Transcripts
1. Welcome: If you're an artist who creates content for YouTube, Instagram, or even tiktok. And you want to take your videos to the next level. This is the course for you. What's going on, everyone, My name is PJ May and welcome to my latest score. I've been a videographer and video editor for the past five years now. And in that relatively short time, I've learned a lot about what it takes to make better video. If you're watching this course, then I'm sure you've heard of people like Jesse James raise EHC, nerd for Dre diesel. The list goes on what all of these people have in common besides being incredible artists, they all know how to make some pretty damn good video. There are thousands of incredibly skilled artists out there on the Internet. No doubt they are masses with a pen, brush, or even a way com tablet. But the reality is, that's not enough to bring success to build an audience, you need to pay attention to the presentation and become a master of video. Now don't get me wrong. I'm not saying you have to become a Hollywood great director, but what I am saying, if you need to understand the fundamentals, to understand how to create videos, they're gonna keep people coming back for more. Think of it like this. If I come across a 15, 10, even a five-minutes be drawing, I'm going to be doing a lot of double tapping on that right side of the screen just to skip ahead so I can see the final result. And that's something you really need to think about when it comes to creating videos online. Watch time. One of the most important metrics, if you're creating ten minute videos that people are watching in two minutes or less. You're not setting yourself up for success. In this course, I'm going to be teaching you how to not only up the production value, but also and perhaps more importantly, the entertainment value of your video. By the end, you'll be fully equipped with everything you need to know how to create videos that are going to keep your viewers. Keep in mind my focus here is going to be Entertainment based content. But if you're someone who does create tutorials, a lot of the principles that we're going to run through here will apply to you as well. I'm going to be breaking down the entire production process and I'm gonna be showing you exactly how I created this video, where I customize a pair of sneakers. So we're gonna be covering the pre-production and the planning wasn't going to show you how I set up my chute and plan my shot to maximize how engaging and attention grabbing the video. And then finally, we're going to go through the entire video editing process. Now I have two other courses that I've made previously that might be worth checking out before we get started here, the first is an introduction to shooting where I break down everything you need to know to get the most out of whatever camera you're using. I also have a course that runs through the entire video editing workflow that I use. Again, I'm going to be covering the full editing process in this course, but that previous course runs through more of the details of how I keep things organized and productive and just how I stay sane as a video editor. Now at the end of this course, I'm going to be challenging you to create a video for whatever platform you like. Youtube, Instagram, Tiktok, want you to tag me in it. I wanna see what you come up with, but I also want you to make a behind the scenes look at just how you created that piece of content. I want to know what you took from this course, what you tried differently. And if your audience noticed different in the video, you create it. Now I cover a lot of ground in this course that there is lot of information to take in. But truth be told, everything that I cover could have its own dedicated course. And while i'm, I dive deeper into some of those specifics later on, I wanted to create this course to give you a solid foundation. Basically, I wanted to give you the 0101 of video production so that by the end of the course, you'll be able to level up in every area of video creation. So if you are ready to level up your video game. I was an unintentional PAN. Arguably the best type of PAN PAN intentional, if you will. I don't know what this is going. Let's get started.
2. Composition: So the first step in creating a video is something that I'm sure all of you will be familiar with. And that is creating the composition just like any work, the way you compose your video is the key to its success. Now in this example for this course, I'm going to be creating a video where I customize a pair of sneakers and that's the first step for you. I want you to spend some time and think about what are you going to be making? What are you going to be doing? Is it as simple drawing is a challenge video. You're going to be trying a new medium for the first time, whatever it is, that concept and write it down. Now when you have your concept, we're ready to move into the actual planning stage and everyone has their own way of planning these things out. Some people like to write full on scripts, sunlight just have dot point notes. Some people like to completely when there's no real rule, he does no wrong or right way to do it. But I do recommend at the very least having some basic notes about what it is that you're going to be doing in the video. When it comes to videos like this way you're creating an artwork. It's hard to really methodically plan out everything plus the intro because you don't know how it's gonna turn out if you haven't created the artwork. But I feel like it's still important to at least create a rough Dear of where things are gonna go. Think of this phase as the sketching phase. We're just scribbling through rough shapes and ideas to get a feel of how the final video could look. Things don't always go to plan. This could change. So this isn't set in stone, but for the most part, we're going to come up with this sort of basic structure. And it's going to be roughly what we're going to try and shoot for. Okay, so when it comes to this video that I'm going to be creating today, already have an idea of a few of the segments that will be obviously to start off with an ornate an intro. And then after the intro probably have a brainstorm session. And this is where I'm going to brainstorm some ideas off to the brainstorming session. We've gone into the actual artwork itself. Then there'll be some reveals shops, and then we'll have doubt. These are the five stages that video that there'll be. Now I'm going to go through each of these sections one-by-one and sort of flesh them out a little bit more. So for my intro, I'm thinking that I'm going to open the video with just a simple unboxing. After the unboxing are probably move into a brief just talked cameras section. This is where I will just introduce the video, but customs and I'm going to be working on in this video, they are going to be for a friend of mine. And she requested that I do a spirited Away thing. So I mentioned that are run through whatever ideas I already have about what I might try and do and what I'm going to explore also. These are only the second pair of customs that I've done. So what I wanna do is bring out the first pair that I did and sort of mentioned what I sort of encountered last time, what problems I had, what things are going to be looking at for this time around and what things I might do differently. I'll have my comparison section, and I think, I think that'll be it for the intro. After our intro is done, then we'll move into the brainstorming section. Now this is going to be the section of the video where I am looking at reference photos, maybe doing some sketches. I'm thinking at this stage is just going to be a time-lapse with some voice-over. So I really need to make note of anything here. Then we'll move into the actual painting of the shoes. Now, again, this is going to be a little time-lapse and a voice-over. Followed by that, we'll go into some epic reveal shot. And then following the reveal, we'll go into the actor and the end of the video. All right, so this is all pretty straightforward. I'm going to spend some time now going through and writing not a script, but I'm gonna just write some notes to sort of reference when I'm recording the intro, I want to make sure that as I'm recording it, I'm hitting all the important talking point if I tend to ramble and talk a lot in my videos, but in the filming stage, it's not that important. Like you don't have to worry about that too much. You can always cut it out. It's better that you say more than left or right. So I'm gonna go through now, I'm going to spend some time just writing out a very rough intro and then we'll come back. Okay, so I run my intro and I'm going to run you through this because I've done this in sort of two different ways. So when I'm making videos, I kind of bounced between doing like full-on scripts or just rough note. Even if I write a full script, I don't tend to stick to it word for word, but sometimes just helps my brain just sort of it. It's good if I can just see everything that I was thinking of saying. One thing. I also recommend if you're going to write notes like this is read it out loud. Read it as if you're recording it because it really helps get the flow going and helps you figure out what's going to sound good on camera. Because even if you write something and it seems really good when it's written, doesn't always translate well when you're, when you're saying oh, vice versa. Sometimes when things are written, they don't really make sense. But when you're saying it and adding expression, then all of that kind of stuff, it sounds a lot better. So that's a, that's a big tip is we'll read what you're writing out loud as you're going. So as I was writing this, I came up with a little bit of a change to what I kind of outlined here originally. So when I wrote this plan, I was initially going to start with an unboxing and then go into the torque that camera. Now when I was writing, I decided that I'm going to flip it. So what I did was I wrote this section here and this is going to be my opening. So I wrote this much more sort of word for word. All my sessile probably changed when I record it, but for the most part, this is what I want to say. So about when I get to this sort of n sentence here. So it's like no-no. Today we're going to be painting on some factory fresh cheese. Then I'm going to go into an unboxing sequence. So that's where the unboxing kind of pay now. And then we'll go into continuation of the talk, the camera stuff. Now I've inserted the boxing and unboxing here. Because I think this intro, it's a little bit longer. Or it seems like it's going to be a bit longer than I initially planned. I think splitting it into two halves with the unboxing and in between is going to make a little bit more watchable. So I'll go from the unboxing and then we're gonna go into the rest of the introverts. They can see everything here. I've separated into just bullet points. When I read through this, it's not to read word for word. It's just, I can look at this first line and go, Okay, that's the point that I want to make. Okay, and I start talking about that point. And there's just all the important information though I want to make sure I sort of go through in this intro part. So if I'd noticed the first thing when I open them up was how the lever feels a lot different to the previous pelo I've worked on. I think that might make it a bit easier to work on these. I got them dirty right away, so that's something I'll go to watch out for. And then I start talking about, okay, this is the same, it's going to base and my friend wanted to Spirited Away. Name. What else? What's another pod says? There's a little bit, some bits and pieces. There's, this part here is sort of, I guess, like a bit of a jokey part, a little bit more of a comedic, but I wanted to make sure I put that in there because I thought of I'm like, Oh, that'll sound funny. And I want to include that. And another little gag. It's like, like I mentioned, if only done this once before and I'm going to take the shoes, I'm going to be wearing the original shoes and think, it'll make sense when you say me filament basically for this section, what you just need to do is make note of anything that you. Why don't we include in the video and you don't want to forget, so that's what I want you to do now. I want you to spend some time, go through and make some notes about the things that you want to cover in each section of your video. It's not just the intro, but also other parts of the video. You might have an idea for a jerky want to tell in the ultra, you might have a little editing trick that you wanna do in the time-lapse that you need to film a specific way for, make a note of that. Anything that you just think of, just ideas, you don't have to use them, but just so you don't forget, make a note of it. Now once you feel like you've got enough of a plan in place, we can get into the fun stuff, which is going to be the filming.
3. Filming 1: Introduction: So following the plan we make in that last video, I know that my intro is pretty much going to be three sections itself. We are open with a talk to camera section. We're going to transition into the little unboxing segment, then back to another talk to camera section. So there's 33 things to film. I'm thinking we're going to do a little bit of movie magic here. And I'm going to set the shoot up in such a way that I can do the unboxing first and then over record the beginning of the intro and the end of the intro to get so it's just going to save a bit of time because otherwise I have to set up for the talk to camera, adjusts everything through the top-down shot, and then go back to the original. It just makes more sense to film everything in such a way that saves a bit of time. So that's something you should also take note or you don't have to film everything sequentially. He can, some things you can sort of cheat a little bit and just change the order of it in the edit. So that's what we're gonna do. We're gonna setup for the top-down shot first. And I'm going to show you exactly how I'm going to do that. So this is going to be fairly simple, isn't gonna be a whole lot to this shot or halfway little top-down righ here. And pretty much what I'm gonna do is I'm going to have a camera mounted upon that so that we can get the most sort of top-down view. I'm gonna make sure I have really good audio for this shot as well because I've seen this thing that a lot of shoe customizes and like sneaker review as Shuo tube is due, where they'll do an unboxing that has like ASMR element to it. So I'm going to try something like that here. I've never shot anything to do with like an ASMR thing to be ice. Asmr freaks me out a little bit, so I'm gonna give it a shot. I'm going to see how it turns out. So I'm going to try and set this show up in such a way that it's basically we're going to be the same setup for the extra talk to camera section. I'll just have to move the cameras and maybe the light. I'm going to get everything positioned in generally the same place. So I'll do that now. Okay, So this is the setup and got going on for this, this shot here. So I've got my two lights, one coming sort of from the front and then one from the side here. And I was thinking of maybe adding like a small LED panel just to fill in some of the size of the box in the monitoring, get rid of some of these shadows, but looking at it on the cameras green and I think it looks too bad. I think it looks okay. And I've got my Canon camera up here. This lens is a ten to 18, could have even used the GoPro, to be honest, but I prefer the look of the image from these cameras, so I've got this on. Also. Another reason I'm using this is because yes, I have this rode shotgun mike mounted to the camera, which is going to catch audio, but I don't know if it's going to be the best audio. So I have the music that you're listening to me on right now, which is this shotgun work which is feeding to that camera. Okay. So I messed up a little bit. I'm editing this video that you're watching right now. And I realized that the audio didn't sound great now that road Mike, but I was just talking about the shotgun mike, those mount that next to me and that was plugged in and everything and the mike works. But in the camera, I didn't have it set to record XLR input, which is the input of that microphone so that the audio sounds terrible because it was the internal Mike from the camera that was recording, which also means that the actual video, the sneaker video, the audio in that isn't the best because that microphone wasn't attached. Now, there's a saving grace here which will hopefully pick up in the air. I don't know yet, but I'm hoping that this camera, which I was using as a backup, has good audio. If that has good audio with sweet, but these things happen. Sometimes things mess up. You just have to sometimes deal with it and just keep moving forward. I can't redo this. I can't go back and reshoot it, so I just have to put up with it. That's why the audio doesn't sound the best. I just realized that in the Edit. Anyway, back to the bacteria, back to the back of the course. So for this shot, like I mentioned, is going to be a little ASMR, quite a thing. That means audio is the biggest priority. So if I want to get the most out of the shop owners wanted Lincoln, just check the box and the terrain. Whatever. I want to make it a little bit more satisfying to listen to someone to plan the shot a little bit. So one thing that is bringing the box in. So to set it down at the bottom of the frame, slightly off center. Here. Open it up slowly. Get some nice audio of the paper. I want it to be as seamless as possible and smooth. So I'm gonna just make sure I've got all this setup so that when I open it, it's just really flowing. I think this should be pretty simple, so I'm going to give it a shot now. And again. I'm going to see in the edit what ends up sounding better whether the audio from this camera is enough or if I'm going to use this mic as well, so I'm going to get the shot and then we'll see how it goes. Now we're just going to do a second shot just for, just in case, but that was pretty good. I actually think that was below. Alright, so I got to show up to two tastes just to make sure I got a better one. Actually think. The second one is the one I'm going to end up using. I think there was some better sounds with that. You'll notice at the end of that short, abruptly shoe right up to cover the lens bends because I'm going to do a transition in the middle. Remember that for when I open the altro need to uncover the lens. Usually want to do stuff like this, I forget, so I'm gonna make a note of that for when I start filming. The next topic on resection. Okay, so there's the top-down shot that's ready to go when we're done with that now I'm going to move into the top of the camera stuff. I'm going to have to do pretty much completely different setup for that short, but I'll show you this very heavily to do. So, the setup is going to be not too complicated. This here is my main camera rig. This is the black magic for k. I'm going to have that as my main talk to camera two that'll be facing front on and connected to that through this cable is the shotgun mic that you saw before. Now, last time or I shot a video like this. The audio wasn't the best and I kind of had the mountain just here in front of the table. And the problem with that was, I think it was catching the reverb of my voice. No. No. Actually the problem is I'm an idiot and I didn't have the mindset to code at all. So it doesn't really matter where I am not putting the mike because it's not recording anyway. So the audio is just not nice angry from that Mike. So yeah. Good job. What I thought I might try and do is have it connected to the top-down wreak. Somehow. Done. I am going to do that because I don't have any kind of amount that will attach to that because I need to have a camera up there as well, but and a figure that out. See what I can come up with by daily. I want them like to be out of the shot because I just think it looks better not being able to see them like, but if you can see it's not the end of the world. The audios, the priority like I'm not going to sacrifice the audio quality to make the image that much nicer. It, it's not going to be much of a big deal. So I'm gonna see if I can get it into a good position and keep it out of frame. But if not, it doesn't doesn't matter. Okay, so I think I've got a pretty much finished setup here. So this is where I'm going to be sitting. This will be the background. I'm going to clean up a little bit in the background. And as for the actual filming self-efficacy, I've got my two lights up here. The given me a pretty pretty decent even lighting. So remember I was figuring out where to hide the microphone. I was going to mount it to the top of the top-down Reiki, but I ended up just keeping it mounted on a march stand. The camera setup. I'll show you that far. So I've got the tennis Like away for a second. I let the camera set up here a monitor so I can see myself when I'm filming and the lens is a 24 to 70. Again, lenses aren't really important, but figured if you want to know now you're not. And I'm going to be filming with that camera, everything on 24 frames per second. I think that looks the best when doing talk to camera stuff or anything in real time. If you want to learn more about camera settings and how each of the different settings on there is going to impact your image. Go check out my other course. So I have one that's sort of dedicated to learning the fundamentals of the camera settings in the, sort of shows you how to get the most out of whatever camera you're using, whether it's a DSLR cinema camera or even just your phone. All the principles are the same. Another thing is the last time for the last intro, I had a GoPro mounted up here. I don't need that for the intro. What I am going to have his vis camera mounted on a tripod as a second angle probably just sort of focused on the shoes themselves in a box. So that anytime I'm sort of talking about a material or the shoes or whatever, I have an angle to cut two that's just focused on that thing. So it's just it's an extra option to have if you don't have extra cameras and all of that class of don't, don't stress, it's not that big of a deal. You can always the shots afterwards and just overlap them in the edit and use them as behavioral. You don't have to have multiple cameras. It makes things a little bit more complicated in setting up and shooting. But I find for me it saves time because if I can record everything all at once, because I have the different camera angles and I can just move on to the next part of the shoot. I don't have to worry about picking up so much B-roll shots afterwards. Okay, so now I've got all this setup. I'm going to finally get to shoot my intro video recently where I customize my very first Paris and they give you and I today I'm going to be painting a brand new era of after refreshing amongst. All right, I didn't think of how I'm gonna do this. I didn't think about how I'm going to uncover the lens for this part. So yeah, I don't know how I'm going to do it. Because the cameras so far away and try and uncover little ends with the shoe that is so far away. I need to look at the unboxing footage because I need to see what you're showing. There were a few things in a more satisfying than a fresh air of just pure white youth. Okay, So the intro is fulfilled. According to the GoPro. I was recording for about 22 minutes, that injury probably end up getting cut down to like three or four minutes or something. A lot of that is just retakes and setting up stuff and tweaking things. So a lot of footage there, but the intro is done. So now that that's out of the way, I'm going to import all the footage. And then I'm going to move on to recording brainstorm session.
4. Filming 2: Brainstorm: Now we're going to be filming the brainstorming session. And this is going to be an entirely different setup to the intro because I'm going to be filming at my desk. So there's a couple of things I want to make sure I'm capturing for this session. I want to have a top-down view of the desk because I'm going to be doing some sketching. I'm also going to have a screen recording going on because I'm going to be gathering references and I'm also going to do a mockup in Photoshop of what the design is going to be. I also might have another camera sort of off to the side here somewhere with a view of me and the desk and everything. Just just as an extra little dynamic shot, again, doesn't matter if you don't have the ability to have all of these different angles and shots and stuff. It's just it's just an extra little thing that I like to do just to add a little bit more spice to the video. There are other ways you can sort of work around not having multiple angles to film at once. You can just, from time to time as you're recording, just move the camera, just change it up a little bit. If you don't have multiple cameras, right? You can't film from different angles all at the same time. A simple thing you can do is just every now and then Movie Camera change the position of it. That's another way that you can sort of spice things up a little bit. All right, so I'm going to spend some time now trying to come up with a way to get a nice top-down. So I'm not exactly sure how I'm going to do this. I'll never done on my desk before, I've never had a top-down setup, so I'm going to see if I can get my top-down rig on the desk. I'm gonna see if I can do that and I'm just going to mount the GoPro to that. This time I'm not going to have big camera. I'm just going to have the GoPro up there and I'm going to get done. I if I can't get the top-down rig on the desk, are probably end up just having maybe a camera on a tripod set pretty high and is pointed down. I'm probably going to end up doing it that way, but I'm gonna see if I can get the GoPro on the desk somehow with this whole top-down rate. So I don't know, I'm gonna, I'm gonna try and do that now. So this whole process was pretty simple or a managed to get my top-down rig, the desk, which I thought was going to be a bit tricky, but it turns out it just fits. I have my GoPro mount into that and you can say I've got that plugged in to an outlet, so it's called continuous parallel. Now run into a little issue with that for some reason when I had it plugged in, it just wouldn't record. It kept glitching out. And so I ended up losing not a whole heap of footage. It didn't really matter too much there because most of the designing I did in Photoshop, so the screen recording was capturing that anyway. My head and my Canon camera setup on the side, just capturing a second angle. Just to make things a little bit more dynamic. Like I said before, if you don't have an extra camera to use, it doesn't matter. It's not a big deal. Um, I just like to use those extra angles because it makes things a little bit more interesting. In the final edit, as you can see, your ended up moving the camera and move it over to my left side. And now it's sort of a zoomed in angle showing a little bit more of a close up of the actual sketches that I'm doing. So I've role I was recording for about 2.5, maybe three hours. So I was doing this for a little longer than I expected to. But once it was all done and I had a design that I was happy with. Where ready to move on to the main our worksheet.
5. Filming 3: Artwork: So here we are. This is the most important part of the video that I'm going to be filming now this is the actual artwork. This is the creation of the shoes setting up for the shoot was pretty straightforward. I put the top-down rig on the table with a GoPro amount to it and oils. I said one of the shoes on the table so I could play with the lighting and find what looks the best. Setup my second camera on a tripod with a zoom lens. And then I just took some time to set up the workspace and make it look nice on camera. Now, it ended up getting pretty messy by the end of the shoot. But the main at least it started off looking like up all my supplies and tools and then it was time to get painting. I approach filming these time lapses in a pretty thought out way in the early stages. I'm happy for the viewer to see everything that's going on. So I'll use a wide shot from the top-down read more often and I'll keep the whole pacing frame. But as I make more progress and as the artworks That's the come together more, I don't want to give the end result away too early. I want there to be some suspense and some anticipation for the final result. So when the artwork is further along, I won't show as much. I'll stop filming more close ups in, keep the camera zoomed in on the finite data. Now you'll notice throughout the shoot, the camera that's on the tripod. And I move that around a fair bit. I want to get different angles. Some of the shots on even if the actual shoes, they're just my shots of me working on. Now again, It's just all about getting shots that when edited, going to create some visual interests. You can see here that this is where I start to work on the box. And remember when I said at the very beginning that things don't always go to plan. Yeah, this didn't go to plan. The books tend out to be a massive pain to paint. So I ended up giving up on that. And when things don't go according to plan, I feel like it can be really easy to just throw that footage away, but I think including the fails, add something to the video. It, it makes it feel more grounded and I think in a way it adds to the video store. So the time-lapse ended up being a lot of raw footage. There's I think 87 gigs of footage, something like that. It's a lot of footage. And that's all 1080 footage as well. It's not for k. If I was shooting a full caved in and up being just crazy foil sizes, not important for the time-lapse. Some shots I think I did shoot in for k just so I could crop in a little bit. But most of that, like 90% was shot in 1080. Shooting the timeless is very simple. You just have to strike a good balance of being able to actually work on the artwork and having it so the camera can actually see what's going on. So I finished issues. Now my next step is to film some epic reveal shots of the finished work.
6. Filming 4: Reveals: Now we're going to be filming some epic reveal shots. When, when it comes to art videos, I feel like some nice, satisfying epic reveal shots. They're essential. You've got to have, this is my favorite part of the entire filming process. I love doing this bit. This was my favorite part of it when I was working with jazz or in terms of filming and editing the reveals, the best fit and the best part about these is these are the easiest clips to repurpose. You can use these for your Instagram, tiktok, whatever. You can edit together these really nice epic looking shots and you can use them anyway. So when it comes to how I shoot these kind of shots, these reveal shots, key things though I like to do is I always shoot at a higher frame rate so that I have the option to do some speed ramping, some slow motion in the edit. But beyond that, there's no real set rules here. A good formula that I like to follow, which we'll talk about in the edit, is sort of starting off with a wide shot and then going in showing all the little details, and then ending with another wide shot showing the entire finished peaks. That's a good way to kind of do it. But again, it really comes down to what you felt cover any of the main points you talked about in your voice-over, if you used one, also use this time to pick up some extra B-roll because in the outro, there might be things that you talk about that you might want to overlay a clip of. So just get as much footage as you can. Basically just show off the way they look in terms of lighting. I'll probably be moving the light around a little bit from shot to shot just so that I can make sure I have the best lighting for each individual clip that I get. Again, the shoes of the subject, right? So that's what's going to be the priority when it comes to lighting, I might even mess with doing some different colored lighting just to see how that looks. Very basic setup. The thing is with the reveal shots, you can do them in so many different ways for these particular shoes, I'm just going to shoot them in here in the studio. But the other pair I did, I shot them outside because I wanted to get a different fail on a different look. So it really just comes down to what you're shooting at that particular time. But in terms of like general rules to follow, should it in slow motion, if you can, or in a high frame rate. So you have the option to you slow motion. All right, I'm going to stop talking now. I'm going to get to shooting. All right. So I've got the shots, but I'll show you the setup I ended up using. So she's here on this same base that I used for filming. I stuck it on a cardboard box to elevate it a little bit so that the camera will pick up these fairy lights that I have strong through these bamboo tree. They look good on camera because it really blurry. One big word here. And we put it on 50 percent brightness, mostly hitting the background and a little bit of fill light on the shoe. But the main light hitting the shoe is this little LED panel with a purple gel on it, which just gives it a very subtle kind of looks more blue on the shoe, but it looks really nice on camera. The way I shot the actual reveals shot. I showed them at 60 frames a second, so I have the ability to slow them down really low. The way these are going to look the best is when we edit them. So we'll go into more detail on the actual editor phase. But as for the setup, this is what it was. Very simple. I spent a fair bit of time just getting some really nice shots. I also shot some vertical shots. So this way so that I can use them specifically for like IG Reels and ticked off and stuff like that. So that's something to think about as well when you're filming your reveal shots or any part of the video, think about maybe getting some vertical stuff as well because it's much easier to use that on other platforms besides YouTube, even YouTube shorts, you can use our stuff for, but it's, it's easier to use that stuff than try and re-purpose these horizontal clips because you end up needing to crop in and it just makes your life easier if you just put fillna like this from the start. So that's something to think about. And you're going to dump all that footage. And we can move on.
7. Filming 5: Outro: So filming the outro was going to be a very similar process to the way I filmed the intro. This is the end of the video right now I'm summarizing everything that's happened for me personally, I find that easier to win when it comes to the intro, don't really make a script file. I'm white and make some basic notes and dot points just to make sure I hit everything that I need to cover. But for the most part, I just wing it. So in terms of the setup, basically the exact same as the intro, I have my two light setup basically where they were for the intro to cameras. So I've got my talk to camera, main camera capturing footage of me, have my Canon camera off to the side again with just that desktop view, just showing the shoes. One thing that was a little bit different though for the algebra is I melted GoPro to the top-down rig. Now I don't really expect to use that top-down view all that much in the algebra. But the main reason I have it there is a backup because we're at the end of the video. I'm talking about the finished artwork a lot more. So I want to make sure that I have as much usable footage of those shoes. It was like cancer. Yeah, I have my Canon camera capturing a view of them, but because I'm talking and I'm kinda distracted, I might not always remember to make sure that I've got the shoot positioned in such a way that the Canon camera can see it. The top-down view is a very wide angle. So I'm always capturing something. If I kinda miss framing, it probably always go by top-down there as backup. Now again, don't expertise at all that much, but it's just there as a nice Just in case. All right, So after original film, now what I have to do is go and transfer all the footage. And the next step is going to be recording a voice-over to use in the time-lapse portion of the video. So that's what I'm doing in the next video.
8. Recoring Voice-over: So now I'm going to record a voiceover to use in the time-lapse slash montage portion of the video when I'm creating the artwork, wasn't exactly sure how I wanted to approach. This is a few different ways I could do it. I could leave out the voice-over entirely. It's optional, don't have to do with I could do a voice over that runs from the entire brainstorm session all the way through to the reveal shock or I could have it. So the brainstorm session has a voice over in the time-lapse doesn't or I could do it. So the VoiceOver comes in and out throughout the video and whenever there is a point that's worth talking about. So becomes, there's a bunch of different ways to do it. What I'm gonna do, I think, is just have the voice-over run through the brainstorm session and then the actual artwork is going to be just music. So it's going to be a montage. And this video, I think that's the way I want to do it. There's no wrong or right way to do it. You just go with what you feel and that's what I'm feeling for this video. So because the voiceovers only going to cover the brainstorm session, I basically just skimmed through that footage and made some notes about key things that I want to talk about that happened during that brainstorm session. So I have this little notepad of notes that I noted. And I'm going to run through these quickly and just use this as the voice-over. So I'm not gonna go into too much detail in the voice over section because a lot of this stuff is stuff that I talk about in the outro, but it makes sense to talk about it during the brainstorm session. And then if they want some more information, it will be there in the algebra. So what I'm gonna do is just record this. I have my microphone hooked up here and I'm just going to go through n record. This are probably run through it a couple of times, just have a few different takes, but this shouldn't take too long. I don't want to drag this out the oneness to be pretty, pretty short and bring up the footage from the brainstorm session just so it's just stops there and I can reference that alone recording but shouldn't need it getting started in this process, I knew that Haiku, the dragon, was going to be the main focus of the design. Alright, That's my voice I've done. There's a lot of birds outside right now. I find when I record in the mornings, there's just bird everywhere and they're very loud. You've probably been hearing them throughout this course. So that's not ideal, but I don't think it's going to be a big deal. So the voiceovers done to record it, I'll edit that when I edit the brainstorm session of the montage. So let's, uh, let's move on.
9. Editing: Rough Cut: Okay, so they're ready to start editing. Before we jump into it, I just want to show you a little bit of how I go about organizing my files and stuff when I import them. I'm going to go through this very briefly, but if you want to see a more detailed look at how I approached this whole process, go check out this previous course that I did, where I run you through my entire video editing workflow. So in this course I'm going to cover sort of the technical side of editing this video. But in terms of like the organizational stuff, in how I set up templates and I have a basically a system that helps me just be as efficient as possible. And that's really important when it comes to video editing, especially if you're a freelancer or whatever, I really recommend checking that cross out, so make sure you go do that. But anyway, here we are. This is my file explorer here, so this is the project folder here. And we'll go into that. You can see there's a, you know, the auto saves his the Premiere template and then he's been in him here is where it will footage is stored because they've got everything broken down into each segment of the video that we filmed. And if I just go to Properties, you can see there's a lot there's a lot of lot of files here. We've got a 179 gigs worth of footage. Never is extreme. You probably won't have that much. The reason those file sizes are so big is because a lot of my talk to camera stuff and why reveal shorts are shot on a cinema cameras or the camera that you're looking at me through right now is a Blackmagic Pocket for k camera. Keep in mind though everything I've done in this course so far, you can do with a phone. There's, it doesn't matter what you're shooting on. Okay, so I've imported all of the footage into Premier. And if I open this up, you can see them all here at now in each one of these folders, the footage is broken up into the different cameras that are used. So for the intro, you can see I've got my black magic camera, which is my talk the camera. And I have my ADD, which was the Canon camera that I had set off to the side as my second angle in the brainstorm session, you can see I have my ADD the GoPro that I had shooting the top-down view and then a screen recording. Then the time-lapse is the GoPro ADD outro. There's only one canon file there. That's why it doesn't need its own folder. And as the GoPro and the Blackmagic camera and the reveal shots, they're all there as well. It really helps to have a system like this where everything's nice and organized. Because if I just dumped all of this into Premier without having it sorted into different folders and different sections. I mean, you can see here, this is all the footage we're working with, right? As a lot. And that would be really hard to keep track of if we just dumped it all in and not worried about organizing everything. So make sure you take the time to do that doesn't take you very long. It'll save you a whole heap of time in the long run. All right, so in this first stage of editing, I call this the rough cut stage. Now, basically, all I'm doing here is I'm laying out all of the talk to camera footage that I have. And all of this is going to be just cut down just to get a general pacing. I'm not doing anything fancy in the section on literally just taking all of it and condensing it down into the usable parts of the video that I recorded it. So I'm going to run you through for the opening part of the intro in real time exactly how I do this. And then we'll just sort of skip through it and we'll move on. Alright, so first off, what I'm gonna do is I'm gonna take my Canon footage and I'm going to import that. Alright, so I've recolored these just so I can tell them apart a little bit easier. I'm going to grab my Blackmagic files here. And I'm going to go through and just sync these up. And I've bumped this audio up just so I can see the points where I can sync this up. Here. We'll go over here and we zoom right in on this waveform. You can see these spikes here in the waveform. And if I just have a look at the camera footage, right, you can see when the sparks here, that's where I did my clap sync. So I do that so that it's easy to sync the audio. So all we have to do is line these up best you can. Sometimes, if the camera's recording in a slightly different frame rate, they will not line up. I'll 100 percent, but it's not enough to where you actually be able to see it in the video. And plus, it's a secondary angle anyway, so we'll won't really be using this canon angle as much as this. And you can't really see my mouse moving anyway. So it doesn't matter if the audio is not perfectly linked up, but you want to get as close as you can. Now there is a way you can let Premiere automatically sync it for you. I don't trust it. I prefer to do it manually, sync them up and then I just trim them down to make sure they're the same size like that. Save. And that's good to go to do the same thing for the other two sections. Now, this one is a little harder because I didn't clap sync. I forgot to do the collapsing on this one. So I'm gonna just have to find some point that there are spikes in the waveform that I can match up and I've got one here, should be. All right. That's, that's pretty good. We have these three sections here. And then this one here is our unboxing. And I'm gonna make that its own color because that's its own separate thing and we have to do some specific editing to that. Okay, So we have the sync top now is a couple more things we need to do. So you'll notice that this footage here is really zoomed in. It's too big for the frame now, that's because this particular camera was shooting out for k and we're editing on a 1080 timeline, so I need to rescale that to make it fit. Forget about there and just make sure you're not getting any of the pitcher shelling from underneath. That's pretty and that one as well. Okay, so they're all matched up. Now the colors don't look very nice. We're going to fix that later on in the edit. We'll do our color work, but for now, it's going to leave it as is the reason you don't want to do your color work in the beginning is because it's going to just make it a little bit harder for your computer to handle. So just, just wait till the nth. These are all sink that they're ready to go. Now, one little issue I ran into when I was recording this is with the audience. So my initial intention because I was recording with this camera and one good camera, I wanted to use the best audio possible. And the best audio that I have is what you're listening to right now, which is this road and TG 13, whatever it is, they're really good microphone. The problem is, I didn't have this mike connected to the camera properly. It was plugged in, but in the settings of the camera, I didn't have it set to take the audio from the XLR input. So this Mike was just just doing nothing. It was just it's just doing nothing. Now. That's a bit of a problem because if we mute the canon audio here and we listened to this wherein lock them right? And I've been watching a lot of YouTube. You can do it, but it doesn't sound very good. Now, there's a little saving grace here, which is the Canon camera, had a microphone attached to it. So if we listen to that. Now let's say for a little bit better and it's not the best because the microphone wasn't in the best position, but it's better than the useless blue audio here. So we're going to highlight all of these blue audio. Click on Link, I'll let it all again. Delete it. It's gone. We don't want it. We're going to prioritize this pink audio here, which is from the Canon camera. So I'm going to show you this little trick. This is actually something that I learned recently and it's kind of embarrassing because it's a very basic thing to know, but this helps a lot. So if we play this back, it's pretty quiet. It's not very loud. Okay, and if we watch over here on my audio meter, the best sounding audio for video, you want to try and get it up to about negative 3 ish. That's, that's a good spot. That's where you kinda want it to peak. They can say if I play this, it's sort of maybe at the most getting to like negative 24. It's too quiet. We don't want that. So we're going to boost this audio. So I'm going to just boost up by about 12. A lot of customize it. And I would want some really cool stuff. And I wanted to give it a six. And I got to say for my first attempt. Okay, that's kinda where we want it now still doesn't sound the best. So what we're gonna do is go over to effects and we're going to click dynamics, okay, and I'm going to drag this on, and I'm going to check this little section here of loop playback. And I'm going to push F9 on the keyboard, scroll over a little bit and push, oh, so this is going to set an in and an out point. And what we've just done is set it so that when I hit play, this is just automatically going to keep looping over and over so we can hear the audio. Make sure this is selected. Go scroll down to your Dynamics thing in your effects panel, click Edit. And that's going to bring up this menu here. So all we're going to worry about is the compressor. So we're going to turn that on. We're also going to use the limiter in a second, but we'll just focus on this for now. So what we wanna do first is listen to this audio and we're listening for the lowest points of the audio. So the lowest parts of where I'm talking and we want to look at what number that's sitting at. And when we can find a pick roughly what that number is, we're going to put that in this threshold section. So recently where I customize my very first pair of sneakers wearing lockdown, right? And I've been watching a lot of YouTube look into a lot of Instagram. I would say about negative 15, I'd say. And then what we're gonna do with that is go to make up a general rule with this is take that number in the threshold, take away five. And that's what you want it to be. Non-negative. Okay, So we're not doing negative 10, we're doing positive 10. Now, this is going to sound really loud. This is going to make it sound lab, but we're going to fix that in a second. But what that's done. It's boosted all the low points up. I made a video recently where a customized my very first pair of sneakers, right, it sounds, it sounds pretty layouts. And now we're gonna go over to here to limit. We're going to turn that on. And in the threshold public gonna change that to negative 3. So now what that's done is it's not letting the audio pass negative three and it's not letting it dip too low. So if you listen back now, so I made a video recently where I customize my very first pair of sneakers were in lockdown. And I've been watching a lot of YouTube look into a lot of Instagram. Now it seem so that sounds a lot better. Now something like suggest doing because we're going to be using this audio. Again throughout the video, is scrolling over to the effect in the effects panel. Going to get a Dynamics right-clicking on it and clicking Save Preset, okay, and name it what you want and then put it in a Favorites folder. And I've done that here. So you can see if I draw my favorites folder. This one here, this road video Mike Go, one. That is a preset of this exact effect, though I can use anytime I use that microphone because the audio usually sounds basically the same. And I can go in and tweak it, but it gives me a nice starting place. Alright, so again, I'll take both of these and I'm up by 18. We're back to this one. Take our Dynamics Effect Control C, Control V. Okay, and now few things that are more set. The video where I will say on the same, alright, so these are already to edit. Before we move on to that though, we're going to take this little unboxing section and we're going to go through the same process with this. But we're going to edit the audio specifically to make this little ASM loss or destruction sound as good as it can. Again, muscle of freaks me out, 5.5. This is going to go. All right, so go from here. All right, So if we listen through this now, the first thing I can tell right away, it needs to be built out. Let's go up a bit. That's okay. All right, so now what we have to do is go through and basically that we're gonna do the same thing. We're going to take that whole dynamics effect and we're going to use that in level this audio out. So I'm going to just use my preset or so That's right. I'm actually going to lower it a little bit. Okay, so listening through this low point, they sound pretty good. But these high points, I think they stand a little bit too loud, so I've dropped the limiter to negative five. I'm gonna get rid of all of this. I guess that's not too bad. No, I think that's okay. So this is the take of it we're going to end up using this was the second take of the unboxing. Okay, so we have them here, open the shoes and then you can see I cover the lens. Okay, and that's going to be for our transitions. So I'm gonna make a cut when the shoe fully covers the lens like that, so it's fully black and I'm going to get the sound effect. And here we can get rid of that. All right, so this is going to go in here. This is all ordered in a way we need it. So now it's time to actually get into the actual editing. Now, rough cut, like I said before, basically we are going to be taking all of this footage here. We have 18 minutes, 44 seconds, and we're going to cut down as much as we can. We're going to get rid of all the mistakes, all the pauses, all of the useless stuff. We're going to get rid of it all. And we're going to just get down to a rough version of what our final interest going to look like. So you can see here the reason there's so much is because, you know, I hit Record and I'm like tweaking things, are sitting there thinking about what I'm going to say. Here. I did a practice. Hello, I'm gonna put my leg up to show the shoe. Mad pause for it. Alright, so we're gonna go through and start cutting all this stuff down. So this is about where I stop talking now, I want to keep these two layers of video together and sink dot. So whenever I make a cut and I'm not just going to push C because that will only cut in one place. I'm going to hold the Shift key and then make my cut. What that's gonna do is make a cut through everything. Then I'll highlight both Shift Delete and that moves everything back. That's called a ripple delete. So that's a really good way to save some time. So I made a video, a Greek. I'm going to have this dot. So I made a video recently where I customize my very first pair of sneakers wearing when I'm making these cuts, I like to sometimes cut out just the useless sort of arms and pauses and we'd sounds you make when you talking like for example, like that. Okay, Now this part here, I'm not going to get rid of it just yet. Kind of think, maybe I might use it. I might not, but we'll see or as you can see, he okay. These are just retakes. I know that these big section he muscle mistakes cut that out. And basically I'm going to just go through this entire process for the entire video. This stage of the edit is important just to get an idea of sort of the rough flow of the video. I don't want to go through and do all of my fancy cuts and soft that I'll go into more detail when we get into the refinement stage. I'm going to do that in this stage because I'm going to be cutting things out and there's going to be mistakes and there's going to be things that when I watch it through after this, possibly like, you know what, that doesn't need to be there. If I refine it, it's just going to be wasted time. So I'm going to go through and I'm not going to bother doing any of the fancy stuff. This is just rough. It's just so that I know what's in there because when I go through this again and start refining it, I'll probably end up chopping out more to That's how a rough cut works. So I'm going to go through now and go through that whole process for the rest of this intro video. And we'll come back once I've done that. Okay, So I just finished doing the first rough cut pass on this intro. It all up took about 15 minutes to go through and do the rest of it, so not too bad. Remember from the beginning of this, we started with close to 19 minutes of raw footage to now down to 546. So this will probably get tightened up even more. There are a few parts in miss that I've left in now, but I'll probably end up getting rid of in the refinement stage. I just want to see if I can make them fit, but if they don't fit, I'm just going to cut them out and then add on that. I'm going to do some cuts. So it's a little bit of dead space in there still that I've left just as a buffer that gets cut out. And when I add in the L and the J cuts, again, all of that's going to shave down a few seconds as well. So this will probably end up being I'm gonna say probably about probably another minute off total, but maybe a little bit more. But anyway, that's the rough cut stage for this done. So I'm gonna go through and I'm going to do the exact same thing for the outro. We're going to edit the brainstorm session and the artworks time-lapse separately. And then they give them their own dedicated videos because it's a different approach. But I'm going to do the rough cut for the after. And I'm going to go through and do that now it's the exact same process. There's, there's no difference. So I'm gonna go through, sync up the audio, add the audio effects and all of that. I'll come back when I've finished that. So 1520 minutes later, I'm finished with my refinement wasn't too complicated. There's a lot of dead space and retakes in this way down. Again. Once we go into the refining, it will probably get cut down by another minute, maybe to that. So there's a fair bit of tidying up to do. But generally, I'm really happy with the pacing of the video. I think it's pretty good. I think it's going to turn out pretty decent. So now that I'm done with my rough cut, I'm ready to move on to the next stage, which is going to be the refinement.
10. Editing: Refine pt.1: So here we go with the refinement process. And this is by far the most involved part of this entire video making process. The refinement process is where everything is going to come together hopefully. And we're just going to tie up all the loose ends, make it feel, feel like a watchable video. So here is where I'm going to be doing some more intricate sort of stuff. I'm going to be doing very specific cuts which are run you through in a little bit, but we'll be doing our background music or sound effects if they're needed. Text overlays, inserting B-roll clips, all of that kind of stuff. Now, generally, how I do this is I'll do it in one, pause the video. So I'll go through it from beginning to end once and just do a lot of my J cuts and add in little bits and pieces, but they are usually go back and do maybe two, maybe three total parses of the whole thing, just over and over again, just to go back and add more little things. Another thing we have to do as well is pick our camera angles. Because you can see here we have, in the intro, we have two different camera angles. And then for the algebra section we have three. So we're going to run through it and just, you know, the title up. Okay, so the first thing I want to run you guys through L and J cut. These are very subtle, but once you start listening for them in videos that you're watching online or even in movies and you'll be able to notice them every time. So basically how these work is we take our audio layer and we drag it under, okay, And what we're gonna do is have the audio for this 40 TO start while the video from the previous clip is still playing. Now, we don't want to overlap too much. Otherwise it's going to sound weird. But basically how we do it is I hold down the Alt key and drag the video clip back a little bit more than I need to. Okay, I am push a on the keyboard. And that's going to select everything, everything to the right of my mouse. And I'm going to drag this all over just so that this audio, a starting kind of here in this sort of dead space where I finished talking and fading out to nothing. So I'm going to again just drag it over just a little bit and that sounds pretty good. And bring this back. And then what you'll hear is it's very subtle, but you can see that V Pi, where I say, you know, we're in lockdown, starts playing while this previous clip is here. Now what this does is helps with pacing. So on sometimes sound a little bit awkward if you finish a sentence and then there's a small pause, and then we go into the next year, you can just cut them really close together, but this really helps with the flow and the pacing. And it's a very subtle way to just grab people's attention to something I actually learned from jazz. Working with him, he would use these in the videos, but this is actually a technique that's used. A lot of people make videos, we use this technique and it's used in movie if there's a scene playing and then they stop talking. And then underneath you hear the audio start from the next thing and you'll know it when you see it. So the reason these are called L and J cuts is because you see here the line between the two audio tracks here forms a j. And if we did it be of a way like this, then it's an elk. So I tend to use these quite a bit because of the type of videos that I make, but don't do it all the time. It's not necessary all of the time. It's just a good way to keep the pacing at a nice pace. So this is what a lot of this first pass of the edit will actually be I'm going to go through and basically just do all of these cuts. I really want to get the pacing of the video. So here is where I'm going to cut out any extra dead space that I find between words in the second pass on to more interesting stuff. But I'm going to go through and do a whole class on the video just doing base L and J cut. I've just finished my first pass in the refinement stage and I've gone through edit all my L and my J cuts, narrowed the pacing of the video down a little bit, got to a little bit more of a more happy with where it's at right now there's a bit more flowy to pick more snappy. I'm really liking the way it's coming together. So now we're into a second pause in the refinement stage. And this is going to be very simple. This is where I'm just going to basically just watch through the video again and stop picking my camera angles. So I'm gonna show you exactly how I do that. There's a few different ways you can do this as more extreme, more complicated ways that I will use. Sometimes we can get, I just show you the simple way to do it just for simplicity sake because there's a lot in this course already. So I don't want let you go at keeping wind all throughout this refining process, I'm probably going to be cutting things out. So there might be extra little spots where I noticed there's a slight pause. It's just a little bit too long on a cut that out, shrink it down a little bit later on in the outer resection, you can see here I've got this red marker. That's the section that I think I'm gonna get rid of. We're going to see how it looks if I get rid of that. Okay, so picking the camera angle is very simple. So our premier work is whatever's on the top layer. So whatever is here, That's what's visible. So if I drag this clip up, now that's going to be what's visible. So whenever I want to use my big camera, so if I just hide this, so this is the view from the B camera. So I have the, you know, tabletop view whenever I want to use them, I'm basically just going to drag these pink video clips up to the top. I'm going to go through quickly and just get these camera angles sorted and we can move on.
11. Editing: Refine pt.2: So I've just finished this stage of the refinement. We've picked all their camera angles and I'm just going to quickly run you through what exactly I've done here because there's a few, few different things. So for zooming here to the introverts section, you can see any of these little pink sections that are on the top. That is, anytime in the video I've cut to the second camera angle, not a whole lot of it for the intro just didn't make much of it. I've got my primary angle here. That was enough. A few other things that I did. You'll notice of these little markers up here above the timeline. And if I double-click on those, they're just little markers, little notes that I have to let me know what I want to include at that point in the video. So here you can see I mentioned my Instagram, I thought, Oh, put a little tag in there shown like Instagram handle just as something to pop up on the screen to let people know where they can follow me. I have a section here where I've mentioned I want to have a spirited away. I mean, a section from the trailer just to show what spirited Away is for people that don't know what it is. There's a few more of these markers throughout, even in the artery, you can see in the outer ear there's a little bit more hammer angle changing. So the pink again is the Canon camera, which is this angle iss thing here. And then the green is the top-down camera. So I've gone through and done all that and that was pretty simple. There's actually going to be a fair bit of angle changing and B-roll and stuff in the outro, which usually is because there's more to talk about in the outro it, but the intro is pretty straightforward. So now that that's done, I can move on to the next stage of the refinement, which is going to be adding in all of my camera zooms and stuff. We're going to fill in some of the B-roll that I have marked the text overlays and that kind of stuff that's going to really help feel like almost finished video when we get through this phase is really going to stop feeling like it's getting tied together. So the first thing we're gonna do is a little camera zooms. Now, these are really useful for just grabbing people's attention. I use these every couple of clips and I'll show you how to kind of know when to have a resume in. You don't want to just randomly do it at loses the effect, especially in a section of the video like this where there's not a whole heap of angle changing, this is really good. Just as, again, just a little heck. It's like, it's like it on that. Okay, So if we listen to this first clip here, alright, so this second clip here, this is a perfect time to use a very subtle Zoom. Now when I say subtle, I mean subtle. So because this is a four K clip, it's scaled to 50. So if this is 50 percent, my Zoom is going to be like 60. Okay, so it's not a huge difference, but it's just enough that when we go from clip to clip, honestly, maybe that's a little bit much. Welcome to 55. Just see what that looks like. Something to keep in mind here is the eye level by don't want my eye level to change between the two clips. You want the eye level to stay the same because if people are watching the video in there, watching me talk, they're probably looking at my always I don't want my eye level to drop or go over here because they're watching it and like what? You don't want that to happen. You want to keep the eye level at the same. So I'm gonna show you a little hack to, to, to do that. So this here, this is called a rule of thirds grid, but it's a good way to sort of help frame this shot. So typically, what you'd wanna do is make sure that your subject is a bet on one of these cross-sections or on one of these straight lines, you don't want it in them negative space, these are good focus points. What I'm gonna do is lower the opacity, like all the way down just so that it's very subtle, barely visible. And I'm going to move the position so that this cross line here is level with my eyeline because this is our primary shot. So I remove that just so that the eyeline stays the same. Now, ideally, I should have framed this a little bit better. I should have had the camera position so that my eyeline was in the right spot. But it's not crucial. The main thing here isn't a framing per se. It's just making sure that one by cutting the wireline stays the same. So this is going to go here. And as you can see, I've got it running across the whole duration thing. And what I'm gonna do is when I'm making my Zooms, I want that eyeline to stay the same, so that's actually not so bad. This might not actually made to move all that much. That's roughly where my eye line sits. All right, so now for my second Zoom, I'm going to just shift it down just a little bit. Okay, so that's pretty pretty good. There's not a drastic change there. If I if I was looking at my eyeline on this clip, it flows pretty well. And that's the point. This isn't It's not meant to be like a 100 percent accurate. That doesn't matter. It's just about getting it roughly in the same place. So that's when I learned generally sits for this for this primary shot. And then we cut to heal. I went stays in the same place so it worked. Okay, so what I'm gonna do is go to make sure that clip is selected. Go over to motion, right-click, Save Preset. I'll call this Q2 Chuck, Zoom one. This is going to save it as a preset. Okay, And what I'm gonna do is I'm gonna do this a couple of times. So I'm gonna do this is my sort of primary, pretty subtle Zoom. I'm going to have another one that's a little bit more punched in. Again, make sure that my line is framed up pretty well. And again, Save Preset. Now the reason I'm saving this as a preset is because as I'm going through the video, I can just go to these presets here. I can just go to them and drag them on. And it's going to automatically apply that zoom effect where I want it. So it's just going to save a bit of time. So I've got those setup. And then as I go through the video, I can just drag the ones that I want on top. Now that's done and get rid of this. And now I'm going to just go through the video and watch it through and just figure out where I want to put those punch in zooms the really kinda wanna follow with these is anytime you sort of either finishing a sentence and moving onto one another sentence or a different topic. That's when a punching or zoom back out is going to be used. You don't want to do it mid-sentence. Like this is an example of how I wouldn't do it. It just doesn't flow as well. I want to make sure that I'm only zooming in at the beginning of a new sentence or when I'm making a new point, something fresh, That's what I want to grab the person's attention. All right, so I want to add a new J cut here. And it's important now that when I do this, I use a ripple delete like I showed you earlier, because we have multiple tracks of audio. Or if things are split up across multiple layers. So to make sure everything stays in position for wanna make sure I ripple, delete. So shift and delete will move the entire project back and fill that space. And it keeps everything lined up where you had it. Okay. So here you can see there's a pause. All right, So I've gone no. End here. I want to add in a little extra Zoom, a little key framed Zoom. So it's going to, from here to here. When I point. I want the camera to zoom in just a little bit more. So what we're gonna do is we're going to go to where I sort of start to move my hand. Here, make sure the clip is selected. We're gonna go position and scale. We're going to hit these little stopwatches here. And that's going to create a keyframe. And basically what we're doing is telling Premiere that from this point, I want something to start happening. So we'll go over to the end of where I start pointing about here. And I'm going to do it again. And now what I do is I'm going to change my scale and my position too much. And now what happens is with little zooming, all we've done there is just on a really basic animation, but it's just something else to grab the person's attention. All these little subtle things really make a big difference. It makes the video feel more premium now here, okay, so I've got my little like a little gag, a little joke. I don't want to keep the cameras zoom in. Okay. I want to pull back. Right. Because that's sort of a change in direction, right? Okay. I got this slick pretending to be a little bit cocky, whatever I'm joking around. And it's like the m actually, and in that year now actually pull the camera back out. It gives it more of a impact. It gives me, it adds to that sort of comedic effect. So to be honest, I kind of want this zoom a little bit more. I think I'm not using the rule of third template here because Too bad boy eyeballing it. Another way you can do it is just sort of put your finger on the screen. Yeah, that's pretty close. So I'm going to just quickly update this preset. I feel like that's a little bit better. I think the first one is a little bit too subtle or so. I know I want to do something with a bit of an animated zoom here. I'm trying to think of what to do. So at this part here, kind of the end of this little gag section on R1. That'll be a hard, a hard cut with a zoom and it has to be drastic. So I'm just trying to think of the direction I wanna go. I don't know if I want to have the camera zoom in on this part and then zoom out. Yeah, I think okay. I think I'm going to have this end portion here be the most zoomed in because the next shot is a wide shot and it has to be a wide shot because I pick up the box. So I hope that makes sense because this clip needs to stay a wide shot. I want this one to be quite zoomed in, so we'll do that. First of all, go to here, pretty dress the click. A pretty drastic. And again, I want to try and line up my eyeline so that's a little bit low. So let's again use the overlay and use my finger. I think that works pretty well. I'm not going to bother with the animated zooming out. I think it needs it. One thing I notice I don't really like is how quickly this audio here cut in under this clip. So what I'm going to do is push a on the keyboard and you see you get these two little arrows pointing over to the right. When I click, That's going to select everything to the right. So I'll make sure that's selected. And I'm going to drag everything over just a little bit and then hold Alt to track the effect and that doesn't affect anything else, keeps it all in its correct position. You know what? I think this clip here drags on just a tiny bit too. And let me move that over. And again. Now that is still starting a little bit too soon. That's better. So you can see this refinement process is just making all these little subtle tweaks just to make the video feel a little bit more polish. Most of this stuff is stuff that the average viewer isn't going to notice. They're not gonna, they're not going to appreciate it, right? They're not going to know that they're not going to comment on this specific cut, then I'm going to go, Wow, that Jacob, at 52 seconds, that was great. You did really well. They're not they're not going to notice. The thing is that if you didn't do it, then it stands out more. If you compared this version of this cut to the version without any of these Zooms and stuff, It's going to feel very different. People should be able to just watch it in the video, captivates them. And that's what helps with that, helps immerse the viewer, right? You don't want to take them out of it by noticing exactly what you're doing. So think of it like a song that you're listening to. If you've ever listened to a song, right? You've heard it on the radio, you listen to it through speakers, whatever. Sounds good. But when you put on a really nice headset, crank the volume up and you listened to that same song. You'll pick up on subtle little things you didn't notice before. Your instruments in the background that you didn't notice. You might hear extra little vocals that are so subtle, but they're, they're taking all that stuff away. The song doesn't feel as full. It doesn't feel is finished. You don't know and you don't notice that it's wet, but it really adds just a whole lot to it. So that's basically what we're doing right now. We're adding all of these subtle little things that most people aren't going to notice, they're not going to pick up on. But it makes the video feel so much more finished. I'm thinking here because we've got such a kind of, you know, the sound of the box, I feel like there could be a good spot to add a little, just a very subtle Zoom. So we'll try one about precesses to see how they look. Because I kinda like it, but I also think that that clip is a little bit short, so I might not end up keeping this, but what we'll do is know what that works and works really well. I just feel like that clip, as it was, was a little bit too short, so just dragging it out a little bit, that makes it better or I'm gonna keep it with that. So now we go into the ASMR and hard cut works pretty well. Now, I don't know if I explained this before, but pretty much what we did was I'll delete this effect just to show you exactly how I did it. So when I filmed this, right, I brought the shoe up and covered lens, right, because we wanted to use that transition. And then when I started filming the outro, I uncovered the length to make this a seamless transition because you can see the cut. Part of the reason you can see the cut is because this footage is in color graded yet and this is just using the default canon colors, right? So I haven't worked in the shuttered, that's where the colors look so different. This'll probably blend together a lot more after the color grading is done. But just to help blend it together just a little bit more, I'm going to add a cross dissolve effect between them. And that's just going to help very subtly blend the clips together just a little bit more. So if I get rid of it, you can see here, right on the very hard distinction. If I bring it back, you can see, it's a little bit more subtly, can see there's more of it blend, more of a transition. So I'm going to keep that like that for now. Again, once I color grade this footage and those blacks really filling or might not need that cross dissolve and on my end up getting rid of it. But for now, just to help the flow of things, I'm gonna keep it there. Okay, so here we are. I reference my beat up pair of Converse. I want to add some B-roll later, but I'm not gonna do that just yet. I'm going to add a marker here so that I remember to do it later. So when you're adding a markup, makes sure that you don't have any footage selected. So just click up here on an empty layer, okay, and then push M on the keyboard and you'll see up on the timeline, you'll get a little marker. Sometimes if you have a clip or piece of audio selected or whatever you push em, the Micah will show up on the actual clip itself. So you don't want that double-click on the marker. And then hue in the duration should drag it a little bit and you can recolor it if you want. And then here I'm just gonna go and Bureau of chunks and then hit Okay, so that will remind me to add that here. Okay, Here is a big pause, and then right here I'm going to add another one of those keyframes zooms. So there's like a little subtle shift of my eyes. And then I'm going to add a keyframe Zoom. Because it's not a hard cut. I'm not going to worry too much about getting the eyeline exact. I'll just get it roughly where it needs to be because it's like a gradual zoom in. It's not as jarring gift. The eyeline suddenly drops because it's easier to follow. And I'm going to even go more extreme than that. I think that's basically that's the process. I'm not going to bore you with any more of this in real-time it now I'm just going to go through and finish doing this for the rest of this path so we can move on.
12. Editing: Refine pt.3: So all the Zooms and stuff, they're done. We don't really have to go through and do an entire parts of the video again, all I have to do now is go to each of my little markers that I've set up here and add the B-roll and sound effects. Whatever else I've sort of mentioned, this one take long at all. Once this is done, we can get into the sort of final touches, which is going to be the color work and the background music. Alright, so I don't even really need to watch through the video to be honest, all I'm gonna do here is just go to each marker, see what I've written in it, and do what I've written in it. So here's simple. It's just wants me to add my Instagram tag. What I'm gonna do is I'm going to just pick one of these templates that I have. So I just downloaded Peter McKinnon essential graphics pack. I like these because they're really easy to edit. The animations are cool and I like it. So now we're gonna talk about background music when you add this in and then just re-watch a part of the video. This makes it feel like a finished video is a few important things we need to cover when it comes to background music and how I approach this part of the process. First of all, what I want to talk about is my little audio library that I have set up here. Now, I have more details on this in a previous course that I made. Basically I have a template Premiere Pro project that I have set up that I can just copy and use every time I work on a video. But one of the things I have is this audio folder here, which when I opened it up, I have a folder for sound effects and background music. And this is just a folder that I can go to and just, you know, well, my background music that I like to use, It's just something that saves a lot of time instead of going through and downloading, like looking for a song and downloading and then importing it saves a whole heap of time to just have it already in Premier. So when it comes to actually choosing what type of background music to use for different parts of your videos if there's a kind of a formula that I like to follow, but it really comes down to the vibe of your video and that kind of feel that you are going for personally for me and my content. I think that a nice chill vibe is the best feeling. I feel like I'm kinda loci, kind of chill, sort of personality. So I think that that's the kind of music that suits best. So for me, I typically use a lot of hip-hop and that quite enough for the music and other thing to keep in mind as you want to use songs that have a pretty consistent waveform. So what do I mean by that? Well, if we have a look at the songs that I've used here for my background music. You can see there's not much variation in the wave form. It's a pretty repetitive song and everything sits at pretty much the same level. There's no sort of spots that have really loud sessions and then pretty quiet section. You don't wanna pick songs that have drastic changes in their wave form because it's not going to work well for background music, right? You're going to have sections will you'll be able to hear the music. And then sections where it's going to be solely the car here. Make it easier for yourself and pick something that's pretty consistent. You can go through and edit the audio if you want. But personally, I just liked it, like it simple. So all of the tracks that I've used here have a pretty consistent waveform. They kind of repetitive songs, but it doesn't matter because you can't really hear them properly anyway, you more focused on the voice. The background music is just there. Just fill it in and just add a little extra something to it. But you don't want to have it to layout. And that's my next point. I really want to emphasize that don't make the background music to lab. I noticed that in so many videos, people have that background music up too high and it's the most annoying thing. It's my pet pig. Before I'm trying to watch a video in the background, music is too loud. I can't do it. I'm sorry. No matter how good the video is, account watch, I think the way to approach background music is you should be able to hear it if you're looking for, but if you're just sitting and watching, it really should be able to pay attention to it. You shouldn't be able to recognize the song by reuse a lot of the same background music for my videos, but I feel like you wouldn't really notice. It shouldn't be that noticeable. It's just there just to fill in sort of the dead space of the audio. But it shouldn't be allowed as you can like, you know, sort of jam out to the song. I don't think that's the right approach, should fit the vibe, but it's just subtle. Now you'll notice that there are cuts. My background music. Now why did I do this? Well, I like to do this when there's like punchlines to jokes and stuff. So if we listen here, okay, even though this isn't really a joke, but this is a good example essay for my first attempt. Went pretty well. So I wasn't really happy. It's just a little way to kind of grab the viewer's attention. You just cut the audio out. I said, you know, for example, I'll do nothing. If not, you might not even notice that, but it helps with the delivery of thing. So that's something I like to do. And when I'm bringing the audio back in, always have it lined up with if it's happening on an element Jacob, have it in line with that audio. So you can see here, I've lined it up with this audio so that you'll see this clip and you'll hear the audio this time around. But it's just a good way to blend things together. Now, I was sort of wondering whether or not I should add background music to the sandboxing section. Ended up deciding against it. Because the whole point of this section was to try and do that whole like ASMR thing. And I don't know if I really achieved that, but I feel like adding background music will take away from that element. So I'm just going to leave it as it is. I don't think it made it. The next thing I want to talk about is this little section here. We can see these little, these little dots. I want to talk about exactly what that is. So I'll mute this for a second. If you notice on this section of the video, you'll notice this animated zoom it. Now when the background music is in there, a new by the end of this clip, I wanted the background music to be guano. Normally you'd be able to hear, but there's no cut in the video, so just cutting the audio out. It might be a little bit jarring. It works in some cases, but not in this one. What I thought would fit better is if as the camera zooms in, the audio fades away. So that's what I did. I've got V or the background music here. And then as the camera zooms in, the audio fades away. Well, I still really had, honestly, I think I'm going to drag it over a little bit yourselves a bit more noticeable second time I watched it. Will I still really had not. And that's why I still really had no idea what was going on. I was stupid birds chirping in the background, but I can't do anything about that, but that was it for the intro. Now there's one thing I'll talk about for the outro before we move on. And that is again, relating to the vibe of the music that you want to pick when you're going into your altro. So by the end of this video, right here in this section here will be our reveal shots. In the reveal shots are going to probably be pretty epic. They're going to have a lot of payoff to them, right? It's the end of the artwork. We're showing people the final result. Exciting. It's gonna be, it's gonna feel epic. Now I don't want to go from epic to chill. There's too much, too much of a change. So when I'm picking my background music coming out of epic reveal schutzpass still has to be a pretty high energy level to that music. So when I pick this song, It's not crazy, right? It doesn't have to be like super epic music because again, it's gotta be, it's gotta be able to just be very subtle, but there's still has to be some energies to him. A few that I feel like this music does that. Now once we move into this part of the video a little bit more, we can change the vibe of the music. So around here, this music goes back to being pretty chill. But just coming out of the reveal shots, I want there to be a kind of transition back to chill. And that can go through this sort of duration of the outro. So keep that in mind. Not a big deal, but it's just makes it feel a little bit more professional. Okay, so we're 99 percent done with v refinement. There's one final thing left to do, which is the color grading. So we're gonna go and do that now. And then we're ready to move on to the time lapses as jumping to working on the colors, color grading is my favorite part of editing. Talk to camera stuff because it really feels like it's the finishing touch. The thing is though, it's a very complex thing or ever, or it can be. And I'm not a colorist that there are people that are professional collaborators that can do incredible stuff, and I'm not one of them. The good news is color grading is optional. So let me show you case, we wouldn't need it. So, so if I look here at my Canon camera footage, you can see the colors or right, they're pretty good. There's this. I don't need to do anything here. But if I look at my Blackmagic footage, it's flat. It's not really a lot of detail and sort of just looks kinda muddy in gross. The reason for that is my Canon camera is set to record at a pretty standard picture profile, right? Canon is pretty famous for having nice colors. The reason this is flat is because I'm using what's called a log profile. Now what that is is basically just a flat image, which allows you to pull a little bit more detail and the color grade, it gives you more flexibility with things. My Blackmagic camera has a really good codec, which means it's capturing a lot of information. And it means if I wanted to, I could do a lot to the colors. The thing is this is completely optional, because it's completely optional. I'm just gonna kind of glaze over my general process. Okay, I'm going to show you how it works in Premier. And then I'm going to go into too much detail with it because you don't need to do this. You could have your cameras set to record in just regular colors and it's fine. All right, so I'm gonna show you exactly how I do this and how I apply all of my color grade settings across all of my footage really easily. So we're going to start with the Blackmagic footage because that's the simplest. So you can see here, it's, again, it's a little bit flat, so I'm going to pick a pretty decent looking for a name. Call it our hero frame. That one looks a little clock on contemplating life, but that's okay. Make sure that clip is selected. And we're gonna go over here and we're going to see in the effect controls panel that there are two menus. There's main, which everything in the main portion is going to affect just this clip. So any scaling that I do, any effects we'll just apply here in the source monitor. This is gonna affect the entire raw footage. Anything that we're doing, this source menu is going to apply to all of this blue footage up to here, because this was one take. So this is where I'm going to do my color grade because I want it to affect all of these same time. Now we're going to look over here to this window over here. This is my source monitor. And we're also going to be looking at my Lumetri Scopes window. Now if you don't see these windows had over up to window, and then you can turn on those specific windows. Here. I'm going to go over to Lumetri Color and again, make sure I'm in source, not in main. And are any color grading I do to this. So let's just do something really drastic just so you can see what's going on. Anything that I do here is now applied to this entire row of clips. And you'll see if I go back to my Effect Controls, go into source. Make sure this is selected. You'll see now we have a Lumetri Color thing here. Okay, so looking at the Lumetri Scopes thing here, you can see all of these we'd waves now basically this is showing you, showing you the value of your reds and greens and blues. Now, the first thing I wanna do is add some contrast to this image because it's pretty flat. So I'm going to play with that and see where looks decent. I think that looks all right candidate. And I'm also going to go to my white balance on this little eyedropper. And I'm going to pick a part of the image that I know should be white. So that's that they're, didn't really need to make any adjustments. I feel like looking at this, it looks a little green, so I'm going to just shift this Doyle over into the purple just a little bit, just tighten that up and might be a little cold. So I might shift that back a little bit. Again, it's very subtle. Now my blacks, I want to make sure that my blacks are sitting at 0. So you'll notice here on this menu when I adjust this black slider here, you'll notice the waveform start to dip. Now, I want to move that until we're just hitting 0. And that tells me that my blacks, nice, I don't wanna go too far because then the RNA gets some, it's called artifact in and it doesn't look with our museum is just starting to fall apart. So I wanna get my blacks to just, just touches your is pretty good. Okay, so now we move on to the white and it's a similar process. I want my whites to be hitting a 100, but I don't want them to get past that. It's going to be the image blown out and kinda yuck. So drag the white up like this. And he is, they are, we're at a 100 and we're not quite hitting it, but I feel like that's a little bit too much. So what I'm gonna do here is take my highlights and drop and down. Now I'm going to boost up the saturation because filming in a flat profile is like no saturations could bring them up a little bit. And I'm going to punch my shadows down a little bit because that's going to help add some more contrast. And I feel like that looks, that looks all right, but you can see now that I've done that, why blacks aren't hitting 0 anymore, so I can punch them in and pretty much making sure your blacks sit at 0 is going to make sure the blacks actually black. I feel like that looks pretty good. Again, I'm going to color it. So this isn't, you know, it's not my forte. What I want to try and do is roughly match this to the canon footage. So if I look at this canon footage and backup, the Blackmagic as the cannon footage is a bit warmer, I think, and it's a little bit brighter. So first thing I'm gonna do is go to my exposure on this one and bump it a little bit, bring the highlights down, warm it up, and that is pretty close. I would say it might be a little bit more saturated. I feel like that's okay, that's good enough. Color grading is this huge, huge process. And if I was working on like a short film or a client video or something way more cinematic. I'm going to put hours into color grading. But for this, this is all it needs. It just needs to look decent. So if I go back to this menu here and go to my Lumetri color and hit this little Effect button here, turn it off. You can see that's what it looked like before. And you can see all the way along here, all my black magic clips are all flat and gross. But when I turn them back on, beautiful. So now what I'm gonna do is I'm gonna go back into that menu. Click Lumetri Color Control C to copy it. Go over to this clip. Same thing. Select it. Go to source, collapse this menu. Make sure I'm in. I've selected here control V. And all of this has been graded. They are now near the end now because this was shot at a different time of day and the lighting might have been a little bit different. It was a few days later. The setup isn't exactly the same. Color grade might not look as good. So you can look at this. This needs some tweaking, so I make sure I still have the source selected here. And I'm going to just tweak this a little bit because this doesn't look, doesn't look the best. Now the GoPro footage I think needs a bit of work to, so I'm going to do the same thing. Just mess with my GoPro colors a little bit. I don't use the GoPro angled too much, but I do feel like it's a little bit flat, but I think all this needs is some saturation. Maybe a little bit of adjustment in the white balance. And I might just bring the blacks down a little bit. And it's saying it's clipping, so I'm just going to drag the highlights back a little bit, but I'll bump the white. Here. You can see this section here where there's a reflection on the on the bars here, that's where it's clipping. That's where the highlight is. So this wave form, It's sort of can relate to the image if you kindness like an abstract version of the image. But these straight lines here and here, That's these bars. So there's a strong highlight here. And that's why we're getting this rapid spike. It's not a, it's not a major point of the frames are I'm not going to worry too much about that. I want box to look the best. I'm going to bump things by whites backup and more white can come up to. Okay, I think I'm going to leave it at that because I feel like that's enough. That's calibrating process. Again, you don't have to do this. It really depends on how you film it and if you want to edit the look depending on the type of camera that you have and the type of footage that you're recording, the quality and the bit rate and the codec. You can't do too much with the footage before it starts to break apart. So if you're using your phone or entry level DSLR or something, just use the inbuilt camera footage. It's going to look fine, especially for a situation like this. If I need to go into depth with it, I'm not a colorist. There's probably a way better way to do this. And I'm sure colorists looking at this, redoing, this is just a quick and dirty way that I like to do it. So when done with the refinement stage, we now have a finished video. I mean, minus the time lapses, but we're gonna do that next long process, as you can tell. But your video doesn't have to be this complicated. I'm just doing it this way because this is the way I like to do it. You could do much simpler video. You don't have to put this much time into it. Now we're ready to move on to the fun part of the editing, which is going to be the creation of the artwork. We're going to be editing at a time lapse or a montage, whatever you wanna call it. But I'm going to show you exactly how I do that.
13. Editing: Timelapse pt.1: So at the time lips or the montage, whatever you wanna call it this creation of the artwork. This is for the viewer, the most satisfying part of the video. Or I think this is the reason someone clicks on the video. If they want to see the final result, they can just look at a picture, but they want to see the creation process. And that's what this is. So with that in mind, I want to make this enjoyable to watch. I want to make it satisfying and captivating and wanna make it cool. So the very first thing I need to do, the very first step in the process of creating my artwork. Time-lapse or Montage is picking the right music. Now, I know that for my whole time-lapse section, basically two parts. There's the brainstorm and then the actual time-lapse painting of the shoot. So with that in mind, I'm going to use two songs. I use epidemic sound, but you can use whatever music resource you want. Youtube has a free, royalty-free music library that you can browse through. I've picked two different songs here, and these are going to be from like different sections. So this song here, which is called narrower trait and I surrender. This is going to be for my brainstorm session. Now I chose this because if we look at the waveform of this song, it's pretty level. And if you remember what I was talking about with background music, want a song that's pretty level and this is going to have voice over, over the top. So that makes sense. Now the next song that I have for the actual time-lapse is ironically called Heroku because the dragon that I painted on the shoes, it's called PKU and that's like a that's I've got this on for that. And you can see this one's a little bit more kind of not, I mean, it's pretty level generally, but when you listen to the song bears sections that are a little bit more energetic and epic sounding. So that's what I want to use for that. And I like the sound of this last section here. If I feel like this has some really cool vibe to it, and I think it's going to fit their reveals pretty well. So I need to do some editing to the actual music. Is this, trim it down and make sure that it's a good length. But before I can do that, I need to edit my voice-over, which is this audio here. So I'm going to bring my music down one layer and get to work on the audio. Now before I do any cutting, we're going to go back to that process that we used in the beginning of the rough cut with my actual talk to camera audio. And I'm going to edit this audio to make sure it sounds good. So I'm going to adjust the levels and then throw in that dynamics effect, and then we can move on to the cutting. So here I've got my final voice-over. I'm pretty happy with how this flows. That feels like a cover enough to where I feel like it's too repetitive and I cover everything that I needed to That's done. Now what we're gonna do is edit the background music so you can see the song that I have for here is a little bit too long. Now, I'm going to try and cut this down just so that there's not too much dead space. And I don't really want this section at the time much to be too long. How long is this? So it's just two minutes and 19 seconds. I don't want it to be that long. I'm going to mute the voice over layers and basically just go through this music and just try and condense it, make it flow a little bit more. It can be sometimes a bit difficult to cut music in a way that keeps the beat and keeps the flow so you want the rhythm to stay the same if you can help it don't get too technical with this. It doesn't matter too much, especially because we don't have a voice over, over the top. So that describes it a little bit, but I want to try and maintain its all show exactly how I do that. So if we listen to the beginning of the song, right? So this here is one section and we can see if we kind of look at the waveform, it's sort of 1234. And so I know that this section of the song, he is probably going to sound quite similar. All right, So it's pretty similar. So I'm actually going to make a cut through this first section and have the song stuck in the second section. Okay, so I've done my adjustments to the music. I've tried to disguise my cuts a little bit in the more sort of notice or places with a constant parallel effect. Basically, this just sort of blends the two sections of music together a little bit more. It helps sort of cover the cuts. But again, because you can see where these lines here, these show you the volume of the music. So you can see it starts off a bit higher, but then as the audio comes in from the voice over, the audio level drops. So say we start off quite loud, but it'll drop pretty rapidly once the VoiceOver comes in. So getting into this, I knew that the dragon hukou was going to be the main focus. And I feel like that sounds pretty good again, like I said before, you don't want your background music to be too loud. You want the voice to stand out. So I think this work pretty, pretty okay. Now, the voice over, so I'm going to go into this next song. And how does this exactly 213. Okay, so he's listening to this song. Okay, so we have the end of the voice-over. You can see when music still sort of plays a little bit so good just to hear prepping and painting the shoes. So what I'm gonna do is have that come in a little bit louder. And the opening of the song, I think feels like it could blend well into the previous one. So think I'm going to try and mess with that a little bit and try and just have it fade in. The shoes. Kinda wanted to stop on this sort of base stroke. So and-a-half that's going to sound. Again. This is a very experimental common dig that I like it. I'm pretty happy with that. I'm gonna keep my music. The music so well done. I'm ready to actually get into editing this time-lapse montage, whatever. Now, already kind of spoke about how I approach it, this edit usually when I'm starting the time lapses, I'm going to use a lot more wide-angle shots and show you a lot more of the project in the beginning, this will be where you'll see a lot of the initial sketching, prepping, all that kinda stuff. As I move on and make progress, I'm going to use a lot more close up angles. And it's going to be more cutting between things, more real-time footage as we get further along as well. And I'm going to start hiding more of the outlook because I don't want to give it away. If we look at the song, we sort of have this area of the song is going to be, we'll time-lapse and then you can see it's sort of dips, right? And this is the, I think it's called the bridge. It Melos out. Course. This can be the very final plots of the time-lapse itself. And this is going to be a lot of real-time footage. And then and then right there, that's where the reveal shrubs are going to come in. Right there. I'm going to go through now and edit this entire time-lapse montage section. When I'm done, I'll show you everything I've done in break it down for you. This shouldn't take me too long. I'm going to go through and just find the footage. It's the area I wouldn't use everything. I'm not going to just condense the entire thing down to a time when she could do it that way if you want. I'm not gonna do it like that. When I go through and make sure I'm finding the most interesting looking shots. And then I'll show you exactly how we approach the reveal shuts later on. For now, we're just going to go through and do the actual time-lapse.
14. Editing: Timelapse pt.2: So this is the finished time-lapse montage section of the video. I'm very happy with how this turned out and I break down exactly what I did. But I'm I'm pretty happy with it. So one thing you'll notice as we go through this, there's not any real complex edit. I didn't do any crazy transitions and effects and even bother doing any of that kind of stuff. You can add that extra layer to it. For this, it didn't need it. What a lot of this is, which you'll see once we get into the section without voice over, a lot of it's just editing to the music. A lot of Zooms and camera angle changes. And that's sort of, I guess, a middle ground. You can do the very simple, sort of just straight time-lapse. You can have this version with angle changes and Zooms and stuff. And you could go really crazy and have crazy special effects. And it's a very big spectrum is what I'm trying to say. But this is I think a manageable sort of level of editing or haven't done anything here that you won't be able to do very easily. So don't worry about this being too complicated. Okay, So this first portion here, the brainstorm session. So you can see here this blue audio is the voice over that I recorded. We have our music under here and then the B-roll footage. Now, as I scroll through this, you'll notice that we have a few different angle change. So I have my screen recording, have a GoPro top-down view. And you can see I've done some different Zooms and stuff with that. And then we also have the other camera that was recording a backup angle. So all of these combined, it just helps keep things a little bit visually stimulating, visually interesting. I feel like the angle changes in the things that you're seeing combined with the voiceover will stop people from wanting to skip through and skip ahead. I'm going to play through this very last section of the brainstorm session and let it transitioned into the time-lapse to show you just exactly how of approach that. I want you to pay attention to the way the audio sound. So I want you to really listen for the transition between the track that's under the voice-over and then the new time-lapse music if you're not familiar with the animals. So once I have my two designs locked in, I printed them out and got to work prepping and painting issues. So that transition is my way of blending the two tracks together and making it flow. I feel like it worked pretty well. I think they're similar enough in their style and the vibe they give off that the transition and look too jarring, but also feel like the song that I've used for the actual time-lapse was a good choice for this kind of style of vertigo that I like to make. A lot of heavy beat to it, which is good for making a lot of cuts. And I'm big fan of the way this turned out. I'm going to break down this section here because the brainstorm session is pretty self-explanatory. I just follow what I did with the voice over. But for this section I want to show you how I approach using what camera angles and how much I'm showing. So throughout this whole thing, you'll notice that there's a lot of hard cuts on the beat. So you'll notice here in this first section, There's a lot of cuts now, some people don't like having the cuts happen on sort of the, I guess the base sort of thumps and then the drums snares that I like to keep it consistent throughout the whole thing. I'm not sure fostered that honestly, but that is something you're thinking about. You might just want to keep it consistently on the same note. The cuts you're making. I'm not really too phosphate that. But you'll notice here this or this first portion, a lot more, not wide shots, but you can see a lot more of what's going on in the frame, right? So you can see we've got the whole planning process. You can see the whole shoe. Got some live shots of mixing the paint, whatever. Now here we're actually start painting the shoes. Wide shots. You can see the whole shoe, you can see the whole sketch, right? And we go through, I'm using the top-down angle quite a bit. Then as things start to progress, more close ups. I don't want you to see what he can only see sort of the sections that I'm working on. And it's a little bit more out of focus here, currently seeing much of the main artwork itself, just a little detail shot. Same thing here. I don't want to give it all away. I don't want to show you the entire artwork. And before I even finish working on this one, there was still a little bit to go onto the next one and it's the same process, shots of the whole shoe. All right. Top-down angle. But as it starts to come together more, I want to start zooming in more and hiding more of the artwork. And eventually you not really saying anything, missing some nice detail shot of me working on and I'm a big fan of the show. I didn't even realize this. It happened when I first looked at this particular clip by thought this was unusable, right? Because as I start to paint the shoe, you'll notice the focus shifts off the shoe and onto my hand. But I thought that this was a really good clip to use as the transition into the reveal short. So I'll play this for you and let you see how this came together. I really like the way that turned out and that's the thing with editing videos like this. And especially when you have so much footage and you spend so much time filming, you can't keep track of every single thing you shoot. And especially when you're working on an artwork like this, to your attention is already very divided, right? But oftentimes you'll find little mistakes and things that turn out to be really useful and actually make the video feel better. So I'm really happy with the way that came out at him. Yeah. Speaking of the reveal short, so this is the way that the reveal shots looked before any editing. This is just straight from the camera. And if I hit play on these as I'm painting the camera and you can see the cameras a little bit wobbly. Slow motion really helps smooth that out. Not perfect. So after I've gone through and picked this section of the clip that I want. The first thing I'm gonna do is add a warp stabilizer. Now, this is an effect that I think is a little bit overused. Sometimes n, It's not just a magical thing that you can just click and drag on and forget about it. It does take some tweaking sometimes now these are simple tool, but don't just throw it on there. There's a couple of things you need to just be looking for by default, whenever you apply a warp stabilizer to a clip, it's going to be defaulted to 50 percent in this smoothness section. And that's way too much because how this effect works is by default, it will crop in both ways. And that's how it's going to sort of shift the image around a stabilizer. So by 50 percent it's going to be too much. We don't want that. So I always change this to 10 percent. Very rarely do you need to go above that. Sometimes you can go below 10 percent is just my default. Like that's what I know will generally look pretty good. You can watch there were multiple times and find the exact percentage, it's going to look the best. But for me personally, 10 percent, so always pretty good. And then once you hit Analyze is going to go through every single frame and make the adjustment and make sure it's nice and smooth. Now you can tweak these other settings and we're gonna get into it too much in this. But basically, it's just going to work its magic and it's going to crop in a little bit now thankfully, I shot these things, MR. resolution, I shot this way bigger than they need it to be, which is good. There's plenty of room to crop in there. Just keep that in mind when you're using this effect than just slap it on there and forget about it and make sure you tweaking it and re-watching it so it looks good. Another thing I'll add is I don't apply that effect until all of the clips are laid out in a way that they're going to be. And then I'll go through and add the effects just because it makes the playback smoothly. Okay, so I add my warp stabilizer, and then the next thing I do is go through and do my color grade. Now the color grade process is the exact same As the way I showed you in my talk to camera stuff. So I've gone through and done my color grade. And then this, if you look over on my screen, again, this is the before, then if I turn that on, this is the AFDA. I'm really happy with the way this looks. And you can see there's a massive difference like this is the problem sometimes with shooting things in a flat profile like this, like the look of the camera and it looks terrible once you turn the color grade on any do some work, you can really pull out a lot of color in the image. This looks really nice. Now again, I'm not a professional colors. There are people that literally doing just that. The step of the edit is Hickory. So they probably looking at this and I'm happy with this for a quick and dirty job. It is a little bit of an unnecessary step because, you know, you could just shoot it with a default color profile on the camera and not worry about the colors at all, do very minor color adjustment. But like I have fun doing this part and I like having a little bit of extra control. Now put a little bit extra effort into making these reveal Schultes look nice because like I mentioned when I shot them, I'm going to be using these reveal shots in different places. So I shot some vertical versions of these, which you'll see I have this folder with the vertical versions in here. And once I go around to making the version of this video for TikTok and Instagram and all that kind of stuff. I can just take the color grade from these ones and just apply it straight to these. Have to worry about it. So I like to put a bit of extra effort into the parts of the video that are going to be seen in multiple places because I want them to be nice and attention-grabbing to lead people onto the main video. All right, so let's play through this and I'll show you exactly what I did. So I want you to pay attention to how the reveal short start off and listen to the music. So I'm really happy with the way this transition turned out. I feel like it fits the music and it's just, it's satisfying to watch. Now again, on the cuts, I have my zoom in just to shake things up a little bit. I didn't get as much variety in there. Fill shots as I call it love. So adding these punching Zooms and stuff just gives the eye something to look at and keep your attention. Okay, so in this little section here, there's a few different things going on. So you'll see here this set of clips looks a little bit different. What I've done here is added a speed ramp. So if I move in, so this gray line here that you can see, this indicates the speed of the clip. So at the bottom here, this is a 100 percent and then you see it ramps up AMD and we have the speed increase. Now done this because I did a whip pan with the camera. So if I play through this, you can see with the camera. Continue that into the next shot. So I've done the transitioning camera. So their speed ramp just helps blend it together a little bit more, makes it look a little bit nicer because we're playing this at 60 frames a second, so it's in slow motion and the Whip Pan, just that 40 percent speed doesn't look as good so far. I've tried to blend it in by adding mass speed ramp. And then this here is a sound effect that if I mute the music, this is actually a Peter McKinnon sound effect. It's just a simple wish sound. It's just add something to the transition and then add it with the music. It's very subtle. It most people went knows it's there, but I feel like it just adds a little something. This is without that sound effect. And then with I feel like it just adds a little something. And plus, if you actually listen in the music itself, like right, right there, there's a subtle kind of sale and I feel like combined with that sound effect works really well. Okay, So continuing over here, I have another constant power effect there just to help blend of the song together because the song was way too long and I didn't want to reveal shuts the DRE up for like the whole length of the song. Sometimes I've noticed in playback, and I think this is just the bug in Premiere. But when you have a warped stabilizer on one of these clips for some reason when it's playing through it. It does that. That's not going to be there when I export. That's just for some reason it does that. And then for this last clip, this line represents the opacity. And the image fades away with music. And I'm pretty happy with the way this, this all came together. So the only thing left to do now is just put this all in order. Okay? So I feel like that is a little sharp, so I'm just going to add a dip to white. So it's been, I feel like that blend things together a little bit more. I'm going to make that music from the time-lapse fade a little bit quicker. So it's been a few days. Okay, That sounds pretty good. Looks pretty good. Now let's go to the beginning of the time-lapse and I'll just have to find a way to blend. You know, what I feel like and what does it do the same thing. And I get into it. But that works pretty well. Very simple transitions, but sometimes that's all you need. And with that, you have the finished video. So final length is just under 12 minutes, which I think that's pretty close to what I predicted. This would be in the ballpark anyway. And we're not video's finished. So after all of that work, hours and hours of editing has actually been days for me. I've been doing this over a couple of days. And there's a lot of work that goes into this, but we're finally done. So let's wrap this up.
15. Conclusion: So here we are at the end and feels pretty good. Feels good to be done with this. I didn't go over rendering and export settings and all of that kind of stuff in this particular course, because that's a very case-by-case thing. It's going to really vary on depending on what you're looking for. If you do want to see a basic look at that, I did cover that in my previous workflow course. So if you are interested in looking at that, check that cross out. But yeah, rendering is something that you're going to have to play with yourself and figure out what is that you're looking for exactly. But with all that being said, video's done and I'm pretty happy with it. I gotta be honest. Overall, I think I was editing for about nine hours, all up total. I split that over a couple of days because I was filming this course and that adds an extra element to it. But that's usually about how long the edit will take a full working day, usually for a video like this. And I know that it seems like a lot, but I don't want you to be put off or discouraged by what you've seen in this video. And just how much time I've poured into this. A lot of work can go into making videos. And to some of you, this may be a little bit daunting. It might even seem over the top. The thing I want you to take away from this course is you don't have to go this extreme. You can take the skills that you've learned from this course and make videos that are as complicated or as simple as you want, like any art form. There are no rules when it comes to video production. You can spend as much or as little time as you want. But the thing I want you to think about is the more time and the more effort you put into making the best videos you can, the more they're going to pay off in the long run. So if you want to see the full finished video that I created in this course, head over to my new YouTube channel PJ makes. Because, because I'm PJ and I'm PJ May and then on the channel I make things. So I like combined May and making things and it was like PJ makes. I just recently started this channel is just sort of a side hobby, just for fun. And the few videos that I've made for it as some of the best videos of ever made. I think so again, this video took a long time to make, but I wanted to make this video in the way that I made it because I wanted to give you a good kind of comprehensive look at the entire process of video production. Now I think I accomplish that here. I mean, yeah, I could have spent countless more. I was diving into every aspect of everything we covered here, from the writing to lighting to shot composition, to even more in the editing. But I wanted to kinda show you that you don't have to be a master of all of those individual things to make good videos. One that to be the thing that you take away from this core, create things that you're passionate about. Import that passion and energy into your content. And your audience is going to pick up on, well, everything that we covered, he might seem a little bit daunting. It's just like any other skill. The more you do it, the better you're going to get at it. So with all that being said, I hope you found some value in this course, make sure you stay tuned for the next video where I detail the project that I've set for you and let me know if there are more specific things that you'd like to see me go into more detail on and maybe create some more courses on in the future and make sure you let me know what you thought of this course. I'd, I'd really like your feedback, but anyway, thank you for watching. I really appreciate your time. And again, I hope you got something from this. And I'll see you in the next one.
16. Class Project: So now you hold the keys to creating next level of videos, and I want to see what you can do. So the project I've set for you is kind of in two parts. The first thing I want you to do is create a piece of content and can be for whatever platform you want. Youtube, Instagram, tiktok, whatever I want you to tag me in it. I want to see how it turns out, but I also want you to create a behind the scenes video detailing the process of how you made that piece of content. I want to know what you took from this course, what you tried differently and what you learned. I want to see you putting what we've done in this course today into action. Now that behind the scenes video doesn't have to be anything crazy. It can be very simple. I just, I'd be interested to see how you went about creating this video and maybe compare it to how you usually make your video. I'd also be really curious to know whether your audience picked up on any changes you might have made. Dr. you normally make you video. Did they noticed that the lighting looks a little bit nicer. Did they pay attention to the edit? Did you get any compliments? I'd be curious. Let me know. Again, doesn't have to be anything crazy. I just like a simple breakdown of how you made that piece of content. So with all that being said, that's your project and I can't wait to see what you come up with. So good luck and the F. All right, I'll see you later. Go back and make your video. Go, go, go, go.
PJ May
