Original subtitles

So, we go to Mervyn Nils.

This is from last year, it was the

most successful film, what we've done.

We watch it again.

I promise you to be there for me,

I promise you, I promise you, I promise

you, I promise you, I promise you, I

promise you, I promise you, I promise you,

I promise you, I promise you, I promise

you, I promise you, I promise you, I

promise you, I promise you, I promise you,

I promise you, I promise you, I promise

you, I promise you, I promise you, I

promise you, I promise you, I promise you,

I promise you, I promise you, I promise

you, I promise you, I promise you, I

promise you, I promise you, I promise you,

I promise you, I promise you, I promise

you, I promise you, I promise you, I

promise you, I promise you, I promise you,

I promise you, I promise you, I promise

you, I promise you, I promise you, I

promise you, I promise you, I promise you,

I promise you, I promise you, I promise

you, I promise you, I promise you, I

promise you,

I

promise you, I promise you, I promise you,

I promise you, I promise you, I promise

you, I promise you, I promise you, I

promise you, I promise you, I promise you,

I promise you, I promise you, I promise

you, I promise you, I promise you, I

promise you, I promise you, I promise you,

I promise you, I promise you, I promise

you, I promise you, I promise you, I

promise you, I promise you, I promise you,

I promise you, I promise you, I promise

you, I promise you, I promise you, I

promise you, I promise you, I promise you,

I promise you, I promise you, I promise

you, I promise you, I promise you, I

promise you, I promise you, I promise you,

I promise you, I promise you, I promise

you, I promise you, I promise you, I

promise you, I promise you, I promise you,

I promise you, I promise you, I promise

you, I promise you Yeah,

this is what it's like to be a

nerd.

This is what it's like to be a

nerd.

This was Mervyn Neals.

This was the situation, how it was really.

It was really a drama.

It wasn't easy.

There was nothing easy there.

We walk really for one hour and a

half, like this.

The bride, she's fallen two times.

Anne has fallen down with all the equipment.

She has my tripod.

From all the equipment that I bring up,

I use only the monopod, the glidecam, and

the stativa, because we put one time a

camera on the stativa.

And I had the glidecam all the time.

But I also had the Pilotfly, a thousand

lenses, I had a drone, everything.

Just in case.

This was everything 24mm.

This is all 24mm.

Wait.

Yes, it was 24mm.

It was everything 24mm.

I had a plastic bag from the shop

of fruits and vegetables.

I didn't look really professional there.

I really didn't.

I have, now I'll show you.

Yes, they were really surprised.

This is the end.

We put one camera on the tripod.

Can you see?

Normally I work with two screens.

This is how they felt.

Yes, the people who walk in the back.

Did you have to synchronize the audio manually?

The audio, it's pretty good.

I can make you hear.

It's pretty good.

But they come to visit us some day

before I begin to edit.

And I ask them, hey guys, you are

here, we were there alone, maybe we can

try to record it again, the speech, and

I try to use it a little bit

more cleaner.

I have to say that already the original,

it was pretty good from this microphone.

It was pretty good.

And it was a little bit difficult to

synchronize it.

But I prefer to have a really clean,

better audio.

Let's see how it looks.

Not so happy.

Now, look over here.

There's a street here.

Look how she was, she had the dress.

Because she's falling down.

Plastic bag.

Plastic bag.

Happiness is the first thing.

Happiness.

This is me.

This is how I look.

Beautiful professional.

Okay, let's go inside the film.

Project.

Here it is.

I think that many of you already saw

it in some tutorials that I've done on

YouTube.

So, like before, I want a beginning that

makes you curious.

That brings you the attention to think, okay,

what happened there?

Where are they going?

Why?

And it's this beginning.

And it was really important.

It was really important to have a fantastic

beginning.

You don't see them.

You see only this couple that were walking

on a mountain under the rain.

So you understand nothing.

And this brings you really much curiosity.

From there, I have to go to the

getting ready part.

The getting ready part, it was really clean,

perfect.

So there's a really big jump of difference

from where they are to where they were.

So I have to distract the people.

And for distracting, I use this shot.

This shot, for me, it's like going back

in time to change position, to go away

from where we were.

It isn't done only because it's beautiful.

For sure, it's a beautiful shot, but the

feeling what it gives me is going away

from where I was to understand what could

happen.

For this reason, this shot, and there's also

a time lapse.

These two shots give me this feeling.

In fact, when you are watching the film,

everything is so linear, so beautiful to watch.

You feel the story, where they are going,

where they were, till the most important part

we've got to find in the film, the

epic shot, the part where it must fit

perfectly.

At the beginning, I had a little bit

of problem because the epic part is this,

the most beautiful kiss what I shot now.

It had to be in the most important

part of the music.

Bellissimo!

Bellissimo!

This has to be there, from where it

couldn't move.

It couldn't move from there.

This is the place of the kiss.

Everything else, we can move it a little

bit, but these things, it can't move from

there.

So, there was a problem how to go

from here to here.

Thanks God that the day after I shot

some drone shot under the rain and it

fit perfectly because I had no continuity to

this shot to arrive to the kiss.

You've got to think about this.

You've got to think of continuity.

Sometimes I see videos where you see the

couple going one to each other and the

shot after they are kissing.

This is distracting.

This is totally distracting.

I have not the part that for me

is the most important that is the meeting.

How they meet, how they arrive there.

If you don't have this shot, make something

to make me think that there was a

meeting.

In this case, for me, it was a

problem from here to go to the kiss

because I don't have a shot where they

meet.

I don't have no shot where they meet,

where they stay, where they go to make

this act of the kissing.

So, I had to put a part that

is this drone shot that makes me think

that they are there in the middle alone.

There is loneliness, raining and they are kissing

under the rain.

It doesn't matter how it is in the

world.

We love each other.

We kiss under the rain.

Is that the same clip you've got nested

underneath it?

The top clip there for the kiss on

the timeline.

This is for the problem that I don't

have so much footage.

As I said, the kiss had to be

there.

But the real kiss, this one, it was

50% and it was the maximum what

I could with this shot because it was

shot at 50 frames per second.

This was the maximum what I could make.

But I needed more.

I needed more to arrive to some places.

I needed the kiss more long.

For this reason, it seems almost too long

but I didn't have too much kisses.

I remember I sent it to a friend

of mine the video and said, yes, it's

amazing the film but the kissing is a

little bit too long.

I have no other shot.

And he said, put the horse again.

But it doesn't fit the horse.

How I did it?

Let's see.

So, this is every time this kind of

effect.

There are clips really fast done in the

right position.

It's not done only because it's beautiful.

It's done for a reason.

Because I want to have something that distracts

me, that takes my attention away from what

I'm watching.

And I put their title, their name, this

is their logo because they are two photographers.

This is again the transition, the zoom transition.

I didn't know how to connect these two

shots.

If I put it away, this transition.

I didn't like it.

It was too much.

So I put this.

I don't find it so beautiful.

I've got to say the truth.

In this position, this transition, I don't find

it beautiful.

I don't like it so much.

But in this moment, I don't know what

else to do.

I would have to think, to stay a

little bit and think what to do.

But for me the film was 99%

ready and I wanted to put it out.

The couple must see the work that I've

done.

And from that moment, everybody liked it and

I let it like this.

But to tell you the truth, this transition

here doesn't fit.

It looks cheap.

You see too much how the transition is

coming.

For me, it's a no.

I use it, I've done it.

There's the sound of the horse.

This horse, I took it in a better

program.

Snap sound.

There's the sound of the horse.

Other sound effects, there's the rain.

I put this rain because the real rain

was a little bit too much plastic on

the plastic bag.

So I bought a rain sound effect.

After here, there's the getting ready.

The getting ready, I find really interesting for

the transition what I've done here.

The most of the transition was here.

But there's nothing else than going like I've

done yesterday.

Sometimes moving with something in front and put

it together with the clip after that is

coming out.

And I like this kind of movement.

It's like inside, outside, up, down.

It's pleasant.

You know, you're a little bit drunk.

I like it.

I wanted to have it like this.

It was like painting for me to make

this getting ready.

Because all the video of the getting ready

is done with movement.

I have a thousand

clips of the getting ready.

I've got a project here.

Getting ready.

These are all clips of the...

I didn't ask him to play

two times.

It's only because he didn't get it the

first time.

There were two photographers, the kitchen master to

make the pictures.

Me and Anne, we were there to make

the video.

So, in this case, you're shooting down the

foot.

Yes.

But I like it, so I've done it.

I like really much the composition to look

for, to find a little bit of composition.

Do you know a little bit of composition?

Or guys, do you know the rules of

the fur?

Fibonacci.

Fibonacci?

Yes, also the Fibonacci thing.

But what I care very often is this

kind of...

You see it on the camera.

You can put it on the camera.

This is a part really important.

But think only a little bit to have

this kind of...

But make what you want.

You can make what you want.

You can stay completely in the middle, completely

here, completely here.

But if you have it a little bit

in the idea, you can play a little

bit to make a little bit of composition.

And it could make more interesting a shot.

What lens are you using for this shot?

In this wedding, in this elopement, I had

really much the 24mm and the 55mm 1

.8. After that wedding, I sold it, this

55mm.

It's a fantastic lens.

It's a really beautiful lens, the 55mm.

But I don't feel comfortable with the focus

because it's a wired focus.

So it doesn't respond like the mechanical focus.

So when you move, it moves really fast

and you can't control it really.

Me, I have all the other lenses that

are all mechanical focus.

So I sold it only because of this.

But the lens, the quality of the image

that it gives this lens, it's really, really

good.

As you see, I have a thousand videos

of the getting ready.

Really thousand, thousand videos and really many with,

here you see, movements.

This has a movement.

This has a movement, movement.

And the most of the time is monopod.

There's monopod.

And the light is really beautiful there.

I really like when there's one source of

light, the rest is dark.

Every time when I come and I'm getting

ready, yesterday I forgot to tell it, but

I have to put off all the light

if it's possible.

See, this one.

There was only a tender.

And here, I've done nothing.

There's no transition here.

But there's the transition.

Close and open the tent on the other

part.

The only thing what I have to make

in these things is to make because I

see the jump from here to here because

you feel the jump.

I make a small show video animation and

I make a small transition like this.

That has become a little bit the opacity.

This is the prisma.

Some shots with the prisma I've done.

I tried to make something with the silhouette

but it didn't work.

I'm not so good with the silhouette.

Yeah, let's go on with the film.

The horse.

This is good.

I forgot.

At the beginning I thought this is all

the echo.

Let's see if I can put them away.

Wait a second.

All together.

Like this I can...

When I watched the movie it was without

at the beginning.

But I had the feeling that it's missing

something.

It was missing.

And then I thought what I can do?

What I can do?

It's missing something there.

It's too silent.

I can't make sound.

There's no sound there.

There's silence.

Then I thought what I can have?

I would like to have a speech and

I would like to have somebody who's speaking

there.

But I have no idea.

It was a drama.

It was another problem.

It was a problem, a really big problem.

So what I can do?

I wanted to look in YouTube speech, monologue,

something like this to find something to put

under the video.

Found nothing.

And I'm looking for something original.

You can find something.

There are some speeches of film monologues or

something like this.

But I wanted something original.

This film is unique.

So it must be everything unique.

I can't put copy and paste from something

else.

And then it came to this idea to

try to put their speeches more than one

time and to try to simulate this kind

of echo.

And it fits perfectly with them that they

are writing their vows.

And so I found that here was...

Ich verspreche dir, da zu sein, wenn du

mich brauchst.

Verspreche dir, verspreche dir.

Ich verspreche dir, da zu sein, wenn du

mich brauchst.

Dich nicht loszulassen.

Dich zu lieben und zu leben mit jeder

Faser meines Körpers und solange meine Seele existiert.

I left one a little bit stronger and

it fits perfectly.

And like this I put a little bit

of color in this part that it was

flat.

No, it's not a natural sound.

It's a sound effect that is this one.

And I hear it, but it's really fake.

It's really stupid, but it's okay.

Okay.

I googled, I looked for paper, for paper,

book, something like this, and it came to

this one.

Here there's a transition, another transition, but it

makes me go from here, really soft, nice,

clean, to the drama.

It's perfect.

Let's go back from the beginning, to the

beginning.

There's every time a reason for something.

There's every time a reason.

Here.

The most important is this one.

This one.

This transition here.

If I don't have it, I'll show you.

I don't have it.

Look how disturbed it is.

It seems a jump frame, a frame.

Look.

It's awful.

It's really awful.

You add this stupid thing that is, I

don't know, it's 10 frames.

10 frames.

And it looks good.

Some other questions about Mervyn Nils?

The grading, we go now with, when we

edit what we done yesterday, we will speak

about the grading, the color grading.

What were they saying, the audio that you

put over, the clip there, and you just

kept repeating it, was it, it's in German,

but in English, what were they saying?

Was it important, or was it just kind

of random?

I promise you.

I promise you.

I promise, I promise, I promise you.

I have the subtitle on the Vimeo.

The Vimeo will be subtitled.

Here, I didn't add it.

Yeah, I'm a little bit sorry, but most

of our clients are German, so.

The drama translates.

The drama, yeah.

You know the time lapse?

Is there a key frame in the time

lapse?

The time lapse?

The time lapse, for making this kind of

movement, there's a program, the time lapse, it's

done with a GoPro, with a GoPro time

lapse.

There's a program, but the name is PanoLapse.

PanoLapse, it costs not so much money, and

let's see if I can show you.

I can't show you now, but you've got

the name, and you see the program.

This is, it makes a fisheye video, a

fisheye time lapse.

It gives a 3D effect, so it makes,

this fisheye becomes like a ball, almost, and

you can pan a little bit.

You can key frame a small pan, but

this pan is really, it looks real.

It don't look like a pan, because it

looks almost in 3D.

I really like it.

Let's see here.

Yeah, here, you see here, I put, every

time for motion VFX, there are two layers

of rain, also.

And if you put away the color grading,

this is the shot.

Here I've done nothing special, it's only zooming

out, but you can also make a really

pan, that it looks really 3D.

It looks real.

This is the 4K footage.

4K footage, yes.

It's a time lapse, it's a time lapse.

Function on GoPro?

This is a special function on GoPro?

No, it's a time lapse.

How long is this recording?

Not so long, because the weather, it was

really bad.

Yeah, but because of the weather, it was

shit.

But the zoom effect, is that done in

here, or is that done in the time

lapse program?

Time lapse.

So the zoom effect, was that done in

time lapse?

Yes.

You do everything there, you can easily, let's

see if I've got the folder of Merve

and Nils, but I don't know.

Yeah, but I don't have it, because it's,

no, I don't have it here.

Excuse me, I didn't import it.

There are all JPEG pictures, JPEG pictures to

make a time lapse.

How did you set that up?

Were you shooting how many pictures per second?

I think one, I don't remember.

If I have not so much time, I

make one every second.

If I've got a little bit more time,

I put one every five seconds.

But I think one every second there, something

like this.

And when you exported it, 24 frames a

second?

24, every time 24.

I like the 24.

And after I add this layer of the

rain, because this was done, I think the

day before, because of the weather, it was

beautiful.

Like the drone, the drone shot of the

weather, it was like this.

I don't know if you can see it.

The weather, it was, no, this is, this

is the day after.

This was the weather of the day before.

This was the weather of the day before.

I risk with flying the day after under

the rain, but I say, hey, come on,

I'm here.

If the drone is gone, it's gone.

I try, I try.

And I got the luck.

I had the luck, so yeah.

Some other question, or we begin with the

things of yesterday?

I got a question about the time-ramping

here.

Okay.

So is there a difference between time-ramping

in software or just cutting the first part

and the second part?

Yes, it's different.

It's different because this is so much smoother.

It's different because if you cut, you have

one clip at 50 frames and one clip

at, really fast, at 500 speed.

So you have two different clips.

This kind of way, it makes from 50%,

if you have the other part that is

300%, there's a transition between them.

And you see it, I don't know, it

was in Christine and Daniel, you can see

that there's this part in the middle, between

the faster, there's a small transition.

So there's a smooth going, there's not a

jump.

And I think there's a way to do

that in Premiere, too.

I think so, for sure.

For sure, because it's, for sure.

I don't know how to do it in

Premiere, but yeah, you can find it.