Transcripts
1. Introduction: What's up, guys? My name is Dennis. And welcome to another class in the serious freelance videography One A one. And tonight we're going to talk about a topic that for some people, might be rather dry and boring, but proves to be very, very helpful and important and crucial. If you want to work professionally with video today, we're going to learn how to professionally organize your folder structure, your project structure and also your workflow in Adobe Premiere Pro. So let's quickly go through the things we're going to do together in this class. First of all, I'm gonna teach you the professional project folder structure that I have learned and using all of my projects today. Secondly, I'm gonna show you how to prepare your Adobe premiere project in a way that you can use it over and over again with the same structure without any problems. So next you're gonna take a look over my shoulder while I'm actually editing a complete video off a client of mine that have recently shot and where I've used exactly the technique that I'm gonna teach you today to really showcase. Yeah, how that works in real life and how and maybe sometimes does not perfectly work and rely from how you have to just on the way. But, you know, I'm gonna give you a real behind the scenes of how I use it to create a real paid video for a client of mine. And then I'm gonna end with some more tips and tricks on project workflow and faster editing and all that kind of stuff. And I'm also going to share with you the exact prepared Fulda structure, including premier project files and templates you can use for yourself completely for free . And I'm very excited to see you in the class.
2. Why structure is this important: So let's talk about why this is important. If you have ever shot any video you have worked on any project for any video. You probably have been at the point where you started naming your projects Weird names like Project Underscore one. And then the next one was Project Underscore 1.1 and then Waas project. I'm score 1.1 point final and then there was another final and it also getting very messy for I don't know if you know what I mean. But projects get like, very confusing. And every time you come up with a new project, you give it different names and you don't have a consequence of structure. That's at least how it was for me. And that can be really painful, you know, because one of the reasons why it's so important to have a good project structure is so you don't miss anything so you don't lose footage so you don't lose. You know this logo that the client said you two weeks ago, you don't find that email anymore, or this live sound pit or the little sound effect that you got sent to buy a colleague and you also don't find that email anymore. Like this is always gonna happen. This is always sooner or later gonna happen if you don't have a very good and logical and foolproof project structure. And that's what we're going to talk about today. So let's talk about what you're gonna learn. So number one, we're going to make sure that your data is safe and you will never, ever again miss any part of footage music, You know, a logo graphic anything. And we're gonna make sure that you can access everything you need from a combination off a cloud service of your choice. Google drive, Dropbox Something like that. And preferably something like this. A little s s deep. And with that, we're gonna make sure that you can work not only from your portable machine like this level MacBook here. You will also be able to work from it that stop PC from your Mac. And actually, as soon as you have this SSD and Internet access literally from any computer all over the world, so the so the second thing that we're gonna achieve is we're gonna have a faster workflow because we're going to develop the workflow that we want to go through first and then apply it to every single project in the future that we're going to use. So we just won't have any, You know, not any hiccups with the project structure's clear, the folders already in place before we even know about the project, then we can all just, you know, fill it up with the new material with the footage with the different music, we use whatever but the basic folder structure, it said. We don't have to worry about it anymore. We don't have to come up with the new system with every single video, and that's going to save us a lot of time. It's going to give us a lot of security and also a lot of brain space to focus on the really important stuff in editing a video. So one thing to us do not underestimate us. You will be much more professional. And I flew in that actually working with a professional video production agency in the past where I have learned about the system and I fuse it since and having worked with professionals once makes pretty clear that it's not just a term professional out there and like, it actually makes sense for even hobby filmmakers to depth some strategies that they use because it just makes sense. You know, like you will have much more organized, like hard drives and you you would just not lose things, and the whole structure makes you more calm. It's like working on a clean desk compared to Messi desk, you know you will not have too much clutter. You were no at all times where everything issue will have everything searchable and just makes a lot more sense.
3. Harddrive and Cloud Service: all right. So before we jump into Premiere Pro, let's just talk Project folder structure. And so I have prepared a little example. Template folder, which I call SK. I won 10 project workflow. I'm gonna explain you later. Why exactly have this naming? It has a specific reason, but let's just go through it for a quick, quick second. So, like I mentioned earlier, we're going to divide everything we need onto two places, basically where we saved them. One of them this hour. Google Drive or Dropbox, for that matter, whatever cloud service you prefer to use and in the cloud, we're going to save the premier Project files, and we're also going to save all the assets that we have, so that could be after effects compositions. It could be some graphics or logos or something like this. It's definitely the music that we're using. It's basically everything that's not the raw footage or audio, Okay, because that's what we're gonna put onto the hard drive onto the SSD that we're going to use. And And the reason for that is basically because while you're editing, the only thing that for short doesn't change its audio are your footage, in most cases at least. So whenever you choose a new song to use for your edit or when you have a new logo that you're supposed to use, you don't want to be in the situation where you have to drop that onto the SSD. So you work. Sure, you can work on the way because you might forget that, you know, And instead of that, you can just drop into your Google drive. It's going to synchronise automatically, and you have access to it everywhere. And also usually those things that are within the SS here don't don't use too much space anyway, so logos is going to be small data. You have some music songs that could be MP three or wave data? Um, yeah, just maybe some Activex compositions. So it's not gonna add up to too much space. And in that sense, it's not a problem that's going to synchronize usually very fast. And then we have on on the SSC way at the footage. That's gonna be test footage here, and yet just gonna be separated like this. So now let's go back to the name off the folder here because that's has a very specific reason. So the thing that I've learned in the video production company, actually where export worked for a while it's a pretty nice system off a three digit letter combination. And then it's followed by three digit number combinations. So think about this whenever you have a client or a new project that you will do several videos for. So in my case, let's say my project or my client in that sense is skill share. OK, then I will choose to create a folder and I will choose three letters that make me remember sculpture. And it's gonna be unique letters that you don't use for any other client just to make it searchable later on. OK, so I'm going to use SK I because it's gonna remember me of skill Check And then I'm gonna name it s K. I give it a space and then give it the name sculpture just as an additional reminder off what this is all about. And then within that folder, I'm gonna have another S k i. And then for every video that I do, I'm going to put a new running number off zeros three digit numbers, so that start with 001 space. And then I give it a name that reflects the project that I'm working on. Just so I know which one is the project, I don't have to memorize the numbers. So in this case, it's just gonna be project workflow because that's the video making right now. And that's just on example And then so actually can delete the other one, because I've already done it. And within that then and gonna have, um, I'm gonna have on my SSD either the footage and the audio and on my G drive, which has the basic same structure, I'm gonna then have assets and premier. So that's basically it. And then the next thing is, there's there's thing called non destructive working. Okay, so that basically means that if you have ever done something in a your premiere project in the very beginning, you want to be able to go back to that place at any point later in the edit and the way you can chief that issue, just replace or you just started working on a new project file or a new sequence within the project file to be able to come back to the very first sequence and break first Rogic up. So as an example here, you can already see just to showcase this, I've created three project files and usually I recommend every time you close the project and you start working from a different computer, you replace it with the new new project. That's where you basically just copy it, paste it again, rename it to the next. Higher number four put it in their hopes. I put it in there, and then you're gonna work on this one.
4. The Assignment (Free Skype Call with me!): All right, So now let's talk about this, Simon, for this class, it's very short. It's very quick. You're can do it and just go ahead and create the folder structure that I just told you within your Google drive and your hard drive, or SSD or whatever you want to work with, create all those sub folders. You know, do it as I as I showed you just in the video and then make a screenshot and upload the screen shirt into the Simon Common section and share with me. How you What do you think about the system? Like if it makes sense for you if you have any improvement ideas, if you love it as it ISS share with me, your experience and that six. That's the Simon for today. Now the fun part starts, Which is why should you upload this assignment? Everybody who up loads the assignment, and everybody who forfeits the assignment is going to get a 20 minute Skype call with me. So whatever question you have about video editing about, you know, video freelancing, whatever you want to know, if you just want to want me to look at one of your videos give you feed bag if you have some specific questions. Whatever you want to ask. Every single person who up close the screenshot who fulfills the assignment is gonna get a 15 to 20 minutes Skype call with me and can ask whatever they want. All right, that's a deal. I hope to see lots of Hue in Skype calls, you know, watching, watching online tutorials or watching online class. This one thing taking action and actually using it and doing something with it is another thing. It's so I really want you to take action and we want you to, you know, move forward. So that's why make this, like, kind of crazy idea of like calling everyone who does that. But make sure upload the upload a screenshot. Let's have a scab call if you want, and you can ask me anything you want. Hope to see you on Skype back
5. Premiere Pro Project Setup: All right. So I quickly just renamed the project. Um, when we're in the project here, we see basically four folders. Right now, we have the assets which contains, you know, all kinds of assets, which is gonna be in your Google drive later being adjustment layers, logos and graphics, music, sound effects, video effects, all kinds of stuff. Then we have your audio where you just have your audio recording, in case you recorded separately and not in camera already. Then you have video where you put your footage. I usually actually name it footage. Um and then the most important part is to sequences, So I'm not gonna go into too much how or what A video. What video sequence in Premiere Pro means? It's basically just, you know, the timeline in which you're editing right now. And I have the system where I have within the sequences folder I'm gonna have one folder is gonna be the archive. Where you gonna put the old sequences that you don't work on anymore? That mean basically previous steps in your workflow on you're gonna have the nested sequence is in case you're gonna have nested sequence is you can put them there just for organization that they don't just fly around somewhere. So when we always started with the first, we always start with the sequence that includes the project number and then zero zero's. And this gets SK I 001 And here we don't need the more descriptor, descript ary, the more descriptive name behind it. Even because we're in the project, we know what it is. We cannot search for sequences anyway outside of premier, so that doesn't matter. So it's SK I 001 and then 00
6. Overview Premiere Pro Editing Workflow: All right. So I'm going to show you with the example off a video that I'm actually gonna edit life. Well, not life, but like that. I'm actually gonna edit for this course, and I'm gonna just drag the footage out here right into there. So yeah, that's fine. And the way to the first after just because I filmed it in four K. But I'm actually gonna, for the sake of stability off recording at the same time on this computer, I am going to edit this on a 10. 80 p timeline. So anyways, this sequence here, it's called SK I 00100 So what I'm gonna do is I'm going to duplicate the sequence and call the next 101 and put the 1st 1 into the archived and put this into sequences and open this one. Because the way I work is on the very first sequence. 00 I just dropped into the in there, the complete footage off everything that I have without any selections. Okay. So because that, for example, makes sense because then you can always go back and get footage from the first time line in case you cut something out that you end up wanting to use the final thing and you don't have to start searching in the footage and do, like, weird stuff. You can just go directly here, take it out. And at that point, we just duplicated so we don't touch this anymore. So we work on 01 and every change that we make now, it's gonna be non destructive. So we can always use the older sequence without having Teoh. Yeah, doing weird searching or anything like that. So the next step is gonna be within 01 I'm my goaless at the finish of this that I have selected all the clips that are usable. So, like, I cut all of this like roughly half an hour cut down toe the clips that I could potentially imagine using doesn't mean it's the final edit or anything like that. It's just basically the useful usable stuff. So let's imagine I have done that and then I go to zero to all right, So put that into archived open zero to All right. So in the second sequence Oh, to what I'm gonna do is I'm gonna drag in there. The music that I want to use but and start cutting. Well, first of all, choosing the length of the music clip that I want to use, which in this case is gonna be around 30 seconds. So I'm going to show you a trick. Also later on how to change the duration of the song that you use without making it some weird or having to do too many, many or cuts and then basically edit it from the useful shots that we have ended those shots and assemble them two of the music. So I end up with the first rough cut, then go back to duplicating 03 where I'm basically gonna do. Um oh, and I forgot in number three, number two. Why most are so gonna add already all kinds of sound effects that I want to use. So, like, for example, if I show in the video how there's something frying, I might add a sizzle off pen or like a pan fried sizzle afterwards, things like that. And then in the next sequence, I just got a duplicate again. 03 I will just try to find all kinds of mistakes or dude, some re edits to the first draft that I do if you can, you should do this on another day. And if you can, you should actually do let that do someone else. Or let someone else comment on the video that you made so far so you can just get a second perspective on what you did. That's very, very helpful. And it just it doesn't mean you're bad editor Anything if you do it on your own or if you share the editing process. It's just really better because you get another perspective and you get feedback that you can use, but you don't have to. But it's a nice you know, addition to the workflow. But you don't have to do that. Yeah, I re edited. And then when I'm happy with it so far, then I do another sequence. Go to zero for And by the way, let me clean this up here. Archived opens you before sequences, and then I'm gonna play color correction and color grading to it, which I'm gonna do separately. The color correction each and every single clip, and then on top of it, I put into adjustment layers that put the color grading stuff with lots and all kinds of overall looks that I want to create. And when that is done, this is gonna be basically then another, you know, duplication. But then it's gonna be the first export sequence where I'm actually gonna export the clip, send it over to the client, get feedback from them, implement the feedback one more time, and then export the final product, which also is gonna be with another duplication of the sequences. So I could just go back to my first export and stuff like that. But that's the basic process. So now basically, let's just get into the edit directly, okay? But I'm going to switch to a completely premiere pro, and I'm gonna be seeing your inside there.
7. Live Edit Part 1: Import footage and "non-destructive editing": So I've just finished recording, like, an hour or something when my premier broke down What? You're gonna see letter. But just so you know, the reason why you stopped seeing me in the upper right corner or in between and sound gets a little difference because my cameras stopped recording after 30 minutes. I don't know, really Why? And that was a lot of, like, interesting and good stuff happening, so I don't want to delete it. I didn't want to redo it because I don't know if those things come up again and I don't want to fake it or something. Those things just sometimes happen to, you know, like you have to always be aware of what you're doing and see if it's recording and see if the audio levels are fine and all that stuff. So we actually just at the point where I'm one hour in. So let's just going with the edit Hope sums. Not too bad. See you in an hour. So as you can see what you re going to start over with first sequence sk I 00100 in which we're gonna put basically all the footage that we have one quick thing that I did. What you didn't see. It is, um so sometimes you shoot in different frame way frame rates to be able to use slow motion later on. Right. Um, that's what I did here, too. You can see the different colors on the center labels you right? This is Magenta. Everything that's magenta was shot in 100 frames per second. And so I can use 25% slow motion later on everything that's orange or in this case, mango is shot and 50 francs per second. And everything that's blue was 25 frames per second. And just in case you don't know here, Germany were in the pal region. I'm not sorry that exact sure what that actually means and why it's 25. 23.976 like influx of the U. S. But we hear shooting 25 friends per second using. So, um, I went ahead, selected everything just as an example, dissect everything, modify interpret footage, and then I interpreted everything is 25 francs per second, which then has the effect that the 100 frames per second clips are already slowed down to 25 frames per second and so have, like, 1/4 off the actual speed. So in this case, I would not need to slow him down in the timeline. I would have to speed the month if I want him in the actual real speed. So I have to make sense. I'm gonna dump all the footage in here, but select everything in here because a lot of its showed in four K. And I'm working in the 10 80 p 10 line in the sand and this project here set to frame size , and then we have about 55 minutes worth of furniture. And like I said before, what I'm gonna do now, basically, just gonna go through all the footage and right, exactly that we go before I forget it. Obviously duplicate 01 archived and sequences and are working sequence 0101 So we have known destructively. Still, every time the sequence where we have all the footage so we don't need to use like, so we don't need to go back into the the footage folder here
8. Live Edit 2: Finishing the Rought-Cut: um All right. So, like I said, I'm gonna go through the whole clips, all of the clips, and just select the parts that I think are useful. That I could do you use in the final video, Remember, the final video is gonna be just 30 seconds, the assembly off a burger and all right, so the way we're gonna do this is this. I'm gonna go ahead and edit the whole clip. I'm gonna make the whole final finish video. And whenever I have something to tell you something to share something interesting to learn , I'm gonna pass the clip, talk about it. So let's see how long the class ends up being because I really don't know. It depends a lot on the video about how much tips and how much exact learnings I have here for you. But let's go ahead and start editing. I would say right. So now we're here in the first clip and this is one as you can see in color is one off the slower cuts. So I remember the shot. Actually, the shooting Why did you sound right now You can actually they lead all the sound layers. I go to right, click on a link and then delete the little forks because I already know that we won't use any of the sounds that were recorded, everything that we gonna do with either music or sound effects later on. So I remember the shot, and I also remember that they have this smash Berber and during the shot. Sometimes things don't work as you expect them to work on the way they did this. Mashberg. It's a new burger, so they have not too much experience with it. I think Andi to smash ended up not working four out of five times. So I'm just looking basically for a shot where I can use where there's no shake, where there's no past camera movements and everything works fine in the sharpness is good, then, for examples. For me, it's too high here, you know. It's like the famous very big and the action that happens very high. It's not sharp, so that's we can go ahead and click one night street. By the way, ISS, when you scroll through the time it like this, if you just hit the space bar and then you click, this is the normal speed, right? And then you click l If you can see here, it goes faster, you know, And that's especially if you're slow motion things or if you talk about dialogue or something. If you have an interview and you want to go through the interesting scenes and it's still slow enough to understand dialogue, usually if the person doesn't talk too fast. So it's a nice way to be speeded up a lot. Because otherwise I would need to look like it's gonna take 55 minutes minimum to look through the footage along without any editing, right? So that's a lot of time. And if you want to go, you cancer. You can hit another time l in another time, out every time it's gonna get go too fast. Theme she was. So you go to the beginning and see where it started to be. The ground. Yeah, so one thing that I do not worry about it all at this point, for example, things like color, things like brightness, things like that. So I might see that exempt this clip. It's definitely not bright enough. Not something points on him right enough, but that doesn't matter. now, that's what we gonna fix later on. I think in sequence that before something just Yeah, there you could see the problems with Burger. By the way, um, with the second this video working on my little notebook here, Um, which is why this green is so small. Usually I work on a bigger computer, but oh, that's a good one. Oh, yes, you see, that's nice and charm. That's a nice squeeze. And then I go all direct to the point until they go up, because that's when it gets bad, you know, because then it sticks to the plate, and that's not what we want. That was a good money. I remember this was where they throw the ball of meat or vegan meat into the fat. And it's better is nicely anything. Yes, that's it. So let's see how we can use this with the other club because the problem is here on this club. We have all this fed lying around and on this, but we don't so that's not optimal. Maybe the sizzle here's good, too. Yeah, that's not sharp. That's very said. They're into the bedroom coming, and that's amazing. Although I think I had pretty much the same shot here later on, but in this case, a shattered and four K. So I'm going to use the four capers and even if it scared of them, that's gonna be more detailed because, as you can see here and the effects, this is on a scale 50. So I could theoretically go up to 100 it's still the same sharpness. It's still without any quality. There are problems. Aiken scared up a lot, so that's a nice little you see. That's for example, that's that's already enough. It's gonna be a very fast car video anyway. This could just be a little sequence of where you see the burgers sizzling. That's nice. Some of them use that. This one, I think, is where slowly go into it and then the turn comes right Cool. That's in it. So this you have to imagine later with, like, uh, speed round. So it's like and then slower. And then Scott, No way. She's coming. And remember, we always want to cut to the point where there's no shakes, no un shortness. No, no, nothing. That's distracting. Nice handcuffs. This isn't a shot, too special because we have thing in the foreground might be useful later. Go away. That's when Conde concede. Try part of the picture. Nice little reveal. Yeah, that should be fun. That's where they take away the program to put it onto the bomb. Yes, that clean. I remember that. We did the shot twice, and the second was very nice. That's already nice. Perfect. So for this victim we has used if we want, you can play a lot with, like, speed ramps with this kind of stuff. That is. So you see, this is interesting because you see the movement clean commune kicking him. That's where your brakes. Because it's not meant to him. As soon as you have with past camera movement, the shot gets, you know, it's no that good anymore, except for you want the movement intentionally, for a certain effect, are certain type of transition or something. That shot is not so nice, because the whole graphs in the hands of before that, actually, that actually happens in front of the action. So we wanted to see the tomatoes we didn't. So we're not gonna use the shot. That looks nice, though. Okay, look, camera shake I got here its plan to your time. Yeah, they're trying different angle. I don't like it, so I'm not going to use it. And next clip. I think that's the clip. Now where he gets the bun out of the box back there, by the way, isn't funny that they assemble the burger with lettuce, tomato, cucumber before the but it's even there. It's interesting. Sometimes. Just takes a while to find the shot. All right, open. That's a typical speed run thing again. Or maybe a jump cut income. I remember that. We did this shot a second time. That putting on up the sauce. I'm gonna show it anyway. But I ready the one looking to use the 1st 1 Because when he puts the sauce now here it's gonna come out like fighting a little blip, blip, blip. You know, when they sent you like this. Yeah, but was gonna be there anyway. Way you use it. Remember that. We're gonna go back here. Oh, yeah, you see, So that's nice, because that was now that was the counterpart. I'm gonna click a to put all of this little back, and then we're gonna go back to the point where I had, uh, pick up off the off the petty with the cheese where he picks it up right, and this is the counterpart. So I put this year, but so assembling already, right? And then it's like this. Get out quoted you see, there we have. Sorry, nice job. I'm like you, by the way, just recently operated to Sony a 73 And I'm very happy with the quality. Looks really kind of comes out cinematic cinematically looking automatically out of the camera. There's no let's on this, and it already looks kind of gorgeous. Doesn't thanks. Thing is, I put the letters. I was not sharp yet, but I remember we picked it up a little bit again. Have a nice motion, by the way, can I don't know if you hear about my MacBook is already fighting back screen recording, premier editing all at once. Core guy so and cut. That was not bad. I just know that we have a better one later, but this is not bad. It's OK, it's great, but it's simple. Go ahead and I have a better one. Uh, you see, there's somehow there's more. There's living motion in there. Did you ever go back a little bit? That's nice. Puts the begging, and then I'm adjusting the frame all the time. Go back and then you see their logo in the back, which I'm The motion was nice, but the moment where we see the local there's too much space between this. So I'm not I'm loving it. But what we can do cut here and then jump through later shot. Because I know we did this once again as well, right? That's it. Um Okay. Oh, actually, that's nicer. Okay, We're gonna see what we used. So now we actually have the like, if you remember, you remember earlier. Where is that? The sauce Putting up facades with my perfect. That's where we replace this shot with Alexis. Quickly. Find a good part, start here and then drop here was obviously not perfect, but that's fine. That was perfect. Chuck is you how it looks much better than the other one again. And shock where the motion starts, go to the next one. Okay, John, I think actually, not the country apart. So now remember, there was actually some some amount of you go, which I did end up using the actual final photo. That's just quickly because we also did a photo shooting during the film shooting. So there was a few just fine bureau videos that I shall urine. What is your name? That I'm not gonna be actually too useful for a little bit. I think we could go on duplicates layer on there. People tell me, act crazy or two with the sequence, but this Barca and then go ahead and lead all this because we saved within the last sequence already, uh, to do this. And now we have, like, put it down already from 50 2 3.5 minutes.
9. Live Edit 3: Editing to Music Part 1: and now we're going to insert a music that we're going to use. And so I don't notice a song already, which, in green fuse was called sweet like candy. And that's okay. Actually cut this whole thing, this whole part suck. And so it is gonna go ahead justice. Just the audio gain without Yeah. And so remember, the final video is supposed to be 30 seconds long, right? Plus, like intro outro showing all the locals himself. I'm like, it's should be between 30 and 35 seconds. So a nice trick how to do that? It's actually right clicking the the the audio in your timeline and then edit clip in Adobe Audition. This is a secretive. Right now, I'm so happy that I learned this. I think I got this from Peter MacKinnon or something. Open an audition and then auditions gonna open. And I'm no expert with audition or anything. I just basically know how exactly do this. I don't know how to do anything up there, so let's Let's fire it up. Yes, you can access. All right, so now we go ahead and click insert into more to trick. So okay, again, we see and not a buttons. A lot off complicated looking things. You just go up here to the upper left side, where you have the track that you selected. Right now, it's one minute 16. And for 10 4/10 of a second right click insert to multi track new multi track session. Name it. However you want sweet like candy. 36 is it okay? And then I was confused for a second. So here on the left, it depends on how your heart, your windows are set up. But you're gonna go to properties, you go to remix and then click enable remix. So now audition is gonna analyze the whole song, and then you can put a target duration. That sounds interesting. So we're gonna put, let's say, 35 seconds and see what comes up that's going to be 39. Let's put 32 seconds. That's 33. That's moment short for us. 34 38 seconds. So that sounds good. So you can click. You can insert your desired partly duration, and then audition is gonna remake said to something that is as close as possible to your desire configuration without it sounding weird. So obviously cuts in automatically with, like, whatever ai machine learning. I don't want the hell it is, um, and make it sound good. That's here it So there's a little love going on here. There's a lot of like that needs, like five or six seconds in the end. This word already gets, like nowhere and not a lot of words. Put 36 see what happens. That's 39 now, e. I see the first thing. Yeah, this one I like because the first cut here in the first version was not so clean. I could hear the difference itself. Didn't like that too much. So we number 39 seconds. That's fine, because look you, in the end, you can easily put it down to 35 or something, because the end is basic is already like gone. So anyways, we're going to multi trick up here. Export to Premier pro Just hit export. It jumps automatically back to Premier pro and you can insert into the new audio track. And what do we have here? No doubt about that. The perfect clip that we want with the over one. But this one here lock it so it doesn't disappear, expended, and then we can work. Now we just have to trim down all of this to this, and that's what we're gonna do not So let's let's go right into it. Yeah, what is that description of people? So one thing we can do, I like to work blood in those kinds of videos And those small videos. 32nd clips for Facebook, instagram or something. I love to work with speed Rams. So let's go through the music lets you. So you have this one here. Let's make em. This is where it starts to be Faster, right? So we hit p personal. Okay again, right click time making rapping and then click speed and then click P And then you could make a living marker. Look what you wanted to change the speed. So here we can speed it up a little bit. Let's try it up with 1 50% good faster. That's not enough. Play my 100 ish and I just wanted a little, little tiny moment off speed up so you can see that some things having happened, it looks just more dynamic. That's already enough. And then I would already cut. And actually, now that I'm thinking about it, we could make a cut in here and make it look good. Anyway, even if there's no fat in the other shop, let's see, I want exactly the moment where the I mean it's ground. Yeah, let's see. That's good, because it almost fits. So let's see. I don't know what I'm gonna be doing here in the beginning because I don't like that. There's so much. Not quite on point back, by the way, for speed Rams. One thing that's important. You always want to smooth it out. So it's not like cut almost Theo way one the next ones already the sizzle right, isn't it? Yeah. That's if we used this one of the cheese. So here, for example, we want the slip, right, Right click. That's definitely time writing time reminding thing here. Um, we basically are going to see where because that's the moment when he needs to get slow again. OK, so we speed it up a lot. A lot of money. I feel like it needs to be faster. I know. No. Stable. Okay, Okay. We're gonna make it slow here. So how that looks 100. Let's remember 100 words already. Snow one. Oh. Oh, Uh, sir, you like here? We speed it up, then we cut. That's this one. Could be faster. I kind of wanted to go together with No, I should be going to do something else. You're gonna just speed up the beginning of the shot. Yes, that's what Always remember.
10. Live Edit 4: Editing to Music Part 2: that, You know, we need some change. I kind of feel like the rhythms off. Maybe we need because I feel like obviously in the song, there's always different beats that you could come true. But some feel more natural than others right at this to me. So when I look, when I listen to this, I'm not quite happy with how it feels. Doesn't feel like it's right. Yeah, I feel like the actions on the wrong feet. I thought this year this pressing should be here that, you see, Let's see what happens just for sake of yeah, that feels more natural to hold smoking again. What happens if you do like this? Actually, that's only the interesting part. We're just gonna go with it. That's actually one thing that you also have to remember whenever you feel stuck in the edit or you feel like it's not working completely yet. Remember this The first draft. We're just basically assembling a rough cut here, so we're gonna go through it. It's probably gonna be not perfectly all the time anyway, so we're gonna have to readjust anyway, later on, we have a specific sequence just for re edit So let's just go on with the process. It's important to get Do not get stuck right here. So I'm just gonna go through it. I'm just gonna go out. I'm not very happy with the beginning sequence yet. I'm not I'm not. Yeah, I'm just not happy with yet, But we're gonna go through later on it. So let's is he There was nice. That's one of those moments where the shot that you feel kind of naturally already fits into it because, like, look at how the motion in the video is actually going with the bead, almost automatically. Hey, make. And that's nice, because that's actually really nice. That's what he wanted. Makes it feel coherence here. One little trick that's always nice. Just if you want to make something a little more interesting is to speed up very highly. The little beginning of the shop, like something like this that's almost a speedy, speedy moving to speed yourself. Start seeing what I mean. It was like way. Just need a small moment, right to see what's going on. We don't need to see the details. Everything we just see Okay, green letters and later on, we can change it obviously more something like this and more like but this? No. So you see, already more conference in there. It looks much more and all you see is fresh letters. That impression that gets all my God. And this lettuce actually looks right. So the better. It's just better. Okay, there it sounds to me like just let's see how I'm not sure, Actually, we're gonna kick this hour because the 32nd as we don't have no place for clips that are nights like no filler clips, only the juice. Maybe a little speak that honestly, by now, if you like. There's way too much time. That's, like 14. There's a three second that's like 10% of the whole video taking on this. Those funds that's too much, actually. Maybe we this cut out and you guess what's coming. That's a speed. So that's a nice way to explain the speed rebels. Well, um, think about it. Almost like focusing or imagine, like, very shuttled, that feel right, So my background right now is a little blurry. I'm in focus in this. It's not a focus, right? So, like, you see my finger no focuses in my background, out of focus, my faces and focused. So think about it on the timeline. My finger is the first part of which is speed up. So you cannot really focus. Then you slow it down in the moment where you want to focus it where the action is having that is the most enticing shot, the most nice shot, the most beautiful, sharp. But the most important moment or the most important words, whatever it is. And then you fade out and you can speed it up later on again if it makes sense or you just end after the interesting part. But that's what we're gonna do here, too. So we speed it up. That's why that's a way to do that. Like you go first to the part where you want it. So where is this one? Here? And then you speed it up before that. So it's like this. Uh huh. Okay, so this is the case. It wasn't actually slow motion parts, Pete. It's slow motion clip. There was. This was shot in 25 per second. So we cannot be slowed down. No way could make it faster before animals. When we have a little bit of this, and that's what. And here again, because this is actually right. Click. Hi. Remaking time remapping speed t click. That's the part that's interesting, Speeded up before that. That also makes a better transition with a shot from before, because fears more connected. Yeah, we can, actually, by the way, I keep forgetting smoothing. Well, smoothing that for me is this shot deserves, like two seconds because it's no. So you see are actually even the drop off the patty. It's perfectly on. That's good. And this one to look out. Magic fits like the pet on the lettuce. After he puts down here, we can do in the speed. Read my feel. Good luck. It's played out. We'll speed it up. Smooth it out. So now we're getting closer to the edge. So now it feels much more like coming together. We have quite a bunch of footage left, and we're 22 seconds because one thing to remember is that you don't want to make it feel too rushed like you don't want to create too much footage into two smaller timeline because then it's gonna look hectic. It's gonna look is gonna look hectic. It's gonna look like you try too hard to put to fit at one minute video into a 32nd. You have to make some creative decisions and go like, OK, this shot is maybe not a word. It's maybe sometimes it's a nice shot, but maybe it's not worth being in the 32nd video because the 32nd video, if you have the same amount of footage in the beginning, the 32nd video is always gonna be the nicer video in some sense, because it's gonna use only the really good shots compared to the one minute video where you can also let it happen that maybe there's one or two shots that are not as perfect. But they are making the cut in the one with video. So that's what we owe that's so here again, we're gonna work with a lot of speed ramping accent. Just the best way to make a video clip fit onto a certain time frame or certain music. She's so good. So there is situations where you don't want something that looks too much like Juncker because then it looks like it's not wanted, you know it looks like it's not. It looks like you had to make a jump up because you don't have a clean shot, which in this case is true, but we don't want it to look like that, right? So way don't wanna go from here to here because it looks too much tonight. Oh, yeah. He didn't have a clean shot up. Howard actually happened. So in this case, this is actually much nicer because doesn't look at all like it fits together like it would be wanted to be one shot. Thats one is actually the battle, right. It just is a jump in motion in some sense that I could jump in the progression of the action sense, you know? So again, speed rap we do with this little trick with speeding it up a little bit in the beginning. If he speed it up 39% smooth it out. Okay. I didn't like the motion of the I didn't like the movement there. Oh, that's where the show is. Over. No way. That's like literally at 30 seconds of five milliseconds. Is it milliseconds 30? That's actually already it. So now what? It just notices. We have here the sauce, things that we didn't put in yet. So we gotta go back to the point where we had sauce. That's actually a little sad. I kind of forgot that. Because now we kind of have to readjust the whole edit afterwards to fit it in. There's that's But that's how it goes sometimes, you know. So, sir, actually, we can now use the chance because we have to re edit parts of it. Anyway, let's just watch it from the beginning one more time and see how we get about the sequence in the beginning that we didn't like as much book Kind of Okay, yeah. We're gonna leave you for this for now, like this because I still don't like it too much. But I don't have that Red really much better idea right now. We just have to put those clips in anyway, so let's see how we can. That's why we're gonna speed trap again. Obviously, always come down here and here. We're gonna do actually what I said before. So we're gonna make it. So speak that focus area. That's an idea. Speed it up in the beginning. I know. Actually, no speed it up, and I want to bring it to the speed where the motion fits the boom boom. You see, that's a little best, and that's slowed down again because that's what the music belts.
11. Premiere Crashed!: No, too funny that that happens right now. So Okay, Quick lesson. Sometimes Premier wants to fuck with you. Okay? Sometimes it just breaks down out of nowhere like it did right now is serious. Error occurred. All right, so let's just go on with the edit and let's see how it goes. Okay, so now we're here in Premiere Pro after. Broke down on what Premier does. So, first of all, that's the things like that are one of the reasons why we always want to do sequence duplicating and all that stuff. So we don't have to start at the very beginning. Always. But that being said, Premier has, as you can see here, has function that you can actually reopen the thing that was just breaking down. So it appears that it will premiere pro close unexpectedly in the previous session. Do you want to open the previous project? Yes, I dio Let's see what it does. Okay, It's open and recovery project. So now they ask you how to save it. Nearly story, reload the things. Time for a little coffee. So you see, that's actually good, because we are pretty much where we stopped. Just gonna let this re Lord all the things again. It's too bad when those things happen. You know,
12. Live Edit 5: Editing to Music Part 3: actually start slower and then move up and speed as we get here and moved down speed here. Okay, That's always gonna be on 100 because we don't want it to be, um, like, jumpy or something. 00 you don't want to be scared off three editing and being like, very picky, because as great as it sums when the editors off music as terrible, it already sounds. It's just a little off like you need to be, really? For example, Here you can see what I mean. Look, years coming. Here's the beat coming. Doing that is right here and the cup is here. So if you look at it now, it's just it's almost not noticeable. But you will notice, Like people watching will not know what is what's wrong, but they will be like so and then compare this to this. Just it's literally one frame. It's just more cream, you know you want it to be, so that's already That's like 36 seconds in total, which its spine
13. Live Edit 6: Little Corrections and Warp Stabilizer: just gonna look through the last time. By the way, this clip, for example, just in case you didn't notice, it's a little shaky, right Jenners in there. That's because it's personal. This four K it's, I think, 50 millimeters and its head held, so you will have those shake checks in there. But this is not too bad, like you can fix that with something like warp stabilizer later, which were actually we could do right now. Oh yeah, that's because it's recorded before K, but it is a 10 80 p timeline. So we're just gonna mess that. That's a sequence. Which brings me to the point here. If you remember earlier, we said we're going to create a folder for next sequences within the sequence. Just so it's more, you know, it's always clean. You always know where everything is. There's nothing like flying around like a too busy desktop when you drop everything on the desktop, down notes and your files from five weeks ago, and then you end up forgetting over what was that about? So it was put warps. The bride's on here, analyzing background that you go to effects you can play with House movie one. I'm just gonna let it go like this now to see what happens. Yeah, that's not actually I feel like cropping. Yeah, that's a good thing you readjust framing as well. Keep it a little on the right side. Okay. In case you didn't notice, I shot everything in a in a little flat picture profile. So my 73 has the function to record as long to as luxury and stuff like that. I recorded this incentive to city to Okay, That's why it's a little grayish. Sometimes, you know, it looks flat. Look, doesn't look so saturated. Not so not so much contrast in there. But for some reason, those pleasure this club following are looking very saturated compared So I don't know what happened there. Actually, it might be that my camera has switched accidentally to some different picture profile. Just gotta remember that because later on, when I used the color correction and especially the lots to bring back saturation, I will not use this on those clips because then they're going to look over saturated. So this place a little shaking too. I just want to try to see if I can make that better with warp stabilizer. So because there's a speed from in there, we're gonna have to put it also into nested sequence. That's okay. Directly put it into the message sequence so we don't get messy book, but book analyzing background. I want to see how that turns out. I feel like actually, we should 20 smooth because it's just shake in there. Let's see. Oh, wait, so that's that.
14. Live Edit 7: Sound Effects and how to make your video sound real: all right. I'm pretty happy with the edit so far. One thing that we also do when sequence number two is, um I put all kinds of sound effects that I want you. So just for the sake of this edit, I'm going to show you one single sound effect that I'm gonna put in there. So you see how it works. I'm not gonna put the whole video with all the sound effects. Just that just takes too much time. But I'm gonna use the best example which we have been here, which is like a sizzling sound when you put the meat on the plate or on the Are you? What would you put on the planet? That Spanish? You put it on the well. How do you how he's switching it onto those like this pan thing. You Right. So the way we do this is there's different places where you can find, like, sound effects. You can go, you can lose. We go into YouTube. Look for all kinds of scientific evidence. Sound has that sound effect section artist does not, which is interesting. Which is probably one thing that I would have exam. That's better So you go. I already found one. I think I actually found it on YouTube. I'm not sure. And I'm just gonna drag it in here and see how it sounds. Because that's the first making you'd we want this sizzling actually start here already fade in years, get louder when we actually pushed this down. So the way we do this is the person what we cut it down to where it extra starts. Then we see how it sounds in the very beginning way. Don't really hear anything because muted that says way have a little tiny thing in the back room, which is what we want. Like, don't That's the number one thing with sound effects from the very beginning. Almost everybody just makes it way too loud. So let for example, imagine something like this That's not realistic, because it's just way too loud. So we're gonna put it back to we're gonna put back what waas so we can actually make it paid into something louder which we can do the same waves Same way we can do it here with P with P and it be another time and make it louder like this So it goes like this and then here with flipping starts way also obviously want to have a in the lower. Actually, I wanted to be gone here. I don't want to uproot, and then we wanted to have it back Then you just want to make it kind off. Makes sense with. So when the focus is on a big shot where there's sizzling like this, you might want to just pull it out a tiny bit, you know, because it just makes sense. It doesn't make sense in terms of, like, as close to meet as before, but the focus of the iess more on the sizzling meat. So if you support that with the sound effect behind it, without it being too loud or too obvious, it's gonna have a nice effect. So and then you can actually you're gonna put it more down. Think, think you're a booth? Sure, if it's unbearable. But here we're gonna instantly cut it because after that, there was no seasoning anymore, because, I mean, it's not a thing anymore, So that's actually you know how you can put sound expand and you can put multiple layers of sound effects. So You can also go ahead and use something like Andy and noise for aggress room. Let's go ahead and do that. All right. So I found a little shopping mall and be it shopping mall ambient noise because the restrooms located in shopping mall, we could just let this run, for example, for the whole duration of the clip. So let's see how that sounds. Okay, that's love. Put it back like seventies here again. Almost. You almost don't hear, you know, But it gives some life toe because the fact that I deleted all the sounds, all the audio through the hole from all the clips, there's no background sound right. And if you have just the music, sometimes the sounds of a static It sounds a little artificial because it is, you know, because from this restaurant there's always some noise and some of things going on. So I like that you could actually go even further on. Then the next hard to be, you know, put the sound off the sauce coming onto it, which is maybe, like so suddenly that's scraping off the burger. Let me try to find one of those. Alright, so I've been looking for a scraping Sound like a sign of flipping off the burger, right? I haven't found anything. So now, actually, do something that I didn't want to do. I'm actually gonna show you what I would do in real life right now, which is trying to re create the sound in my own kitchen. So that's fine. The intervention didn't met all plan to put this into disco share fast, but I think it's useful. So let's go ahead into my kitchen trying to recreate this sound with this stuff that I have in my kitchen. All right, let's go or I were back on. Let's just see how this turns out. And Premier, I really imported the sound. I called it Pan scrape. And as you can see, I have a lot of pain scripts. And here I'm gonna just hit solo so we just can listen at all the pan scrapes and see which one is the best. We can always say It's definitely too loud. Let's see. Oh, so that one sounded already Nice. Let's just use that I like this one. Go back to the pen, scrape action. There it is, and then we match it up with the movement. Okay? Definitely too loud. I'm gonna already put it down, like 15 or something. One more friends in the left. See how it sounds? No, that was better. Like this. Okay, so let's see. Now it's important what I said before, which is we have to make it very subtle, so it doesn't sound weird. So let's see how it sounds in hoping. Okay, here it actually goes under under the music. That plus 10 even more. Plus five. Okay, I kind of feel like it was a little too late. That's that's it. Perfect. So there was a nice example off how I would go about creating sound when I don't have it yet, and I don't find it, So that was pretty simple. Took me, like, five minutes. Not even. And yeah, that's how it would go through this. This is the end of the sequence. Number two gonna have just safe already. Duplicate the sequence here to number three, in which we would technically have to do a re edit off what we have now. As I said, I recommend that you maybe let a day pass or loose some hours in which you do something else, and then you come back to it and look at it. In my case, just for the sake of this video, I'm going to skip over this part because this is already quite a quite refined. And I've done this video before, so I don't need to re edit a warmer time, and we're gonna go duplicate warmer time to number four. Sequence number four. Put this into archived, but open it. And here is number four. We're going to talk about color, grade and color correction, which is gonna be in the next video.
15. Live Edit 8: Color Correction and Color Grade: All right, so now we're back and in sequence number four, we're going to talk about color correction and color grading, so the way I usually work and the way I'm gonna work in this case as well is I'm going to use a combination off color correction, which I'm gonna do clip by clip because every clip might be different in terms of what it needs to be great herbal. So what I mean by that is like, this clip might be missing a little bit of brightness and contrast, whereas this clip might not. So in this case, they both are pretty similar. But you get the idea, right? So that's why I start with a adjustment layer in which I will put the later grade because whatever brightness or whatever, like other adjustment we have in the basic clip, it needs to work in combination with the color grade later on. So that's why I'm gonna do it instantly already. Like this. Put an adjustment layer, put it over it. And this one we're gonna call, um, color grade sec, actually deleted. Put it back in here called color grade. So depending on if you have your own lots, depending on if you bought lots. It just makes sense to see which one works best for the look that you want to achieve. So we're gonna go ahead and open the loom ITRI color tab here. If you don't have it, you can have window. You can go to window click luminary colors, luminary color, and then it's gonna open. You go to the creative tap and then here under creative. You see this like, little image preview image off your off the frame on the left side, so we're gonna make it a little bigger. Sometimes you have to reopen it. So adjusts actually, and then you can see you can click through different looks right on my My suggestion is you just click through it until you see something that you like. And keep in mind that this is 100% intensity, you can always put it down and it's gonna be less intense. So the 100% is just to give you an idea about the general look, that doesn't mean your image is gonna look like that later, which you also don't want. So let's look for something that works in this case. Ah, monochrome. So in this case, I like this sl clean. Fuji be, um put it back on there. And now that's basically intensity. I'm gonna put the intensity to, like, 50% and then I'm gonna lock this color great frame, okay? Because we're not gonna work on this for now anymore. Um, because that's general Look, I want to have So now we're gonna just basically the brightness. And for this, I'm going to use the extension luminary scopes to where we do have a luminary sculpture because, unfortunately, my screen is that live small. So usually I do it on the bigger screen. But now we can adjust things like brightness. You don't want to go over 100 you don't want to go under zero in terms of brightness and stuff. Gonna put some shadows a little down just to bring it to the point where this clip actually in itself looks good and well exposed. So let's take it like this. And now you go back to the great And since everything was shot in the flat color profile, there's some saturation missing in some contrast, Mr So what we're gonna do is we're gonna bump up the situation a little bit, right? And the contrasts? Well, right, something like this. And then we might readjust, actually, if we like our look or if it maybe it's to saturate or to something. Yeah, as we wanted. Just if we need to it just the white balance a little bit, and then we're gonna save it. And now the look is done, and the adjustments for the flat picture propose Also done. Although I got to say if I think this is a very I don't like the red tone of this, the meat doesn't look nice. I want to change the color profile. Actually, I want to change the creator. I want to change the lot. I want this clean Codec a LD r a All the other. Yeah, right. Put it to, like, 50 ish again. Book safe. And so I kind of like it like this. So let's just take a look. How it would look if we have put the yeah, saturation a little up again. Yeah, that's fun. So now we go through each and every clip, and we basically just have to just the exposure because the look it's already there. So we're gonna have to kind of like, look that we match the clips. This is way too bright, a little over exposed. So sometimes you also have to go with your eye and not only with the luminary scripts, because according to limit tree scopes, this is not over exposed. But for me, I think it just looks a little over exposed. And I just make it look cohesive with the rest of the clip. This, for example, with too dark compared to the one before, could also use some more contrast. Answer to dark. This one is nice. This one is definitely too bright, like so this one is definitely too dark, gonna put up the brightest and also put some extra saturation here because I really want the lettuce to pop right? Some more contracts as well. And actually, what you can do it also, if it's a similar shot, you could just copy here, right click paste attributes and go with blue is your color. And then it should adjust. Um, exactly what you did before, but in this case, I'm just gonna do it manually. Also put the situation a little, maybe the Yeah, that's good. So those are the two clips, If you remember that we're already kind off looking very saturated. So in this case, I'm going to just drag him above their just male heir. In that way, they match up already without the lot. Right? So without the look, another way, you can do this where you can actually keep maybe moral to look that you actually want, except for like, without talking about saturation and stuff. If you want to keep the general look without being over saturated, you can just decrease the situation a little bit. Oh, yeah, that works, too. And also the exposure a little bit. That's not so this we want to be bright and contrast this Definitely. It's in Brighton, too. In contrast to, uh, so nice Sounds so cool. The shot is actually good. Maybe a little more tiny bit more contrast that needs some brightness here. This I want to be nice and saturated and also a little less warm, so it doesn't look weird. Yeah, said this is kind of like the hero shut in some sense, right? We want this to be perfectly exposed. Actually, I just noticed You probably noticed that, too. As the music decreases, the ambient sound gets a little too obvious. So I'm gonna put it just down gradually to No, that sounds good. So, gonna just the thing Until here. So let's take a look at how it looks. Okay, That's already Laghi. So that looks way to read. I'm not sure why, though. Just gonna de saturated a little bit of make it brighter so it matches up better with the plate from before. Yeah, that works better. We can also saturate up a little bit the clip from before, put a 105 and then see that mentions up pretty nicely. This one is in a little bit more. Okay, now, yes, this, I think, still needs more brightness. A But this. I think it's a little too bright. Yeah. All right. So that's basically the first added the first export sequence that you're going to give to your clients. You're gonna put it into sequence number five now duplicated one last time before he exported number five. Book put into archives. Put this there. Open it. In this case, I would also put the logos of the client and you know, put some like Outro in there, which I'm not gonna show here because it's just a pre defined outro that the client gave me . It's not important for the editing process right here. It's gonna hit export command. And this is, uh, 10 80 p. So I'm gonna go, basically, in this case, I'm gonna go just video 10. 80 p full HD. It's usually nice quality. Use men maximum render quality, render maximum depth. Export is S K I 00105 And one thing to remember. Every time you have a new generation, you get some feedback or you just want toe work into some work into the project something maybe an idea that you have overnight or something. Always export. Always duplicate the second sequence again before you export a new version because then you can also later connect the sequences to the exports. So if you have 05 you know exactly that's the export from the sequence or five. So if you duplicated, you don't want to name it 05 underscore tour Something like this you want to export as 06 and that works with duplicating the sequence and renaming it. So in this case, we're just gonna hit a hit, Gonna export it onto the desktop. But Zach que I usually export with, it'll be media and quarter. All right, so that's the ending off the video editing process. Let's take a look at the finish video.
16. The Finished Video!:
17. Thank you!: All right, so here we are at the end of the class. I just want to say thank you for sticking with me for so long. I'm sure this is a long class, and I hope you've learned a lot. So just several recap We have learned how to professionally organize folder structure and project structure in order to never miss anything again. To never lose any footage to always be ableto work from any workstation that you want just with a combination off Google Drive or Dropbox or anything like that, plus an SSD. And you can really make sure your workflow is always the same. You will always have your project structure ready for you to just start editing as soon as you have new footage. And when I learned this, I remember it really changed a lot because it feels more professional. It is more professional. Since then, I have never lost any footage anymore. And I'm very happy to share this with you and hope it's very helpful. It's going to quickly mention if you enjoy this class. Please, please, please give me common. Give me a like give me a rating. Also remember, this is part of a serious freelance videography. One a one I have already one class. That is about industries where you can find where you can find clients to start out. And I'm going to doom or classes on how to find clients how to be professional during the shoot. Maybe I'm gonna take you with me on a shoot and do a little behind the scenes on. Yeah, there's more to come. Make sure you follow me here in school shirts. You get notified whenever I have a new class and, yeah, I'm really excited. Thank you so much again. And I'm going to see you in the next class. Bye.
Dennis Schrader, Freelance Videographer and Creator
