All language subtitles for 09 Inside the Edit Part 03

The transition has the same meaning for me

of the bell.

You got to find the right way and

the right position to put them.

And to think what kind of transition I

could put.

I've done this video from Mervyn Nilsen from

Scotland, but we will speak after this film,

we will speak about Mervyn Nilsen.

This kind of transition that I use also

here, how I got this idea of this

transition, this kind of transition comes from horror

films.

Horror films are waiting there.

It fits perfectly, it fits perfectly.

This kind of transition, it isn't too scary,

it's to a little bit shock and distract

you.

And I'm trying to giving a name to

all the feeling, but it isn't so easy.

But it's like this, this kind of transition,

there's a meaning of this transition.

There's a meaning, it isn't that we done

like this.

After that, I've done this film from Mervyn

Nilsen from Scotland.

There are a lot of people that doing

this transition, they love it, but they using

this transition, like Italians say, a la cazzo.

So every second, without reason, without a meaning

to this kind of transition.

So here, this kind of transition, I put

it because I want to go away from

the pictures of, as I say to you,

I put at the beginning, all the pictures

of love and everything at the beginning.

So we've got the curiosity, the way to

go inside the story.

I wanted to find a way to go

away from that moment and begin their day.

I wanted to go inside to introduce their

waiting day, how it begins.

So from here, there's no music, but we

can hear it also without music, but it's

okay, let's move on to the music.

He's speaking about...

So here from the quietness to, vroom, let's

go away.

Away, let's go.

Chaos, where we are, to

the waiting day.

Everything.

And now we are speaking about the couple.

Now we are inside to the waiting day.

We are inside to the waiting day.

From a picture of love, of curiosity, epic,

something that could fit to everybody, wow, nice

couple, what we are doing, this is love,

the hands and everything.

Okay, we are married, what we are doing,

let's go inside to the waiting day.

So I begin to make transition that bring

me into thinking, to introduce this part.

And as before the bell, it must fit,

it must give me a shock almost.

So in my opinion, it fits perfectly, this

kind of, boom.

I put some picture that remind the feeling

of Italy.

So you see this kind of color and

the building, this kind of the olive tree,

the olive oil on the table, all things

that remind where we are in Italy.

And after this section with the drone to

show you see this is Cortona, beautiful.

There's this small part that is took, this

is a, you see it really fast, but

you see it, you have it.

It's, guys, if we see it, it's look

how it takes.

I tell you, this part is 22, it's

one second.

This is one second.

They are all one, two, three, four, five

shots.

There are five shots in one second.

And you see them, and you see them.

And this is, it makes you feel, you

see this glass of wine and the wine,

Italy, good wine.

And the day before the wedding, two days

before the wedding, there was a wine tasting

with all the people.

And I find that it fit perfectly to

make like a small window in the story

to tell where we are and everything, to

go inside the story.

The transition, how it's done, it's really, really

simple.

Let's go inside.

There are only clips that I took during

the day in a really fast way.

If you see the speed of this, it's

976%.

I don't care.

I can't tell you, hey, you've got to

put it to 1,000%.

It's only that I've done it really, really

fast.

This is all the speed of, this is

3,000 of the speed.

If we see it in normal, this one,

this is the normal speed.

It's a normal clip, but I've done it

really, really fast.

And I hold a little bit of the

sound of the clip to give a little

bit of texture to this transition.

And it's a really, really fast.

It's followed with a swash somewhere, no?

That's not a swash.

Ah, yeah, that's a, ah, yeah, that's a

swash.

And because I'm really, really, that's a swash.

So if you hear it.

This is all the sound effect, what they

put.

Guys, this is a little bit something, a

little bit advanced, but the things what you

could understand from this part, it's think about

the details.

Think about the details.

Think about the things where the people, they,

you watch it, but the people, they don't

understand that you've done it.

And now I think that I spoke before

with somebody of you, but I find really

cool.

And you know, it takes time, but it's

like this.

This movement that happened here, this bottle, they

are not moving.

They are there.

There's not a tremor or something like this.

This bottle, they are not moving.

But for this kind of transition and all

the shaking things and the movement, when I

watch it, I have the feeling that I

want to hear a little bit of sound

of this bottle.

And so I was looking for something with

glasses, glass, I was looking and I add

a little bit.

It's a stupid thing.

It's a really stupid thing, but feel how

it sound.

And with the music, it's really small.

So the bottles, for that shot, the bottles,

you were just moving your camera?

Yes, I've got only the feeling that the

bottle that I'm making like this.

No, I'm forgetting the sound for the actual

shot in the camera.

Were the bottles static?

You were moving the camera or was?

I moved the camera, yes.

I've done this with the monopole, this small

movement every time.

And can I ask about the zoomed-out

shot you did from the, in the valley?

And then you have three clips, but it

looks really nice transition to the drone shot.

This transition, it's called, it's from Motion VFX.

And it's called M-transition zoom, M-transition

zoom.

And it gives this effect, if we see

it really slowly.

It makes that the shot before, it's go,

it's become smaller, but this shot in this

transition, it replicate many times.

So you've got the feeling that it's not

only going smaller, because if it was going

smaller, you would have the black age.

But it's replicating all the pictures and he

introduced the picture after like this.

And it gives this zoom-out effect.

This is from Motion VFX, this transition.

There's also from Premiere.

And Premiere, it's a little bit more complex,

the plugin, but the name is, but the

name is Smooth Transition.

It's on Smooth Transition, but there is also

for Premiere.

So this is a reverse clip.

And here we have the time ramping.

If I watch here the speed, can you

see?

No, you can't see it.

So I draw it here.

The time ramping, we take a clip.

This is a clip at 100 speed.

We try to think that this is 100

speed, at normal speed.

I take this part, this two parts of

the video, and I make them really fast.

So this is, I will make it at

300% speed and 300% speed.

So here it will stay at 100 speed,

or I can make it even slower at

50% speed sometimes.

And the video, it will become, so 50

% plus, okay.

Are you only making this 50% if

you're shooting it at 50 frames per second?

Yes, exactly, exactly.

So if it's 25, you can't make it,

that's fine.

You can make it, you can make it,

but to have a fluid video, to have

a fluid video, you need minimum 24 frames

per second.

24 frames per second, you have a fluid

video.

So if you make a video at 24

and you slow it down at 50, at

50%, you will have only 12 frames per

second.

So it seems that you will see the

pictures.

You will see, tack, tack, tack, tack, tack.

You don't see a fluid image.

But when you have 50 frames per second

and you slow it down at the half,

you have every time 25, 25 for every

second.

So one second, it will be every time

you will have enough footage to have a

fluid image.

And this is with the time ramping.

The time ramping, it's to introduce a transition

without making a transition.

Because as I do it here, as I

do it here, you can see, here is

slowly at 50% and here there are

two parts really, really fast.

And it's to go inside on the clip

and go outside from the clip.

And here I do the same.

Here I do the same.

You see it, here it's faster.

And then slow, slow, slow, slow.

And again, fast.

And it's not done like this with doing

the things like this.

Here, for example, I'm doing this cut in

the moment where she put the hands down

really fast.

And I've got the feeling that she is

cutting the video.

She is cutting, bam.

So let's see it.

You see, she makes it like this and

she puts away the clip.

You're deliberately leaving in the piece.

That's the photographer flashing, I'd say, is it?

Yes, yes.

So you're leaving that in.

It's okay, it's, I didn't watch it.

And yeah, all this part I introduced with

time ramping.

And to make it in final cut, it's

really easy to do.

It's really easy.

Let's see if we got, I copy one

clip.

Let's go somewhere here out of the timeline

where I put it.

I'll make it here in final cut.

I go on the timeline.

I press Shift B.

And he make this marker.

And I make here Shift B.

And he make this marker, Shift B.

And when you are here, you go exactly

where there's this marker and there comes this

arrow, like a time.

And you can, you can like this, crop

this part, make it longer.

And this is done.

A really fast time ramping.

Okay.

It's okay with the transition or something more,

but I think we will go.

That actual clip that you're doing now, was

that one clip or a nest?

You can see the bride, is it the

same shot?

No, it isn't the same shot.

It isn't the same shot.

I done it only because I find that

shot of the bride really nice and I

wanted to find a place where to put

it.

And where it is, it's here.

We can see, we go inside.

And it's this one, if I put this,

it's this shot.

I really like it, how she look here.

It's one second, but there's not so much

a reason to say why I've done it.

It's only because I like it.

And I think from this video, yes, before

it was asked when I've done this shot

and how I've done it, this was after

wedding shooting.

Most of the time when we do a

destination wedding, when we go some country to

make a wedding, we try to ask the

couple if they have pleasures to make after

wedding shooting, that we have a little bit

more time to play with them and we

could introduce some cool shot, some nice shooting

to use in the film or also to

the pictures.

Every time I try to make something where

they don't need to act.

So in this case, I said only to

her two or three times to go down

of the stairs.

Here I done a big mistake.

It's really funny because the first time that

I asked her to go down from the

stairs, I had this pilot fly to make

this shot.

And practical, I press record every time when

I thought that I press stop.

So I can show you.

It's really painful.

It's really stupid.

But I show you the real after wedding

shooting.

Here we have some lens flare, lens effect.

You can find really good motion VFX that

are really nice footage that you can use.

Some lens flare, anamorphic lens.

Dust, you know, here I put also dust.

You see here the dust.

The dust, it's all add.

Here it is, the dust.

Without the dust, with the dust.

They are stupid, small things, but they look

so cool.

Or it looks so beautiful.

And look, there are only three things of

white, but I love it.

It looks so good.

It gives a little bit more drama.

Perfect.

Yesterday we do our own dust.

Yes, yesterday we've done a smoke.

So let's leave these stupid things, what I've

done.

I felt so bad because she walked really

good.

The beginning I asked to him to come

down, but I didn't use it.

Oh my God, guys, you will hear me

here.

So here, here, you see, she's already here,

but the shot, it was done.

I said, okay, let's make it again.

But here, I didn't thought that I record.

I thought that I stop.

It's all natural light.

This is all natural light.

The shot you used at first.

No, I show you the shot that I

used.

Yeah.

Look here.

Look here.

Okay.

Okay.

Here what I've done, I tried to look

at the focus point to the place where

I wanted to have the video sharper.

I find the position and then I press

record and I go away.

Second shot.

Second shot.

Okay.

This sound it's the pilot fly when it

goes on.

Okay.

I stopped to make me ridiculous and we

go on.

But this is a mistake.

After I said, please, let's make it again

because I've done this video a little bit

too dark.

And this is the shot that I use.

Yeah, this is the shot what I use.

This is the, okay.

Most of our shots done on the 34mm

or?

This is 24mm.

All 24mm it was.

You pre-focused your place and you touch

the focus up.

You pre-focused.

Exactly.

And then you just did a motion.

Exactly, exactly, every time.

When I have an objective like this with

really shallow depth of field, I make every

time like this.

I don't have a machine to control the

focus.

And till now, I every time like it

with effects from unsharp to sharp and it

works every time pretty good.