we're going to do Es in and Ease out on the next lesson, but we will go over
the differences between these first five here. So we've already
explained what linear is. We don't need to
get back into it. It moves whatever you are key framing in a straight line,
that is pretty much it. But I want you to see
the comparison of movement with linear
versus bezier. So our triangle at the bottom here, we're going
to keep linear. On our circle, we're going to turn these keyframes
into beziers. The only difference
between these beziers and the linear keyframes
under our triangle, it's just the movement
they're undergoing. And this is the perfect example. Because this line is straight, Premier is going to categorize these key frames as linear
keyframes, these diamonds. As soon as you select
one and you say, I want you to curve
this a little bit, boom, that turns into a bezier. This one over here is still linear because we
haven't touched it. Let's grab that and bring
it on so you can see. You see everything before this linear keyframe
is straight, and everything before
this one is not. If we take this one, grab
it and pull it down. Well, now this one
also is a bezier now. We've kind of went
in reverse here because now the
triangle is more of a bezier keyframing
pattern than the circle. Let's just go ahead and turn
these back into linear ones, and then we'll see
how they compare. Our circle is on a linear path, our triangle is
on a Bezier path. And you'll see a triangle
barely got there faster. The triangle is pulling
forward a little bit more. That's because if
we zoom in here, these corners are actually
speeding up and slowing down. If you want to visualize
it, the peak of this arc, so all the way at the top, that's where our linear line
sits all the way across. It does not speed up,
it does not slow down. This speeds up in the beginning, it gets to the regular speed, and then it speeds up again. And that's why over
time, the triangle is pulling ahead
over the circle. So the Bezier keyframes
allows you to manipulate the velocity and
the linear bezier, the velocity is straight
across on that line. Now we're going to work
with our circle only. Let's go ahead and delete
our keyframes here. So I created a circular
motion with this circle, and this is how I'm going to show you the differences between the auto bezier and
the continuous bezier. Just as your keyframes
are linear, starting off, your in between keyframes are actually starting
off as auto bezier. That's because our
actual keyframes that we collected are following
a linear pattern, not our in between keyframes. They are on an auto
bezier pattern. Now sometimes this
works out for you. Sometimes you want to change the continuous bezier.
And this is I do that. Go ahead and select one of
the key frames in the middle, and then you're going
to go back down to spatial interpolation. Go ahead and click on
Continuous bezier. Now, if you play this
again, you won't see much change to the
actual animation itself. The path itself has
not changed at all. The auto bezier gives you
basically no control. It just creates
in between frames from what you input, and
that's pretty much it. Once you start going in here and manipulating stuff yourself, that is now a continuous bezier. Now, one feature
that is exclusive to continuous bezier
is this right here. When you drag these
parameters around, you see how both
sides are moving. It allows you to
adjust both sides of the keyframe instead of one. Switching over your keyframe spatial interpolation to Bezier. Now when you move a parameter, it only moves one side. If you want control
over one side and not both switch over to Bezier. If you want control
over both sides, you switch the
spatial interpolation to continuous Bezier. And or if you want to take full control over your keyframe path, you have to switch it out of auto bezier and switch
it into continuous. So that, my friends, is linear Bezier
autobzier and continuous. I don't really think I need to show you
what the hold does, but I guess I will. So I'm going to go ahead and
make a new keyframe here, and we'll go ahead and go down
to temporal interpolation. I want this to hold, and
I want this next one. To go that way, and we're going to change this to a
continuous bezier. So once you hit the ground of the previous keyframe
in the hold, so all of this right
here, it's going to stop. So notice that it stays stopped until it gets to the next
one and then it jumps over. So if you want a
keyframe to hold, then yeah, that's what
you could use that for. So that is linear Bezier, auto bezier, continuous
bezier and hold. In the next lesson,
we're going to go to our last level
of key framing, create our actual keyframes that we're going to
make into presets, and I'm going to
show you the ease in and ease out animations.
7. Keyframing Video : Motion / Scale: Do have your own
personal footage to work with, I would
just do it with that, and you can save these
presets for something more similarly to match
what you usually do. But the things that we do here is going to apply
to pretty much everyone. We're just going to do simple
Zooms and stuff like that. So let's get right into it. We're going to keyframe
video, audio, color. And then finally in
the next lesson, we're going to just
save our presets so we can always dragon drop
them on our clips, and then you'll be good to
go. I'll leave you alone. This is the first
time I'm going to request you to actually use the exact same clip I'm
using cause I want us to create a few zooming effects
for a talking head video. We're going to select our clip, and then we're going to go up here to our effect
controls tab, of course, before we create our keyframe
for any talking head, where you want to zoom in on a specific person right
underneath motion, we're going to go to anchor
point. This right here. Click on that, and
you're going to see this little blue circle with a cross in the middle pop up. Wherever you put this dot, that's where the
Zoom is going to go. I'm gonna go to the
start of the clip. Click on your anchor
point up here, and then you're going
to grab that anchor point and place it on your nose or wherever
you want to zoom. This is for faces, this is for
objects, anything, really, depending on how well the placement of your
anchor point is, you really don't have to bother with changing the position here. Alright? So that
is anchor point. Let's undo everything
we just did, and now we're going
to get serious. So let's go up to
the Effects tab, and let's type in
Transform. Okay. You're going to come
underneath here, and you're going to find this
one, Transform. Fun fact. When you have your
clip selected, all you have to do is
double click on there, and as you can
see, transform has just populated under
our fet controls tab. We're gonna go ahead and
close up the motion tab, and we're going to be keyframing now with this
transform property. Why? Because transform
property has shutter angle. Shutter angle is going to give
your footage a little bit of motion blur while the
movement is happening. Let's go ahead and
set our parameters. We're going to
initiate a keyframe for skill and position, okay? Make sure we're at the
beginning of the clip. We're going to go
forward in time. And then we're going to go
ahead and zoom in a bit, okay? Now we're going to go to
position and make sure that we are in a good place and a good
third of the frame. And that should be good. And honestly, we need
that to be a little bit faster. There we go.
Something like that. So it's very similar
to what we did before. So, if you want something smooth, this is all
you have to do. So starting from the
linear key frames, select your back keyframes, go to temporal interpolation. Go ahead and choose
ease in, okay? And you're going to choose
ease out on the front. Why is it ease out and ease in? You're easing out of this ramp, and then you're
easing into the ramp. So ease in on the out
and ease out on the in. Okay. So that's where
you want to start from. There's one more thing
I do want to show you with the E's in and Es out, and this is to do with
keyboard shortcuts. Let's go up here to premiere and then go to
Keyboard Shortcuts, and I want you to type in this. Ease in, okay? Scroll down until
you see the effect controls panel right here. And these two are the ones we
want to assign the keys to. To see the rest of it, it
might be hidden for you. Scroll in between
commanded shortcut. Click here, and then
just scroll over. So now you can see it's
ease in and ease out. So remember, on our first set of keyframes, we want to ease out. On the last set of our
keyframe, we want to ease in. So this ease in, we're
going to do a period, okay? The E's out, we're
going to do a comma. Now, if you get a message down here that says that keyframes, your new keyframes are going to conflict with your old ones, just go ahead and click
on both of these. And at the top here,
you'll be able to see everything that's
assigned to this key. You want to keep these, okay? And you want to
delete anything else. I can't really remember
what was there, but it's not important. Trust me. So once you've got that set up, go ahead and press. Okay. Now let's
select both sets of our keyframes Pressma,
press period. And now you've got
E's in and Es out already put on your stuff. Is that not awesome?
That saves so much time.
8. The Transform Effect: If you want a little bit of
motion blur with your Zoom, then go ahead and
click on Transform, and then we're going to go
down to shutter Angle, okay? Now, we're not key
framing this at all. What I want you to do is
just type in 180, okay? I always start at 180, and I drag it up from
there if I need more, but the top of it is 360. So let's look at it at 360. Now, this clip is better
for this because we can zoom way more
than we already have. So we're going to zoom
all the way here. And now we have this. So you can clearly see the
motion blur on that one. If you didn't have the
motion blur on there, it would look like this, right? It adds a little
bit of motion blur to your movement. It looks
really, really good. I'm gonna go ahead and
take this over here, and I'm gonna just
paste this here. And we'll see it
do the same thing. You can really see it
there. Oh, that looks good. So when you're zooming in, it really sells that motion
of the zoom in, right? So, whenever you
want a little bit of motion blur with your
zooms in your keyframes, use the transform property. Don't just use the motion. You can't do it
inside of the motion. And just keep in mind, the
further that you move in, the better the effect will look. So I'll even show you here. Oh, that is a very creepy
face, man. What's going on? So I added a lot of zoom onto
this one so you can see it. The more movement, the better for this, little
motion blur thing. And you can see it really well
there. That looks so cool. So on your footage, I want
you to do this right now, right? Do this right now. Put that clip to the side
because we're going to save that as a preset
in the next lesson.
9. Audio Keyframing Example: We're going to move on
to keyframing audio. It is literally the same thing, so I'm not going to
really talk about the key framing process
of key framing the audio. What I want is to kind of expand your mind on what you can
do with keyframing Audio. So keyframe as many clips and
as many variations as you want to on those clips and then push them off to the side. Get done with that
first, and then now we're going to
talk about audio. So you should already
have this audio file. I put it in with the zip
of the follow along. Go ahead and put this audio
clip on the timeline, and we're going to
do some stuff to it. With our audio clip selected, we're going to go up to
the Effects panel, okay? And then we're going
to type in ow pass. We're going to find this one.
So remember, like I said, if you want to quick
add some effects, just have the clip selected, and then double click on
it. I'll pop up here. Once you get your
low pass on here, you're going to come
here to the cutoff, and I want you to drag this all the way up to the top, okay? And then create a keyframe. Now, this is a technique
I use all the time. If I were to stop
talking right now, the music behind my voice
would become less muffled. And I bet you didn't even notice that the music sound like that. You just knew
everything was right. Music makes people feel
a certain type of way. So if you want people to feel what you're saying
while you're saying it, you can put a track, a really good song
in the background, where they can just
barely hear it, but it supports your
message, you know? So opas is very simple. The higher the number, the
less of the effect you have. The lower the number, the more
of the effect you'll have. So you'll see right now
you can hear it just fine. Right? If we take this down,
you'll see it's muffle now. Get it? So I'll say
about right here. I'm going to go ahead and make my first key frame all the way at the top
of the low pass, so there's no effect
being applied right now. I want the effect to hit as
soon as the drums drop, okay? So I'm gonna wait
until the drums drop. Right there, and I'm
going to actually click here and I'm
gonna type in 1,000. 1,000 is a number I like to start out with a muffled sound, and I can move it
around from there if it's too much or if
it's too little, right? So now let's listen to what
it sounds like. There you go. So what we just did there applies to literally everything. I'm not gonna go too deeply into editing audio and stuff
like that in key framing. Keyframing itself, you've
already got by this
10. Where To Find Color Keyframing: Not least keyframing color. Now, I'm not going to do too much with this either
because like I said, you already understand
key framing. I just want to show
you where to do it because it is kind
of hard to find. Depending on what
window you're in, you probably won't
even have your lumetri color tab even here. And the thing is, I
don't like switching over to the color tab because it changes
my entire layout. I edit the way I edit,
you know, for a reason. So if you are in the
editing workspace or you created your
own, by the way, you can create and save
your own workspaces, and it's really you
should do that. Just go to Window, and you're
going to scroll down here, and here it is right
here, Lumetri and color. Just select that. And now you've got your
Lumetri color here. Now, if you look, you'll say, Well, where are
the key frames at? Well, they're not here.
So go ahead and select your clip and then go up
to the Effects panel. Type in Lumetri Scroll down until you find
color correction, Lumetri color. Go ahead
and double click. And here we have
our lumetri color inside of our effect
controls panel. Remember, like I said, the
only two places you can really keyframe is the properties
and the effect controls. So that's why you
won't be able to find any keyframes in
the lumetri color. Now, this lumetri and color
property we just added is synced to this lumetri
and color. Tab, kay? Well, if I pull the exposure
all the way up to three, you'll actually be able to
see that change here, okay? So you don't have
to worry about, you know, Oh, I have
to make a change here. It's not going to affect the
other one. That's not tru. But what you won't see over
here is your stop clock. You can keyframe everything, literally everything in here. So if you want to make
color changes slowly, you can do that. Like, if I want to bring this
exposure down over time, I would just go to the
beginning of my clip. I will go ahead and initiate
a keyframe for exposure, go forward in time a little bit, and I'm going to click this,
switch it back to zero, that'll automatically
create my next keyframe for now we have this bright going back down to dark, and
it looks amazing. Now, just like everything else, if you wanted this
to be very smooth, you can go ahead
and turn these into Beziers or you can do the
good old ease in on the back, ease out on the front trick to make this nice little curve. And now this change will
happen very gradually, right? So that is keyframing
video, audio, and color. What I really want you to
take away from this class is all the little things
that I shared before we even got into the
keyframing because those save me a lot of time, and it just makes editing
so much more fun. This next lesson is probably going to be
a minute or under because creating
the actual presets is so easy. So let's do that.
11. Conclusion : Keyframing Presets: Got your keyboard shortcuts. You've got everything
you need to know about the nuances of keyframing and how to keyframe
yourself from scratch. I don't know what
else I can show you. Oh, yeah, that's right. How to export them as presets. And when I say export, I don't
mean outside of from her. They actually go
somewhere very close. Okay, so I'm not going to
waste any more of your time. So we have our
little Zoom effect here that we keyframed, okay? You can do this on as
many clips as you want, as many variations as you want. If you want, you can
save a preset of the audio thing we
did with the Lowpass. Think of all the things
you have to do a lot with keyframing and see if
you can do it right now, keyframe it, and then
save it as a preset. So all you're going to
do is select your clip go to the Effect Controls panel, and you're going to scroll down to where your keyframing is. In this case, it is under
our Transform property. If you didn't use the
transform property and you use motion, then you're going to
select the motion. I'm going to go ahead
and select Transform. Right click Save Preset. Is that not so simple? Don't worry about anything here. You don't have to
click anything there. Go ahead and name your
preset whatever you want. I'm going to name my fast Zoom. Middle. And then press okay. Now that you've saved your
preset, this is where it goes. Go to the Effects tab up here, and then go ahead and just click the drop down under presets. And the one I created
is right here. Now, you see, I have a low pass preset, Osmo pocket preset. This is like the color
grades that I did. This is my talking head preset for my actual camera that
you're watching me off of. Um, I have two
transform presets, and then here are my audio
presets that I've saved. To save your audio presets, it's literally the same thing. Go ahead and click
on your Lowpass, right click Save Preset, name
it, and then press Okay. It'll be up there in the
Effect Controls panel, right? So, hopefully, you got a lot
from this class genuinely. I had a lot of fun
making it because, you know, keyframing
is like, in my eyes, one of those underrated type
of editing techniques that, you know, people just gloss over when you can do so much
with it, honestly. If you did enjoy this class and you got
something from it, I would appreciate if you left a review. Tell me how I did. Tell me how I could, you know, do better on my next class because do have sort of like an unorthodox
way of teaching. In fact, I recorded a
whole two hour session that you're never
going to see because I felt like I wasn't
focused enough. So hopefully, this
one, you know, I delivered the information and the knowledge that I
had a little bit better, a little bit more straight. And, yeah, that's
pretty much it for me. I hope you guys actually, like, make something that
you're really proud of. Like, I hope you start enjoying the process of keyframing
because it is really cool. So that being said, have a great rest of your day and go forth and make
some crazy stuff. If this is your first
time watching my classes, I have, like, I
don't know how many. I forgot. Five classes, maybe. I think five or six
that I've already made, a whole range of stuff, but mostly basics on video
editing, photo editing, and then also UGC creation to make a little
bit of extra money. So if you're
interested in that, go ahead and go watch
those classes, and I will see you very,
very soon, hopefully.
Kent Hart, Storyteller
