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Hello, everyone.
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Welcome to this great chance
to learn about film editing.
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We are going to start with this
first model in which we are going to see
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in detail the fundamental narrative tools
that you must know to start editing.
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Additionally, this is a course
in which we are going to learned
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how to use Adobe premiere,
so it's necessary to address
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those main tools that, from
my point of view, are the ones necessary
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to tackle any editing project, any film
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project, film editing and video editing.
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It's not a mere technical issue.
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So as we learn to use Adobe
Premiere software,
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we will learn important things
related to editing and filmmaking.
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So in this same model,
we are going to learn about the process
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of assembling shots.
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I think that for fiction it's fundamental.
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And during this first model, we are going
to see several lessons related to this
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where we will review the same concepts,
but in different examples.
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I mean, professional examples
that we will be tune into Premiere
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Software and other professional examples
on the screen.
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All this knowledge is
part of what I learned in my script
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writing Master Degree
as the best film school in Spain is CCAC.
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So don't miss the chance to learn this.
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So let's start once and for all
with this theoretical lesson.
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So the first thing you should know
is that in the editing process
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there are three fundamental concepts
or narrative tools
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that you should use when editing,
when dealing with a film project,
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with a fictional project.
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Basically, film editing
is one more stage of a screen writing
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because it happens at a script.
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It's written to be able to record
all the shots that represent
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that script,
or at least come close to that script.
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But in the editing process,
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we are going to join the shots to tell
what is in the script.
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So in that process, problems
and challenges will arise
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that we're not possible
to see the filming on during writing.
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Additionally,
is the latter stage of writing
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because the script is not a movie,
but the editing is a movie.
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So pay attention to how important it is.
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So these three comes
after ellipses, time and corner.
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This is stored in
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the ellipses is a narrative tool
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that allows you to summarize information
in a story.
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I mean,
I mean, amid moments in a chain of events
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to shorten the duration of the film,
it allows you to skip
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certain moments that do not interfere
with the understanding of the story.
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And this is going to happen
for a very simple reason.
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The audience sees a scene
and already understands
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what could had happened
between the time jumps.
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I mean, what could have happened
in that information
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that I'm not showing you
because it's understood.
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So let's see this example.
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That is a very good one.
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In the movie 12 Years a Slave,
there is a moment where Solomon asks for
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help from a man
who is working as a carpenter.
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The actor is Brad Pitt, Indeed.
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Let's watch this scene
and then I will tell you.
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Originate from Canada.
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I guess where that is.
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I know where Canada is.
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I've been there myself.
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Montreal and
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Kingston and Queenstown.
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And a great many places.
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We'll travel a slave.
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How came you here?
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That's too bad.
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Have justice have been done?
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I never would have been here.
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How was this
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coming?
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Your.
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I'm afraid to tell you.
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And the word you speak is profound.
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She. It.
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It is amazing.
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And in no good way.
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Do you believe
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in justice, As you said,
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I do.
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Slavery is an evil that should befall.
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As you could see by that time,
the movie is almost over.
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I think there are minutes left to finish.
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I mean, there is not case
in telling this Solomon's story again.
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So Solomon is supposed
to tell his story to that man.
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That is story that we already knew.
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That is everything that we saw
in the movie until that moment.
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And that is why there is a direct
narrative jump from the moment
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Solomon's asks for help to the moment
where Brad Pitt's character tells him.
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That is an amazing story, you know,
not in a good way that is passes.
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We don't need to show Solomon
telling the other character the story.
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But since we are so audience
know the story,
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we can imagine what he told
the other character.
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So this narrative strategy allows you
to reduce the length of the mandate.
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In any case, we will see another
practical example later on.
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The other important element is time.
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The length of a shot changes
the meaning of a shot in itself.
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This is a very important
we are going to see a very quick
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small example in one of my works,
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22 plus
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three
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in this a scene
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which is actually a flashback,
I mean a memory.
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We notice that the character is history,
not the family, the indigenous family,
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but especially the character stares
at the family's daughter.
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The baby in the scene last a long time.
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The change of glances lasts a long time,
but it happens that this process
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of looking for seconds
generates expectations in the audience
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because the character is not simply
looking at something to recognize it,
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but rather that he is looking at the child
for a long time for maybe two reasons.
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The first is that maybe the character
is moved by what he's looking at.
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I mean, the family with his daughter
seems really tender to him,
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but on the other hand, maybe he wants to
have a family or maybe it's his daughter.
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I don't know.
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So many things you can imagine
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just from the fact that he is looking
at something for a long time,
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because the more time the audience passes,
the more questions will be asked.
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The other element is the caller.
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The caller results important.
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In this same scene.
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You can notice that since they
are flashbacks in order that those scenes
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were taking as a flashbacks, it's
necessary to use a different kind
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of correction in those moments
to get more information to the audience.
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I mean, they must be aware to the fact
that those two scenes
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are a different moment
from the ones they were watching before.
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Here there is another example
of a flashback.
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It suppose that the character
is remembering the best moment
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with detonated with whom
he has come across in a As you can see,
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the memory has another color correction,
another color grading.
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Additionally,
the color is also related to the emotions
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and lighting in the court of correction.
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You are not supposed to select a color
for a scene
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that could be detrimental
to the emotion of the scene.
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So as you could see,
these are very important elements
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when it comes to telling these stories
by editing.
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It doesn't matter
if it's a movie or a commercial.
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It doesn't matter if it's a YouTube video.
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All these tools are used to tell a story
properly.
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Later on, we will see
another important elements related
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to the assembly of the shots,
which is the ordering of the shots.
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But we will see that in another
lesson until
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the next time.
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Perfect.
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We are here again.
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I know there are important elements
related to this toolbar.
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Are those buttons that are over here
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and take these buttons
as an extension of these toolbar.
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And we are going to start with this magnet
symbol snapped to timeline.
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And what is this used for?
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This magnet is directly connected
to the racer tool
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because it's very difficult
to be precise in the cuts
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and sometimes we need to cut
matches the blue guideline.
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So when activated the magnet helps
that the cut sticks to line.
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But the magnet
not only sticks, the guideline,
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but also the borders of the clips.
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For example, for example,
when we need a clip to get closer
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to other clip, for example,
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I'm going to add a cross section
of this short film to the timeline,
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and I'm going to get it closer
to the older clip that is in the timeline.
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It happens that since we usually zoom in
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and zoom out the timeline
in order to work, unfortunately,
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and sometimes we need to join two clips,
not biting in any clip.
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So in those cases, the magnets
help us that the clip sticks the border.
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So if this wasn't enabled, we might be
biting off a bit of the other clip.
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On the other hand, when we need to move
the clip to the precise place
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we want, for example, when we really zoom
in, the timeline is better for us.
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That is not activated.
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So you already know how it works.
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It's not that complicated and
is one of the most useful tools for us.
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You know that when activated, the magnet
helps us to stick to the guideline line,
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to stick to borders, to be more precise
and have a better workflow.
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On the other hand, there is
an important detail to regarding the cuts
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and it's related to the cuts
in the audio section.
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I have already told you
about the time code in the timeline,
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and I was talking about that
when I was creating the sequence
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and it was related to how the time
will be displayed in the timeline
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and you can follow the time code
or follow the frames per second.
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But it happens that we used to mean
the timeline completely
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and you move the blue line guide.
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That line is moving
from one frame to another
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and that it's a problem
when it comes to editing audio
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because the order itself
is more continuous than that frame rhythm.
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I mean, you can notice the older jumps
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and this is very tricky
when it comes to cutting all the clips.
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So in order to solve this, you must click
on the ruler of the timeline
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with the right mouse
button and select show all the time units.
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So by doing this,
you can move the blue guideline,
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not jumping from one frame to another,
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but following the continuous all the time.
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Therefore, you're going to be more precise
when cutting all the clips.
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You must remember that
the audio is more accurate.
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I mean, when you are using a 48
caid resolution
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that means that there will be
a 40/8000 recordings for second.
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You can notice this in the time error
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that at this moment is display
in the audio samples.
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I mean, every single second is counting
88,000 hairs.
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But as you know,
you can also change these to milliseconds.
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But this is a good reminder for you
when it comes to cutting audio clips.
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So the following button
is this the link selection button?
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It happens that sometimes when with rock
a cross section of a video
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from the reference monitor to the timeline
with the act, that section with its
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respective audio as in this case,
for example, this portion of it is a film.
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So when we activate the link section,
when we click on the video clip,
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we are going to select the audio
clip as well.
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I mean, it's important
when it comes to be in TV editing.
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So when we deactivate that tool,
if I click on the clip,
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I'm going to select
only the video clip, as simple as that.
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So I'm going to do it again.
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I'm going to activate the button
in to select a video clip
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and select
both the video and audio at the same time.
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The following button
is the tool for inserting sequences,
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and this tool allows me
to do that in two ways.
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So I'm going to use as an example
these and other sequence that I have here.
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You can notice that inside that sequence
I have selected this clip,
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but put in an and out.
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So we go back to the sequence
we are working with
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and I'm going to drag
that sequence into this one.
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So when this button is deactivated
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and we are going to drag a sequence
into this one, it will happen
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that all the files inside
that sequence will appear in the timeline.
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I mean, it's as if it were moving
all the clips inside that sequence,
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into the sequence we are working with.
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Of course, we are moving also the editing,
but with the clips separately.
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But on the other hand, if I activated
this button, it will work differently.
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So I'm going to drag this sequence again
into this sequence we are working with.
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And you can notice that I'm
moving a kind of nested clip,
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and this nested clip contains
everything inside that sequence.
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Regardless if you have marked mean or
an out, the entire sequence will be moved.
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So it's a very useful tool when it comes
to creating a huge project, for example.
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So you are able to insert as many
sequences as you want into a sequence.
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So I'm going to open this sequence again.
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You can notice that there is a need
and now a selection.
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So I'm going to go back to the sequence
we are working with
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and I'm going to drag
the other sequence into this one.
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So since the button is activated,
the entire sequence is inserted
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and you are able to select the portion
you want of
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00:15:20,733 --> 00:15:23,633
that sequence as if it were another clip.
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00:15:23,966 --> 00:15:27,400
And actually if you click on that clip,
you're going to return to
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00:15:27,400 --> 00:15:28,366
the other sequence.
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00:15:28,366 --> 00:15:32,233
So I'm going to deactivate a button again
and I'm going to drag the sequence
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00:15:32,233 --> 00:15:33,300
into this one.
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00:15:33,300 --> 00:15:36,666
And you can notice that only the selection
was taken into account.
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00:15:37,100 --> 00:15:40,166
I mean, everything
that was between the end and out
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00:15:40,466 --> 00:15:43,433
and additionally
and moving the clips inside a sequence.
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00:15:44,033 --> 00:15:46,400
So the following button
is the marker tool.
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00:15:46,800 --> 00:15:49,733
Basically, they are reminders
that you are able to add
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00:15:49,933 --> 00:15:52,433
to the editing
to remind you something important.
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00:15:52,733 --> 00:15:56,633
I mean, when you're editing a huge project
or a sequence that is too long,
248
00:15:56,700 --> 00:15:59,233
you are likely to miss things
in the editing.
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00:15:59,233 --> 00:16:02,800
Most of all, when you are working day
after day back to back,
250
00:16:02,866 --> 00:16:05,833
you are doing many changes
in the editing, in the sequences.
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00:16:06,000 --> 00:16:09,666
So this reminders are very useful
so you can add reminders,
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00:16:09,666 --> 00:16:12,300
you click on them
and you can put a name if you want,
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00:16:12,433 --> 00:16:16,400
and actually you have a comment section
below when you are able to to type
254
00:16:16,400 --> 00:16:19,666
comments
related to the sequence or changes.
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00:16:19,666 --> 00:16:22,800
And also you are able
to change the color of the marker.
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00:16:23,400 --> 00:16:26,100
So I use this a lot because huge
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00:16:26,100 --> 00:16:30,000
projects involves many hours of work.
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00:16:30,000 --> 00:16:32,833
The next tool is this spotter here,
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00:16:33,200 --> 00:16:37,700
and this tool allows you to select what
you want to be displayed in the timeline.
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00:16:37,966 --> 00:16:40,433
I mean, the timeline has several features.
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00:16:40,933 --> 00:16:44,866
You are able to select which one you want
to be displayed as simple as that.
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00:16:44,966 --> 00:16:48,600
So you can deactivate, for example,
to show audio waves
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00:16:48,900 --> 00:16:53,066
or the audio key frames, for example,
whatever you want in the timeline.
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00:16:53,400 --> 00:16:56,866
I would like to stress something important
related to the shortcuts,
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00:16:57,033 --> 00:16:59,966
because I have never been keen
on using shortcuts
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00:17:00,266 --> 00:17:04,733
because most of the editors that I know
that use shortcuts are not that good.
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00:17:05,033 --> 00:17:08,666
But if you want to know
the premiere shortcuts, go to the edit tab
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00:17:08,666 --> 00:17:11,800
and then keyboard shortcuts
just right here.
269
00:17:11,800 --> 00:17:15,433
The software provides you
all the information about the shortcuts.
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00:17:15,866 --> 00:17:19,633
I don't like shortcuts at all
because the brain has limitations.
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00:17:20,233 --> 00:17:22,333
The brain has boundaries,
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00:17:22,666 --> 00:17:27,066
and I'm not keen on a spend in my memory
in that kind of information.
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00:17:27,233 --> 00:17:27,466
I mean,
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00:17:27,466 --> 00:17:30,800
when you are a professional editor,
when you are a professional filmmaker
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00:17:30,800 --> 00:17:35,233
or a professional artist, you're going
to have to remind a lot of things
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00:17:35,233 --> 00:17:38,066
related to general culture, to art,
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00:17:38,300 --> 00:17:40,866
to philosophy, etc., etc.
278
00:17:41,133 --> 00:17:43,733
And you are supposed to do that
in order to bring out
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00:17:44,033 --> 00:17:47,100
the best of the best
of your artistic references.
280
00:17:47,100 --> 00:17:50,166
And that is a complicated process
in your mind and in your brain.
281
00:17:50,233 --> 00:17:52,233
So I'm not spending my time.
282
00:17:52,300 --> 00:17:57,200
I'm reminded that you can activate this
racer tool by pressing C on the keyboard.
283
00:17:57,200 --> 00:17:58,366
For example, a minute
284
00:17:58,366 --> 00:18:01,100
I simply click on the racer
and I'm going to use the racer.
285
00:18:01,366 --> 00:18:05,300
But anyway, try to remember
what is this magnet tool used for?
286
00:18:05,733 --> 00:18:09,600
And also this linked tool
that allows you to select either
287
00:18:09,600 --> 00:18:12,966
the video clip or the video
and know the clips and together
288
00:18:13,166 --> 00:18:15,633
remember,
it is tool for in certain sequences
289
00:18:16,000 --> 00:18:20,633
that allows you to insert a nested clip
or the clips separately.
290
00:18:20,900 --> 00:18:24,633
Remember also the markers in this last one
and the spanner
291
00:18:24,900 --> 00:18:28,033
that allows you
to display the timeline features.
292
00:18:28,266 --> 00:18:58,433
So this lesson is up to here
and until the next one.
293
00:18:58,433 --> 00:18:59,466
Hello, people.
294
00:18:59,466 --> 00:19:03,833
One of the most important challenges
when it comes to editing movies or editing
295
00:19:03,833 --> 00:19:08,166
any other visual work is to understand
the true meaning of the images.
296
00:19:08,600 --> 00:19:11,466
In my filmmaking course,
I talk about these in depth
297
00:19:11,466 --> 00:19:14,900
semiotic lessons
where I explain how important it is.
298
00:19:14,900 --> 00:19:16,933
The figure ground concept.
299
00:19:16,933 --> 00:19:20,166
I mean, that concept that tells us
that not only the characters
300
00:19:20,166 --> 00:19:23,833
tell us about the story,
but also everything that surrounds them.
301
00:19:24,033 --> 00:19:27,666
But there is a crucial element
when it comes to understanding this.
302
00:19:28,100 --> 00:19:33,066
This element is time, time
and the image time and the contemplation.
303
00:19:33,266 --> 00:19:37,066
The problem today is how the visual world
is that everything is too fast.
304
00:19:37,233 --> 00:19:41,066
We want to communicate as fast as possible
and perhaps some some place,
305
00:19:41,066 --> 00:19:44,666
for instance, works very well
by the very nature of these platforms.
306
00:19:44,666 --> 00:19:47,166
I mean, Instagram, YouTube, Tik Tok.
307
00:19:47,700 --> 00:19:48,766
The problem is that
308
00:19:48,766 --> 00:19:52,500
cinema works differently, especially when
it comes to making quality cinema.
309
00:19:52,833 --> 00:19:54,200
That kind of movies in which
310
00:19:54,200 --> 00:19:57,966
we want to tell them things
and to be able to tell deep things.
311
00:19:58,166 --> 00:20:01,333
It's necessary that the communication
process between the author
312
00:20:01,333 --> 00:20:04,000
and the audience is accurate and correct.
313
00:20:04,466 --> 00:20:07,800
So we must always ask
the following question to ourselves.
314
00:20:08,166 --> 00:20:11,366
The audience is really understanding
what the script means,
315
00:20:11,833 --> 00:20:14,766
and in this sense,
the process of editing is fundamental
316
00:20:14,766 --> 00:20:17,633
because in that process
we are going to determine
317
00:20:17,633 --> 00:20:21,500
not only the order but also the duration
that every single shot will have.
318
00:20:21,500 --> 00:20:25,633
In the story I always use as an example
the action of taking the time
319
00:20:25,633 --> 00:20:29,366
on any clock, how long it takes you
to check the time, a brandy clock.
320
00:20:29,366 --> 00:20:31,466
I mean,
when you see the time in your clock,
321
00:20:31,566 --> 00:20:35,500
I would say the number of the 3 seconds
are taken to see the time.
322
00:20:35,500 --> 00:20:38,866
But if we see the same clock,
the same shot of the clock
323
00:20:38,866 --> 00:20:42,166
for a longer time,
it starts something else in our mind.
324
00:20:42,466 --> 00:20:46,266
We begin to question what we see
on the screen, to ask ourselves
325
00:20:46,266 --> 00:20:49,200
questions about the meaning
of what we are watching on the screen.
326
00:20:49,400 --> 00:20:52,533
And that is where things begin
to happen in our minds.
327
00:20:52,800 --> 00:20:56,966
That is where we start using the image
for another type of reading.
328
00:20:57,133 --> 00:20:58,700
I mean, the amount of time
329
00:20:58,700 --> 00:21:02,666
that an image is on the screen changes
the meaning of the image in itself.
330
00:21:03,266 --> 00:21:08,100
So since determine the duration
of an image on the screen will be our job,
331
00:21:08,266 --> 00:21:11,133
we must be prepared to understand
when necessary or not,
332
00:21:11,133 --> 00:21:12,900
when it's convenient or not.
333
00:21:12,900 --> 00:21:14,833
Stretch or squeeze a shot.
334
00:21:14,833 --> 00:21:18,666
So I will show you a short film
in which I work with my film school.
335
00:21:19,233 --> 00:21:22,000
I worked specifically to end the music,
336
00:21:22,500 --> 00:21:25,100
but the thing is
that this work has problems
337
00:21:25,100 --> 00:21:28,300
related to the creation of the shots,
but at the same time,
338
00:21:28,633 --> 00:21:31,933
there are valuable shots
precisely due to its duration.
339
00:21:32,066 --> 00:21:34,333
So let me give you
a little context of the story.
340
00:21:34,700 --> 00:21:36,866
In this short film.
341
00:21:36,866 --> 00:21:39,300
The story is about a girl
who is an actress
342
00:21:39,500 --> 00:21:43,466
who was sexually abused by someone,
but she doesn't want to say
343
00:21:43,466 --> 00:21:45,066
anything to her mother.
344
00:21:45,066 --> 00:21:46,866
The girl behaves strangely.
345
00:21:46,866 --> 00:21:48,666
She's always in a bad mood.
346
00:21:48,666 --> 00:21:51,166
But at some point in the story,
the girl's mother
347
00:21:51,266 --> 00:21:54,300
finds a sweater of her daughter
with a bloodstain.
348
00:21:54,533 --> 00:21:57,866
And finally the mother understands
that the girl suffered
349
00:21:57,866 --> 00:22:01,700
some kind of abuse and manages
to understand her daughter.
350
00:22:01,700 --> 00:22:07,066
At the end of the story,
this short film has evident
351
00:22:07,200 --> 00:22:11,533
screenwriting problems, including that,
for example, the girl is an actress
352
00:22:11,900 --> 00:22:16,633
and the spectator or the audience fails
to know that she is an actress, actually,
353
00:22:17,166 --> 00:22:21,033
because the director and the screenwriter
of this work simply use as a shot
354
00:22:21,333 --> 00:22:26,266
where there is a kind of calendar
as a mechanism to inform the audience.
355
00:22:26,266 --> 00:22:29,166
The bigger has a shooting
on a specific date,
356
00:22:29,866 --> 00:22:33,600
and that is not enough information
to understand that she's an actress.
357
00:22:34,333 --> 00:22:37,000
But pay attention
to the shot in the first place.
358
00:22:37,000 --> 00:22:40,600
The shot doesn't last enough
time to see it in detail.
359
00:22:40,933 --> 00:22:45,933
And secondly, the word shooting,
which in the calendar say is rolled
360
00:22:46,033 --> 00:22:50,100
that in Spanish is not close enough
to be properly read.
361
00:22:50,566 --> 00:22:53,866
An editor could have
perfectly solved this, for example,
362
00:22:53,866 --> 00:22:58,733
if the shot had been recorded with
enough resolution simply by zooming in
363
00:22:58,733 --> 00:23:03,800
and the shot would have been enough to get
the word shoot in the word road ahead.
364
00:23:04,233 --> 00:23:07,400
And additionally,
if the shot doesn't last long enough
365
00:23:07,500 --> 00:23:12,200
simply by taking a screenshot of the last
frame of the shot, we could lengthen
366
00:23:12,200 --> 00:23:15,800
that shot using that photo
as if it were part of the video.
367
00:23:16,600 --> 00:23:19,633
On the other hand,
at the beginning of the short film, a shot
368
00:23:19,700 --> 00:23:23,000
where we see some flowers
with cars on a table.
369
00:23:23,733 --> 00:23:27,300
It is the first shot
after seeing the gear in the bathtub.
370
00:23:27,600 --> 00:23:30,533
And I must confess
that the first time I saw that shot,
371
00:23:30,733 --> 00:23:33,866
I thought it was a coffin
with some flowers above.
372
00:23:34,100 --> 00:23:36,766
I mean, that kind of made me real flowers.
Arrangements.
373
00:23:36,766 --> 00:23:38,800
It turns out that they are congratulation
374
00:23:38,800 --> 00:23:42,966
gift for the girl
for having acted in a play.
375
00:23:42,966 --> 00:23:46,500
But actually even the traveling
of the shot to the left,
376
00:23:46,500 --> 00:23:50,000
plus the fact that we don't see
the table itself before
377
00:23:50,400 --> 00:23:53,600
the first thing that comes to your mind
is that it's a coffin.
378
00:23:53,600 --> 00:23:56,766
In addition to the order of the shot
into assembly for yields.
379
00:23:57,100 --> 00:24:00,433
I mean the short films, it begins
with a war with Gore at the beginning,
380
00:24:00,833 --> 00:24:03,733
as if she were thinking
about something deeply.
381
00:24:04,100 --> 00:24:06,533
So when you see the image of an
in long gate,
382
00:24:06,533 --> 00:24:09,766
it would object with flowers about
what do you think?
383
00:24:10,300 --> 00:24:25,033
What can you think?
384
00:24:25,033 --> 00:24:28,633
So you said that you had to realize
that the game of things because
385
00:24:29,166 --> 00:24:32,433
if in the data
there is another shot of the same table
386
00:24:32,666 --> 00:24:36,500
from a more distant point of view,
for example, where it's clear
387
00:24:36,500 --> 00:24:41,033
that is a table to the naked eye,
you are supposed to choose that take
388
00:24:41,466 --> 00:24:43,300
or to remove it.
But under the illustration of
389
00:24:46,766 --> 00:24:52,133
Columbia Girl, to look
390
00:24:52,333 --> 00:24:55,233
really? MM
391
00:25:01,433 --> 00:25:04,200
But not
everything is failing in this short film.
392
00:25:04,566 --> 00:25:09,966
For example, the last great shot
of the last scene where the mother enters
393
00:25:09,966 --> 00:25:13,800
the room and lies in front of her daughter
and observes her.
394
00:25:13,800 --> 00:25:17,733
For a long time,
both the director and the editor were able
395
00:25:17,733 --> 00:25:20,833
to take another decision,
such as you decide on their shots,
396
00:25:21,333 --> 00:25:25,000
shoulder or make cuts
to summarize the scene, for example.
397
00:25:25,300 --> 00:25:26,733
But they didn't do that.
398
00:25:26,733 --> 00:25:29,100
Simply,
the scene is long enough to allow us
399
00:25:29,100 --> 00:25:32,466
to contemplate the two characters
for a long time,
400
00:25:32,966 --> 00:25:36,900
to immerse ourselves
in the emotions in their emotions
401
00:25:36,900 --> 00:26:29,033
in a deeper way.
402
00:26:29,033 --> 00:26:32,033
So try to see all these as an example,
because it's like
403
00:26:32,033 --> 00:26:34,533
the fact of contemplating a painting.
404
00:26:35,100 --> 00:26:37,900
Let's use as an example
these minutes painting.
405
00:26:37,900 --> 00:26:39,400
Let the genius live.
406
00:26:39,400 --> 00:26:41,266
Let's suppose this is a shot.
407
00:26:41,266 --> 00:26:44,600
If the duration of this
take where 4 seconds for example,
408
00:26:45,100 --> 00:26:49,033
would that time be now to contemplate
in the background, for example,
409
00:26:49,433 --> 00:26:54,300
to notice that in the background there is
another woman who obviously is with them.
410
00:26:54,766 --> 00:26:57,500
It's enough time, 4 seconds to detail
411
00:26:57,500 --> 00:27:01,266
that there is even on a small wooden boat
in the background,
412
00:27:01,500 --> 00:27:05,966
that is surely the means of transport
by which they arrive at that place.
413
00:27:06,433 --> 00:27:10,666
Surely a magical place
where they wanted to escape, to be alone.
414
00:27:10,666 --> 00:27:21,600
Those to France with their lovers.
415
00:27:21,600 --> 00:27:26,300
So do you realize that that is the only
way to deepen the audiovisual language,
416
00:27:26,400 --> 00:27:30,300
to write, to contemplate art,
to become a real gifted artist?
417
00:27:30,300 --> 00:27:56,033
Until next lesson.
418
00:27:56,033 --> 00:27:58,500
Perfect.
We are here in the Adobe premiere.
419
00:27:58,733 --> 00:28:03,266
In this lesson, we're going to start
learning how to interpret a movie script.
420
00:28:03,333 --> 00:28:08,900
When it comes to film editing, I mean
how a screenplay looks on the screen
421
00:28:09,566 --> 00:28:13,300
and in turn, how a script page
that represents
422
00:28:13,366 --> 00:28:16,200
60 seconds in a movie also looks like.
423
00:28:16,733 --> 00:28:21,400
The tip tip is that we learn to interpret
a film script when it comes to editing,
424
00:28:21,833 --> 00:28:25,733
or at least have an idea
of what the script wants to convey.
425
00:28:26,166 --> 00:28:30,166
I'm going to divide the screen and I'm
going to show you this a scene in this way
426
00:28:30,166 --> 00:28:35,733
shot where everything is going to happen
in one single shot, and at the same time
427
00:28:35,800 --> 00:28:39,333
I'm going to read the script page
responding to this scene.
428
00:28:39,600 --> 00:28:44,766
You must also know that a screenplay page
represents 60 seconds on screen.
429
00:28:45,066 --> 00:28:48,433
But pay close attention to this lesson,
because in fact,
430
00:28:48,666 --> 00:28:51,000
it will not always be like that.
431
00:28:51,000 --> 00:28:54,300
We must be aware,
even when a script is badly written.
432
00:28:55,066 --> 00:28:58,833
So as filmmakers or editors,
we are supposed to know
433
00:28:58,833 --> 00:29:02,366
how long the actions in a film script
really last.
434
00:29:02,833 --> 00:29:03,800
This is start and
435
00:29:04,800 --> 00:29:09,300
end gave in shape day no begin to arm
hangs
436
00:29:09,300 --> 00:29:11,866
over at the edge of the bed
as he is leaps,
437
00:29:12,500 --> 00:29:14,766
an open suitcase lies on the floor.
438
00:29:15,266 --> 00:29:17,733
A music book is in the suitcase.
439
00:29:17,733 --> 00:29:22,200
A soft light illuminates the young skin
of innovation, design
440
00:29:22,833 --> 00:29:26,433
innovation
to sleep soundly on the bottom of a bank.
441
00:29:27,000 --> 00:29:31,800
He wears a green shirt and pants
that are not comfortable for sleeping.
442
00:29:32,400 --> 00:29:34,800
The sheets and pillow are very wide.
443
00:29:35,400 --> 00:29:39,366
The sounds of
some seagulls is heard in the distance.
444
00:29:39,366 --> 00:29:44,100
They seem to get closer at innovations
as a sleep, since not to be disturbed,
445
00:29:44,700 --> 00:29:48,900
the noise of the seagulls increases
and wakes up never kitchen to
446
00:29:49,633 --> 00:29:52,800
no vision to wipe sea sighs
to try to wake up.
447
00:29:53,266 --> 00:29:58,033
He seems to want to go back to sleep,
but he makes the effort to take his eyes
448
00:29:58,033 --> 00:30:02,966
off the morning light indicates
that he must get over
449
00:30:03,700 --> 00:30:06,000
the which intercedes
on the edge of the bed.
450
00:30:06,633 --> 00:30:10,566
He steals, feels tired though,
which into wipes his eyes.
451
00:30:10,566 --> 00:30:14,900
He seems to be somewhat worried,
but he makes it easy for it to muster
452
00:30:14,900 --> 00:30:20,333
the strength to finish standing app
the morning light enters through the small
453
00:30:20,333 --> 00:30:26,033
round windows, typical of a ship
from the early 20th century Norwegian.
454
00:30:26,066 --> 00:30:30,366
The finishes close in his suitcase
has already put on his shoes
455
00:30:31,000 --> 00:30:34,000
and then walks slowly
towards the cabin windows,
456
00:30:35,166 --> 00:30:36,266
approaches the cabin
457
00:30:36,266 --> 00:30:38,666
windows while he fixes his braces,
458
00:30:39,300 --> 00:30:42,400
knobby chin
to watch through one of the cabin windows.
459
00:30:42,400 --> 00:30:44,700
His seems very thoughtful.
460
00:30:44,700 --> 00:30:46,866
There are cutouts
of the walls of the cabin
461
00:30:47,200 --> 00:30:50,233
like someone who has been there
for quite some time.
462
00:30:51,066 --> 00:30:53,500
The cabin lights turn on, indicating
463
00:30:53,500 --> 00:30:55,966
that the ship
is about to dock at the dock?
464
00:30:56,500 --> 00:30:59,700
No. Seemed to realizes
that it's time to leave.
465
00:31:00,200 --> 00:31:04,400
He begins to look around to see
if he has nothing left in the cabin.
466
00:31:04,866 --> 00:31:08,066
They'll be chained
to, sees every detail and turns to a bench
467
00:31:08,400 --> 00:31:14,166
where there are some loose sheets, which
obscures the sheets and reflects deeply.
468
00:31:14,766 --> 00:31:17,533
Lubitsch into approaches
to change and sits down.
469
00:31:18,133 --> 00:31:22,600
He then takes the sheets and goes
through them one after another.
470
00:31:23,400 --> 00:31:26,366
The sheets
seems to remind him of something
471
00:31:26,600 --> 00:31:30,000
nobody center is nostalgic,
his stirs into infinity.
472
00:31:30,000 --> 00:31:31,066
Very thoughtful.
473
00:31:32,400 --> 00:31:33,400
Obviously what we
474
00:31:33,400 --> 00:31:37,600
see on the screen is always
an interpretation of a movie script,
475
00:31:38,000 --> 00:31:41,033
an interpretation
that can come from a script writer
476
00:31:41,200 --> 00:31:44,200
or can come from the film
director himself.
477
00:31:44,766 --> 00:31:49,933
In this context, a question arises,
Does this script page really belong to the
478
00:31:49,933 --> 00:31:51,900
is this in the true these
479
00:31:51,900 --> 00:31:55,800
that in general terms
that is read in the units of actions.
480
00:31:56,000 --> 00:31:59,266
It seems to be the script
that corresponds to this shot.
481
00:32:00,000 --> 00:32:02,900
However, the first thing
we should take into account
482
00:32:02,900 --> 00:32:08,466
is that these are scene the take last
almost two and a half minutes
483
00:32:08,666 --> 00:32:13,600
and we have just read this great page
which only represents 60 seconds.
484
00:32:14,133 --> 00:32:16,900
So pay attention
to the importance of this knowledge
485
00:32:17,433 --> 00:32:20,466
because we can already see
the deficiencies in the writing.
486
00:32:20,866 --> 00:32:24,266
This knowledge allows us to know
the real duration of the actions
487
00:32:24,266 --> 00:32:27,233
that are happening in the script page.
488
00:32:27,233 --> 00:32:31,533
It allows us to know how long the actions
of a character in a scene last.
489
00:32:32,033 --> 00:32:36,200
This knowledge is priceless,
and it's only possible to understand it
490
00:32:36,300 --> 00:32:41,533
through practice because in fact
we read the scene and reading it to me
491
00:32:41,533 --> 00:32:46,533
more or less the lapsed time
that is two and a half minutes.
492
00:32:46,533 --> 00:32:51,566
But try to imagine that we were 1890
pages script that has this problem.
493
00:32:51,900 --> 00:32:56,100
Then the movie would not last an hour
and half, but 3 hours
494
00:32:56,233 --> 00:32:59,866
in that it really is a problem
in terms of production.
495
00:33:00,300 --> 00:33:03,100
On the other hand,
there is an element that stands out
496
00:33:03,100 --> 00:33:06,700
above all in terms
of this written version of the script,
497
00:33:07,233 --> 00:33:11,133
and that is that a large
number of details are described
498
00:33:11,500 --> 00:33:15,600
that it's not possible to portray them,
or at least it's difficult
499
00:33:15,600 --> 00:33:17,000
to represent them.
500
00:33:17,000 --> 00:33:21,000
From the point of view of these take
the shot is a wide shot.
501
00:33:21,300 --> 00:33:23,266
Okay, Now I've only been shot.
502
00:33:23,266 --> 00:33:24,800
And what does this mean?
503
00:33:24,800 --> 00:33:28,833
It means that in reality,
the shot that we must use to tell
504
00:33:28,833 --> 00:33:31,500
what is happening in the cave
in our shoulders,
505
00:33:32,133 --> 00:33:35,366
for example, pay attention
to this line from the script.
506
00:33:35,366 --> 00:33:39,966
A soft light illuminates
the young skin of snobbish enzyme.
507
00:33:40,433 --> 00:33:43,533
It's not possible
to see this detail in the distance
508
00:33:43,933 --> 00:33:48,600
as well as the detail of the book
on the suitcase, the line where it's read
509
00:33:48,600 --> 00:33:52,166
that nobody is worried about something
in the distance.
510
00:33:52,166 --> 00:33:56,200
It's also difficult to see the details
of the no vision does face.
511
00:33:56,666 --> 00:33:59,333
What I'm trying to say
is that all these details
512
00:33:59,333 --> 00:34:02,566
are essential to be able to determine
which are the shots
513
00:34:02,566 --> 00:34:06,200
that we are going to use from the data
that the production team gave us.
514
00:34:06,900 --> 00:34:11,400
And unless there are specific instructions
for choosing which takes to use,
515
00:34:11,766 --> 00:34:15,166
we should to be able to use the script
as a guide in the script,
516
00:34:15,166 --> 00:34:19,333
suggest in its write in
which are the most appropriate takes.
517
00:34:20,033 --> 00:34:22,566
For example,
the detail of the Vicenza Psalm
518
00:34:22,566 --> 00:34:26,500
and the book on Suitcase
that could be in a single closed shot.
519
00:34:26,900 --> 00:34:29,833
So if in the data that we have
that there is a shot
520
00:34:29,833 --> 00:34:34,000
that portrays
those lines in the best way, for example,
521
00:34:34,000 --> 00:34:38,000
this closed shot,
we are supposed to choose that shot.
522
00:34:38,466 --> 00:34:41,766
So what we have to do
is select the parts of the video clip.
523
00:34:42,000 --> 00:34:45,633
Remember that
I told you how to do it earlier using the
524
00:34:45,633 --> 00:34:50,300
I and oh, the entrance
and the exit in direct defeat.
525
00:34:50,300 --> 00:34:54,266
You fragment it to the timeline.
526
00:34:54,266 --> 00:34:59,066
It's important to note that we are always
building our point of view of the script,
527
00:34:59,400 --> 00:35:03,266
but we are supposed to professionally
read the script in order to best
528
00:35:03,333 --> 00:35:04,800
represent it.
529
00:35:04,800 --> 00:35:07,466
It's pay attention
to how this shot is read,
530
00:35:07,766 --> 00:35:12,100
although here it's not exactly noticeable
that the work is in fact a music book.
531
00:35:12,633 --> 00:35:16,800
The book looks much closer in the same way
the skin of the arm of David Chin,
532
00:35:16,800 --> 00:35:19,533
though Additionally,
we can see in this shot
533
00:35:19,833 --> 00:35:22,200
what the Norwegian two clothes are like
534
00:35:22,600 --> 00:35:25,233
as well as how soundly asleep he is.
535
00:35:25,766 --> 00:35:29,600
We can even better notice
the specific white color of the pillow.
536
00:35:30,233 --> 00:35:32,666
In fact, by combining this close shot
537
00:35:32,900 --> 00:35:36,766
with a meeting shot of novitiate
on the bed, for example, in this shot
538
00:35:37,266 --> 00:35:40,500
we can see in more detail
how no which and stressed
539
00:35:40,800 --> 00:35:44,666
remember that the script tells that
now we tend to wear clothes
540
00:35:44,666 --> 00:35:47,800
that are not that comfortable at all
for sleeping.
541
00:35:48,000 --> 00:35:51,066
Additionally,
we can see more detail the paper cuts
542
00:35:51,133 --> 00:35:54,666
that are stuck on the world,
so this shot is quite useful.
543
00:35:55,000 --> 00:36:00,333
So we can then select the video fragment
that we want to use and the I and oh,
544
00:36:00,733 --> 00:36:04,266
and added to the timelines,
there is something very important
545
00:36:04,266 --> 00:36:07,533
to take into account
when it comes to mixing different shots,
546
00:36:07,866 --> 00:36:10,233
different takes of the same action.
547
00:36:10,733 --> 00:36:13,533
We must pay close attention
to the guarding actions.
548
00:36:14,133 --> 00:36:17,400
Cutting actions are those
where we were going to go from one,
549
00:36:17,400 --> 00:36:21,033
take it to another
so that it feels like you are having
550
00:36:21,033 --> 00:36:23,900
multiple cameras and set at the same time.
551
00:36:24,600 --> 00:36:27,133
For example, here to correct
your turn still worst.
552
00:36:27,133 --> 00:36:29,400
The light, in fact, is still light
553
00:36:29,400 --> 00:36:32,833
in the sound of the sequels
that the wakes up between until.
554
00:36:33,400 --> 00:36:36,200
So this action is repeated
in different shots
555
00:36:36,500 --> 00:36:39,966
and it's perfect
to generate that sensation in the montage.
556
00:36:40,433 --> 00:36:43,866
So if we turn to respect
these consecutive elements
557
00:36:43,866 --> 00:36:48,100
when it comes to moving from one
take to another, we will generate another
558
00:36:48,100 --> 00:36:52,866
narrative Meaning in video editing,
we are going to create an ellipses.
559
00:36:53,400 --> 00:36:57,133
Ellipses is a narrative leap of time
in the editing,
560
00:36:57,500 --> 00:37:01,266
and those time jumps can be short time
or a long time.
561
00:37:01,666 --> 00:37:05,900
In any case, we will see that a specific
element later in another lesson.
562
00:37:06,366 --> 00:37:10,300
But since this is not the case,
we must find those cartoon actions
563
00:37:10,600 --> 00:37:14,133
that allow me to properly
join one shot with another.
564
00:37:15,500 --> 00:37:16,133
Now I'm
565
00:37:16,133 --> 00:37:19,866
going to look for another take to continue
building the scene.
566
00:37:19,866 --> 00:37:23,500
In this case, I'm going to use the action
of putting on the bullets
567
00:37:24,100 --> 00:37:28,200
as I cut action to be able to properly
combine the two takes.
568
00:37:29,066 --> 00:37:32,400
So as I told you,
we are going to select the video fragment
569
00:37:32,533 --> 00:37:35,233
that we want with the eye and oh,
570
00:37:35,433 --> 00:37:45,900
and then drag that video to the time line.
571
00:37:45,900 --> 00:37:48,100
So look at how the cutting action looks.
572
00:37:48,433 --> 00:37:50,333
Creating the sensation
573
00:37:50,333 --> 00:37:53,866
that there are several
cameras in the scene is very important.
574
00:37:53,866 --> 00:37:59,733
It is so to the extent that with balance
in the editing of a specific script,
575
00:38:00,066 --> 00:38:03,000
we are going to discover things
from the Datsun, things
576
00:38:03,000 --> 00:38:06,300
that Indian will allow us
to enrich the editing.
577
00:38:06,533 --> 00:38:09,400
For example, in this script
there is an important description.
578
00:38:10,000 --> 00:38:13,700
The morning light enters
through small round windows.
579
00:38:13,700 --> 00:38:17,466
Typical of a ship
from the early 20th century.
580
00:38:18,000 --> 00:38:21,666
Despite the fact that this detail
can be seen in the general shot
581
00:38:22,100 --> 00:38:26,666
in the script that is written
separately in a small paragraph
582
00:38:26,833 --> 00:38:31,566
which suggests that this shot
is a specific shot for dead or dead.
583
00:38:31,566 --> 00:38:35,100
Some details of that element of mass
be seen.
584
00:38:35,533 --> 00:38:39,433
So I'm going to create a space here
between the shots that we have added
585
00:38:39,433 --> 00:38:43,300
to the timeline
to try to add a shot of the windows.
586
00:38:43,300 --> 00:38:47,100
We attention now to this
in one of the shots that was recorded.
587
00:38:47,333 --> 00:38:51,733
Now we can do is sit in reflecting on
the music sheets that he's reviewing.
588
00:38:52,300 --> 00:38:56,100
But if we realize at the end of the shot,
Norwegian distance
589
00:38:56,133 --> 00:38:59,700
out in practically leaves
the windows exposed
590
00:39:00,166 --> 00:39:03,000
as if it were a shot of the windows.
591
00:39:03,000 --> 00:39:06,566
So we can use those seconds
where navigation does not seen
592
00:39:06,833 --> 00:39:08,533
as if it were a take.
593
00:39:08,533 --> 00:39:12,833
I call these taking shots of the shots
themselves.
594
00:39:12,833 --> 00:39:15,833
The interesting thing about this
is that it forces
595
00:39:15,833 --> 00:39:18,966
us to also create a connection
with the other shots.
596
00:39:19,500 --> 00:39:23,400
So there we must also find a cut in action
that help us to combine
597
00:39:23,400 --> 00:39:24,766
the shot with the others.
598
00:39:25,833 --> 00:39:28,733
For example, there is a moment
where now between two turns
599
00:39:28,733 --> 00:39:33,233
still worst at windows,
so that could be the cut action perfectly.
600
00:39:33,466 --> 00:39:36,200
Remember that
a natural action of the character
601
00:39:36,533 --> 00:39:40,566
he turns still worst light
because the light is what walking up
602
00:39:41,000 --> 00:39:44,666
beside that It's the connection
of the character with the outside.
603
00:39:45,133 --> 00:39:48,100
So this little window shot is crucial.
604
00:39:48,400 --> 00:39:52,100
It allows me to describe the space
in more detail.
605
00:39:52,100 --> 00:39:55,533
It's necessary that we compare
all the information that we perceive
606
00:39:55,533 --> 00:39:56,933
in a close shot
607
00:39:56,933 --> 00:40:01,466
with respect to that first general shot
that we saw at the beginning.
608
00:40:01,466 --> 00:40:05,700
The reading of this shot is
very important, and only by comparing them
609
00:40:05,700 --> 00:40:09,533
can we feel how the information reaches us
in a better way.
610
00:40:09,933 --> 00:40:13,033
Pay attention that even though it's
the same action that is,
611
00:40:13,033 --> 00:40:16,566
the action units are contained
both in the close shots
612
00:40:16,866 --> 00:40:20,100
and in this general shot,
the reading is different.
613
00:40:20,700 --> 00:40:24,200
So this is very important to take
into account when it comes to editing
614
00:40:24,200 --> 00:40:28,200
because there are details
that cannot be shown in an open shot.
615
00:40:28,566 --> 00:40:32,166
But the most important thing is that
there is not a one single way to do it,
616
00:40:32,600 --> 00:40:36,600
simply that we must be open
to find in creative possibilities
617
00:40:36,933 --> 00:40:39,800
within the data
that the production team, gypsies
618
00:40:40,433 --> 00:40:43,933
and, especially since many of you
come from my screenwriting course,
619
00:40:44,300 --> 00:40:47,700
and this is another great example
to see what a screenplay
620
00:40:47,700 --> 00:40:49,600
really looks like on screen.
621
00:40:49,600 --> 00:40:54,400
And I would say that it's one of the most
difficult challenges for a screenwriter.
622
00:40:54,933 --> 00:40:58,300
The most valuable thing about this
knowledge is that many times
623
00:40:58,300 --> 00:41:03,000
they will give us projects that don't even
have a formally written script,
624
00:41:03,333 --> 00:41:07,400
but instead they recorded a story
with some back a guide,
625
00:41:07,666 --> 00:41:10,466
and we must build a story in the editing
so we would
626
00:41:10,466 --> 00:41:13,233
practically be writing the story
ourselves.
627
00:41:13,566 --> 00:41:15,900
Well, let's continue with this example.
628
00:41:16,333 --> 00:41:20,600
Let's pay attention to the last paragraph
where the following is read.
629
00:41:21,500 --> 00:41:24,266
Nobody approaches the bench and sits down.
630
00:41:24,800 --> 00:41:28,866
He then takes the sheets and goes
through them one after another.
631
00:41:29,300 --> 00:41:32,566
The music seems to remind him of something
632
00:41:32,966 --> 00:41:36,700
no bitchin doing systematic
he is stirs into infinity.
633
00:41:36,733 --> 00:41:38,366
Very thoughtful.
634
00:41:38,366 --> 00:41:43,066
So in this wide shot an object is seen
looking at the music sheets.
635
00:41:43,633 --> 00:41:45,333
But can we really see that now?
636
00:41:45,333 --> 00:41:49,566
Bitchin is thinking deeply
about what he's seeing The truth
637
00:41:49,566 --> 00:41:52,600
is that in the opening shot
we only see the character
638
00:41:52,600 --> 00:41:56,033
reading the pages,
but we don't see his face in detail.
639
00:41:56,200 --> 00:41:58,700
But look now at this shot here.
640
00:41:58,700 --> 00:42:03,300
We can see the face close enough to
represent what is written in the script.
641
00:42:03,833 --> 00:42:07,200
Here you're seeing the face up close,
and there is no doubt
642
00:42:07,466 --> 00:42:10,533
that now we can do
is thoughtful in affected by what
643
00:42:10,533 --> 00:42:14,500
he sees on the pages
so we can do exactly the same.
644
00:42:14,533 --> 00:42:18,433
We are going to select a cross section
of video that we want to add it
645
00:42:18,500 --> 00:42:21,933
to the timeline
and be able to better described
646
00:42:22,166 --> 00:42:27,600
that emotion that is read in the script.
647
00:42:27,600 --> 00:42:30,333
And in the same way
we must find the cut action set.
648
00:42:30,333 --> 00:42:32,966
It looks very well mixed with the other
shots,
649
00:42:33,433 --> 00:42:36,566
the attention to each of the movements
in the performance
650
00:42:37,166 --> 00:42:40,000
so that ellipsis does occur
in the editing.
651
00:42:40,333 --> 00:42:43,666
Remember that ellipsis is
something that we will see later on.
652
00:42:44,733 --> 00:42:47,166
For example, we can use any of the moments
653
00:42:47,166 --> 00:42:50,300
we're now
we tend to relaxes this head back
654
00:42:51,600 --> 00:42:54,866
associated works of this nature
over and over again.
655
00:42:54,966 --> 00:42:56,733
You will develop a sensitivity
656
00:42:56,733 --> 00:43:00,933
to editing because your brain
will automatically read into shots.
657
00:43:00,933 --> 00:43:08,233
In this way.
658
00:43:08,233 --> 00:43:12,300
So now we can notice that the character
is thinking about to something
659
00:43:12,600 --> 00:43:16,333
he's leaving something
because we are seeing him on the screen.
660
00:43:16,700 --> 00:43:19,800
What is not seen on the screen
doesn't exist.
661
00:43:20,400 --> 00:43:23,366
This is a basic principle of film writing.
662
00:43:23,566 --> 00:43:26,800
If we are not seeing or hearing
something doesn't exist.
663
00:43:27,300 --> 00:43:30,133
But let's suppose that we wanted
to represent this.
664
00:43:30,133 --> 00:43:35,233
A script with a single sequence shot
so the camera would have to travel
665
00:43:35,233 --> 00:43:39,433
through each of the details
in a kind of traveling with a Steadicam
666
00:43:39,533 --> 00:43:43,166
that would allow us to see the details
that are written in the script.
667
00:43:43,300 --> 00:43:47,466
So that would be something very different
from the general shot that I showed
668
00:43:47,466 --> 00:43:50,866
you at the beginning,
where we cannot see close details.
669
00:43:51,266 --> 00:43:53,833
Let's see it one more time to analyze it.
670
00:43:54,466 --> 00:43:59,133
You already realize that, first of all,
the small details are not feasible.
671
00:43:59,400 --> 00:44:01,000
Secondly, it's important
672
00:44:01,000 --> 00:44:04,600
that we know what a script
belonging to this shot would be like.
673
00:44:05,200 --> 00:44:07,833
I mean, in order to have chosen this shot
674
00:44:07,833 --> 00:44:10,666
instead of the composition
with different shots
675
00:44:11,100 --> 00:44:13,166
that describe the details, etc.,
676
00:44:13,700 --> 00:44:16,200
the script had to have another nature.
677
00:44:16,200 --> 00:44:20,733
First of all, the first thing is
that the paragraphs would be much longer
678
00:44:21,300 --> 00:44:22,933
when the paragraphs are long,
679
00:44:22,933 --> 00:44:26,400
the writer is suggesting us
to make a few cuts as possible.
680
00:44:26,700 --> 00:44:30,700
On the other hand, obviously
there would be no detailed descriptions
681
00:44:30,700 --> 00:44:34,933
of the objects, but a general description
of the actions in time.
682
00:44:35,900 --> 00:44:36,866
On the other hand, the
683
00:44:36,866 --> 00:44:41,100
scripts are written in the actions unit
each period in continue
684
00:44:41,100 --> 00:44:45,066
it is a different action
or a different element to describe.
685
00:44:45,500 --> 00:44:48,266
Additionally,
although the ellipses almost always
686
00:44:48,266 --> 00:44:52,033
of course in that jump from one paragraph
to another with a full stop,
687
00:44:52,533 --> 00:44:55,466
there are not always time
jumps in full stops.
688
00:44:55,966 --> 00:45:00,500
Sometimes these forces are simply made
to consume pages in the script
689
00:45:00,866 --> 00:45:05,400
and indicate to the production team
that the scene last for a specific time,
690
00:45:05,700 --> 00:45:08,433
especially when they are expert writers
691
00:45:08,600 --> 00:45:11,466
who really know
how long human actions last.
692
00:45:12,000 --> 00:45:14,466
So take these into account
so that you know how
693
00:45:14,466 --> 00:45:17,666
to interpret
the scripts that are presented to you.
694
00:45:17,866 --> 00:45:21,366
And unless the director himself
has other instructions,
695
00:45:21,666 --> 00:45:24,866
we must follow what the script is
suggesting to us.
696
00:45:25,500 --> 00:45:29,033
On the other hand, film directors
generally make a new version
697
00:45:29,033 --> 00:45:33,366
of the script, especially
when the film director is not the writer.
698
00:45:34,000 --> 00:45:39,000
But even if the same director is
the writer, there are always modifications
699
00:45:39,000 --> 00:45:43,133
because the scripts are always
in a constant process of improvement
700
00:45:43,733 --> 00:45:46,933
until the end,
until the last editing stage.
701
00:45:47,633 --> 00:45:51,800
So it's important, if he prefers it, that
there is an effective communication
702
00:45:51,800 --> 00:45:57,633
process between the film director
into editor of the film or the short film.
703
00:45:58,366 --> 00:46:00,800
So I'm going to leave you the two versions
704
00:46:00,800 --> 00:46:05,566
of these scenes in two PDF files
so that you can review them
705
00:46:05,566 --> 00:46:09,733
and get to know what a movie
script page really looks like.
706
00:46:09,733 --> 00:46:11,900
So that is for this lesson.
707
00:46:11,900 --> 00:46:45,133
And until the next one, Perfect.
708
00:46:45,300 --> 00:46:47,500
We are here again in the topic premiere.
709
00:46:48,033 --> 00:46:50,433
What the purpose of this lesson.
710
00:46:50,700 --> 00:46:51,733
I want to show you
711
00:46:51,733 --> 00:46:55,400
what the ellipses is about
so that you can use this narrative tool.
712
00:46:55,800 --> 00:47:00,500
Whether you are editing a short
film, movie, a video or any stuff,
713
00:47:01,100 --> 00:47:03,666
because in fact it's a tool
that can be used even
714
00:47:03,666 --> 00:47:06,733
in videos for social networks
can mean those videos
715
00:47:06,733 --> 00:47:11,100
for TikTok or Instagram,
whose purpose is to tell a story.
716
00:47:11,366 --> 00:47:15,433
So I had told you that ellipsis is a time
jump in the narration
717
00:47:15,700 --> 00:47:19,366
whose purpose is to be able
to summarize a story because obviously
718
00:47:19,366 --> 00:47:22,133
the time of now do
these sorties is limited
719
00:47:22,400 --> 00:47:25,266
and sometimes
we want to tell a longer story,
720
00:47:25,266 --> 00:47:29,600
I mean, longer than the video,
because if we want to tell
721
00:47:29,600 --> 00:47:33,266
a story of a person
who lived 50 years, for example,
722
00:47:33,266 --> 00:47:36,900
we didn't have 50 years to tell it,
then we need to collect
723
00:47:36,933 --> 00:47:40,200
the most important moments
to tell those 15 years.
724
00:47:41,100 --> 00:47:43,233
So I'm going to use this same example.
725
00:47:43,233 --> 00:47:46,366
We are editing the which
into in the ship's cabin.
726
00:47:47,100 --> 00:47:51,200
So we can notice that
there is a mini story behind the scene.
727
00:47:51,533 --> 00:47:55,066
I mean, the which Indra
is lying in the bed and then he wakes up,
728
00:47:55,466 --> 00:47:59,466
then he checks the music book,
then he gets up and walks
729
00:47:59,466 --> 00:48:02,033
to the window, etc., etc..
730
00:48:02,033 --> 00:48:08,000
But all these shots we are watching
in this montage have, a continuity
731
00:48:08,133 --> 00:48:13,600
that is they are explicitly connected
to each other, directly connected in time.
732
00:48:13,933 --> 00:48:17,500
Actually, I mentioned that
there were certain cartoon actions
733
00:48:17,766 --> 00:48:20,700
such as when I begin
to turn towards the light.
734
00:48:21,366 --> 00:48:24,600
That is important
because there were two shots in a row
735
00:48:24,966 --> 00:48:28,800
and also the action of Putin on his
is very important.
736
00:48:29,233 --> 00:48:32,600
Also when he looks towards the windows,
well, he is seated.
737
00:48:33,000 --> 00:48:37,366
There is an explicit continuity
in the Haldeman's edge and in that sense,
738
00:48:37,366 --> 00:48:42,233
a sensation is created as if there were
several cameras on the shooting set.
739
00:48:42,833 --> 00:48:45,766
But what would happen
if I eliminate that connection
740
00:48:45,766 --> 00:48:49,166
that it seems to be in one shot,
in another, that connection
741
00:48:49,166 --> 00:48:52,166
that generates continuity,
that continuity,
742
00:48:52,600 --> 00:48:54,900
I mean, that I choose some random shots
743
00:48:55,200 --> 00:48:57,900
in the scene inputs in one after another
744
00:48:58,233 --> 00:49:01,366
by doing that
and the narrative becomes something else.
745
00:49:01,666 --> 00:49:05,733
And usually the ellipsis appears
because it reads as if there are narrative
746
00:49:05,733 --> 00:49:09,566
timestamps between what is happening in
one shot in another.
747
00:49:09,666 --> 00:49:13,800
So I'm going to show you a piece of man
dictionary just doing this
748
00:49:14,166 --> 00:49:17,033
that is altering
the continuity of actions.
749
00:49:17,466 --> 00:49:20,233
I'm going to show you where I read
the script
750
00:49:20,266 --> 00:49:22,900
corresponding to those narrative elements,
751
00:49:23,433 --> 00:49:26,533
and I'm going to show you
how it's written right from this moment.
752
00:49:26,533 --> 00:49:27,766
We're now begin to begins
753
00:49:27,766 --> 00:49:31,700
to look around to make sure
that he has not forgotten anything.
754
00:49:32,300 --> 00:49:34,833
And let me mention
that he had added some music to it
755
00:49:34,833 --> 00:49:39,033
to even enhance this,
which in two begins to look around
756
00:49:39,033 --> 00:49:42,500
to make sure he hasn't forgotten
anything in the cabin.
757
00:49:42,766 --> 00:49:46,266
There'll be a sentence
laying underbank reading his music book,
758
00:49:46,266 --> 00:49:49,600
The Witch, into walks from one side
to the other in the cabin.
759
00:49:49,966 --> 00:49:53,300
We tend to sit it on the bench
reading some music sheet
760
00:49:53,633 --> 00:49:57,466
that we tend to sit in, and the bank
he proposes as he thinks deeply
761
00:49:57,666 --> 00:50:03,100
that we tend to sit in on the bench
reviewing the music sheets.
762
00:50:03,100 --> 00:50:06,900
So as you can notice in the script,
each of the final actions
763
00:50:06,900 --> 00:50:10,433
are written in a single small paragraph
because the script
764
00:50:10,433 --> 00:50:13,200
is telling us
that they are different action units.
765
00:50:13,500 --> 00:50:16,933
This is typical of ellipsis,
but that is not enough.
766
00:50:17,133 --> 00:50:20,900
Rather than your actions
that don't have an explicit connection
767
00:50:20,900 --> 00:50:26,466
with the other, I read a connection
in Generation Dad means time jumps
768
00:50:26,800 --> 00:50:31,900
and those time jumps are the leap sees Amy
and this set of different actions.
769
00:50:31,900 --> 00:50:35,400
So one after another indicates
that more time has elapsed
770
00:50:35,766 --> 00:50:38,266
than what we are seeing
directly in the film.
771
00:50:38,800 --> 00:50:41,266
Obviously, this is not done randomly.
772
00:50:41,466 --> 00:50:43,400
That is, there is a context
773
00:50:43,400 --> 00:50:47,033
where we see the characters
in a sort of wait in the cabin
774
00:50:47,333 --> 00:50:50,866
and then we see that set of units
of different actions.
775
00:50:51,566 --> 00:50:54,233
I mean, if different shots
one after another,
776
00:50:54,466 --> 00:50:58,266
in that context of waiting in the cabin,
help us understand
777
00:50:58,366 --> 00:51:02,600
that the differing shots in a role
represent the passing of time.
778
00:51:03,233 --> 00:51:06,600
For example, try to imagine that
the character could be changing clothes,
779
00:51:06,866 --> 00:51:11,600
exercising different actions
one after another in that will represent
780
00:51:11,600 --> 00:51:15,566
the passage of time, not to mention
that the lighting in each shot
781
00:51:15,566 --> 00:51:19,100
could change to represent
different moments of the day.
782
00:51:19,533 --> 00:51:21,833
But that would be even more explicit.
783
00:51:21,833 --> 00:51:23,100
I suppose that you have seen
784
00:51:23,100 --> 00:51:25,166
these in movies and this is that in there
785
00:51:25,166 --> 00:51:29,100
it's a device that leaps is in fact
the character could be doing other things,
786
00:51:29,100 --> 00:51:33,633
perhaps thinking here in the cabin,
then having dinner with his mother,
787
00:51:34,033 --> 00:51:37,233
then on public transport,
etc., for example.
788
00:51:37,666 --> 00:51:38,866
We could do that.
789
00:51:38,866 --> 00:51:41,433
But of course
we must give a slight previous
790
00:51:41,433 --> 00:51:44,133
context that justifies all those moments.
791
00:51:44,700 --> 00:51:49,100
So everything will depend on the context
in which the editing is made and obviously
792
00:51:49,100 --> 00:51:52,000
on the information that the viewer
has before seeing the scene.
793
00:51:52,766 --> 00:51:54,900
But in general terms,
that LEAP says assist.
794
00:51:55,200 --> 00:51:57,166
It's those spirits at the time.
795
00:51:57,166 --> 00:52:02,100
Another perfect example would be when
a girl is getting ready to go to a party,
796
00:52:02,333 --> 00:52:06,400
she's bathing and then put a make up
and then dressing, etc.
797
00:52:06,833 --> 00:52:09,100
Their time is Besson.
798
00:52:09,100 --> 00:52:11,600
So as I told you, it's
a very good strategy
799
00:52:11,600 --> 00:52:15,333
to tell these stories
in all current communication formats.
800
00:52:15,833 --> 00:52:19,266
But on the other hand, if it were the case
that you cannot give the viewer
801
00:52:19,266 --> 00:52:23,266
prior information that makes them
understand that the different shots
802
00:52:23,266 --> 00:52:27,633
or actions represent the passage of time,
we could add a voiceover
803
00:52:27,633 --> 00:52:31,300
that would allow us to finish
understanding that time is passing.
804
00:52:31,700 --> 00:52:35,600
So I'm going to show you the same scene,
but with a voiceover, a the character
805
00:52:35,600 --> 00:52:39,133
with thinking about things in his mind
while time passes.
806
00:52:39,733 --> 00:52:42,666
So it would be an extra tool
that you could add when it comes
807
00:52:42,666 --> 00:52:50,266
to making montage with ellipses.
808
00:52:50,266 --> 00:52:54,300
The hours passed like the wind passes
over to Iraq without asking,
809
00:52:55,300 --> 00:52:55,933
but it was at
810
00:52:55,933 --> 00:52:59,433
that precise moment he understood
the life was already giving me
811
00:52:59,433 --> 00:53:03,800
another chance, and I could
in a state in the same place anymore.
812
00:53:04,733 --> 00:53:07,266
There was nothing else to wait for
813
00:53:07,266 --> 00:53:12,100
but to follow that voice inside of me.
814
00:53:12,100 --> 00:53:13,700
Did you realize the difference?
815
00:53:13,700 --> 00:53:17,533
The voice is helping you understand
the fact that he is waiting.
816
00:53:17,900 --> 00:53:21,000
Obviously this is explicit,
but true to mind
817
00:53:21,000 --> 00:53:24,000
in a scene where each of the actions
were really different
818
00:53:24,466 --> 00:53:28,266
then the voice could really help
us understand the whole sequence.
819
00:53:29,233 --> 00:53:32,533
So I'm going to give you
an example of a scene from the movie
820
00:53:32,533 --> 00:53:36,033
Benjamin Button,
where this narrative is strategy.
821
00:53:36,033 --> 00:53:36,600
It is there.
822
00:53:36,600 --> 00:53:40,833
It's a device used to tell
the passing of time in the story
823
00:53:41,400 --> 00:53:44,733
of course,
the scene is embellished with a voiceover.
824
00:53:45,233 --> 00:54:03,733
So until the next lesson,
825
00:54:03,733 --> 00:54:07,400
it's running back.
826
00:54:07,400 --> 00:54:10,600
And maybe that's way.
827
00:54:10,600 --> 00:54:13,800
So that's perhaps the voice that we lost
in the war might stand and come home
828
00:54:13,800 --> 00:54:19,900
again, home to phone
829
00:54:21,500 --> 00:54:24,300
work.
830
00:54:24,300 --> 00:54:26,066
Our children
831
00:54:29,233 --> 00:54:30,300
to live long,
832
00:54:30,300 --> 00:54:34,933
full lives.
833
00:54:34,933 --> 00:54:46,200
Perhaps my own son might come home again.
834
00:54:46,200 --> 00:54:50,400
I'm sorry to offend anybody.
835
00:54:50,400 --> 00:54:52,766
I hope you enjoy my clock
836
00:54:53,666 --> 00:54:54,033
first.
837
00:54:54,033 --> 00:54:55,133
Okay?
838
00:54:55,800 --> 00:54:58,500
Yeah, he did. Gave
839
00:55:01,666 --> 00:55:06,100
some say died of a broken heart.
840
00:55:07,833 --> 00:55:40,333
Some say he went to see.
841
00:55:40,333 --> 00:55:41,400
Hello, everyone.
842
00:55:41,400 --> 00:55:42,166
You're here again.
843
00:55:42,166 --> 00:55:46,266
I had added to the premiere
the reunion fliers of the came around
844
00:55:46,766 --> 00:55:49,366
those files
corresponding to one of the recordings,
845
00:55:49,366 --> 00:55:51,166
which we are going to work with.
846
00:55:51,166 --> 00:55:54,300
So what we are going to do in this
lesson is to create the proxies
847
00:55:54,533 --> 00:55:57,733
which are kind of two files
that will allow me to work
848
00:55:57,733 --> 00:56:02,000
with the original files of the camera,
those files without compression.
849
00:56:02,233 --> 00:56:06,233
But proxies allow me to improve workflow
and computer performance.
850
00:56:06,833 --> 00:56:08,766
So we are going to create the proxies
851
00:56:08,766 --> 00:56:12,200
if any of these folders
that have the original files.
852
00:56:12,666 --> 00:56:16,100
So what we have to do
is select all the files inside the folder.
853
00:56:16,533 --> 00:56:18,700
You can choose all of them
at the same time.
854
00:56:18,700 --> 00:56:23,100
In fact, it's the most recommended option,
obviously, because we want to use them
855
00:56:23,100 --> 00:56:26,933
all, then we select them and press
to right mouse button and go
856
00:56:26,933 --> 00:56:31,500
to where it reads proxy,
and then we click on Create Proxies.
857
00:56:31,766 --> 00:56:36,200
So this window will immediately open where
we are going to choose General Presets.
858
00:56:36,400 --> 00:56:38,566
And here we are going to have two options.
859
00:56:38,566 --> 00:56:44,800
The first one is the option
to create MP for files in H 264 format
860
00:56:45,066 --> 00:56:49,800
and just below in this tab we can choose
how much compression we want in that file.
861
00:56:50,100 --> 00:56:52,600
There are three options
high, medium and low,
862
00:56:53,200 --> 00:56:56,466
but also we have the option
of choosing quicktime format
863
00:56:56,633 --> 00:57:01,566
I mean mov files and this option
compresses the files in breast quality.
864
00:57:01,900 --> 00:57:06,000
Perez is a professional uncompressed
format with enough quality,
865
00:57:06,000 --> 00:57:09,600
but less than an original uncompressed
file from the camera.
866
00:57:09,933 --> 00:57:11,866
Actually, sometimes the film camera
867
00:57:11,866 --> 00:57:15,300
even has the option
of recording in a press format.
868
00:57:15,700 --> 00:57:18,400
But the truth is that
in that press format,
869
00:57:18,700 --> 00:57:22,400
there are options with higher resolution
and with less resolution.
870
00:57:22,400 --> 00:57:27,366
It means that even if the original
are impressed, we can create proxies
871
00:57:27,500 --> 00:57:31,233
but with less resolution
that allows me to have a good workflow
872
00:57:31,233 --> 00:57:35,566
without sacrificing
so much quality on the programs monitor.
873
00:57:35,700 --> 00:57:40,533
But I highly recommend
you always choose the and before age 264
874
00:57:40,533 --> 00:57:43,666
in any of these three versions,
because it's the one
875
00:57:43,833 --> 00:57:47,433
that will give you
the best performance in this part.
876
00:57:47,433 --> 00:57:50,033
Below,
you will be able to choose the location
877
00:57:50,033 --> 00:57:52,833
where you want
all those proxy files to be saved.
878
00:57:53,400 --> 00:57:57,766
You can choose the place
you want by press in the Browse button,
879
00:57:58,700 --> 00:58:03,866
so a search engine will simply open
where you can choose the folder you want.
880
00:58:03,866 --> 00:58:07,033
I highly recommend
you always save it in a folder near where
881
00:58:07,033 --> 00:58:10,833
the original files are to improve
the performance of the computer
882
00:58:10,833 --> 00:58:14,433
because the computer will search a certain
part of the hard drive.
883
00:58:14,866 --> 00:58:18,966
Therefore, if those files are closed,
the computer will take less time
884
00:58:18,966 --> 00:58:20,133
to connect them.
885
00:58:20,133 --> 00:58:22,300
Are you already selected
a specific folder?
886
00:58:22,300 --> 00:58:26,533
But in fact the software has the option
of directly creating a folder
887
00:58:26,533 --> 00:58:31,133
next to the original folder
for that very reason that I'm telling you.
888
00:58:31,600 --> 00:58:35,333
So if you want to do it
automatically simply select the option
889
00:58:35,333 --> 00:58:38,366
that is just above and as it a proxy
890
00:58:38,366 --> 00:58:42,733
folder will be automatically created
next to the original folder.
891
00:58:43,766 --> 00:58:45,666
So once we have chosen all
892
00:58:45,666 --> 00:58:48,433
the specifications we want,
we simply have to press.
893
00:58:48,433 --> 00:58:49,700
Okay.
894
00:58:49,700 --> 00:58:53,633
And immediately the Adobe made
the encoder, which software will open?
895
00:58:53,966 --> 00:58:57,600
It's important to mention
that you should have the entire DOP suite,
896
00:58:57,900 --> 00:59:03,866
but if you have the premiere
and the made in go, there is enough.
897
00:59:03,866 --> 00:59:08,333
So once the Adobe made encoder opens,
it will start creating proxy files
898
00:59:08,400 --> 00:59:09,800
in the background.
899
00:59:09,800 --> 00:59:13,700
The truth is that this process consumes
a lot of computing resources.
900
00:59:14,000 --> 00:59:17,666
The meeting coder is supposed
to work in the background, but in reality,
901
00:59:17,666 --> 00:59:19,800
unless your computer is very powerful,
902
00:59:20,166 --> 00:59:23,266
you will have to wait for the proxy files
to be created.
903
00:59:23,966 --> 00:59:28,533
So this message appears to me here,
because I already created the proxy files.
904
00:59:28,633 --> 00:59:31,933
So I'm simply going to stop
and the creation of the files.
905
00:59:32,400 --> 00:59:36,300
But anyway, you just have to wait
for all the files to be created.
906
00:59:36,700 --> 00:59:41,066
And once all the files are created,
you just have to close the adobe.
907
00:59:41,100 --> 00:59:44,700
Mary Ann Colter
So when's the meeting or the race closed
908
00:59:44,700 --> 00:59:48,166
and the camera files are ready
connected to the proxy files.
909
00:59:48,566 --> 00:59:51,433
But anyway,
if by chance they are disconnected,
910
00:59:51,433 --> 00:59:55,433
you simply have to go to the proxy tab
and click on attach proxies.
911
00:59:55,700 --> 01:00:00,033
So this message appears to me,
because I had already created the proxies
912
01:00:00,033 --> 01:00:04,600
and I created them again, but I already
have them created in that folder.
913
01:00:05,133 --> 01:00:08,800
But after doing all this,
you must activate this button.
914
01:00:09,100 --> 01:00:13,733
Toggled Proxies in the program monitor
that allows me to finally connect
915
01:00:13,733 --> 01:00:18,066
the proxies to the program monitor,
which is what really matters.
916
01:00:18,666 --> 01:00:23,400
So the computer, every time it uses a file
that has a proxy created,
917
01:00:23,400 --> 01:00:27,900
it will use the proxy, fail to display
the image on the program's monitor.
918
01:00:28,266 --> 01:00:34,233
With a better workflow,
with better performance.
919
01:00:34,233 --> 01:00:37,800
And the best part of all these is
that we can even add effects
920
01:00:37,800 --> 01:00:40,500
to the video clips
and also use the proxies.
921
01:00:41,100 --> 01:00:45,366
Additionally, do not worry because
when you go to export the final file,
922
01:00:45,766 --> 01:00:50,933
the software will use the original files
of the camera to do the final file.
923
01:00:51,566 --> 01:00:53,000
So try to take advantage
924
01:00:53,000 --> 01:00:56,166
this tool to be able to edit
any kind of professional project,
925
01:00:56,533 --> 01:00:59,600
even if your computer
is not powerful enough
926
01:01:00,033 --> 01:01:33,300
until the next lesson.
927
01:01:33,300 --> 01:01:33,866
Perfect.
928
01:01:33,866 --> 01:01:37,500
What we are going to do in this lesson,
we are going to learn to use the text tool
929
01:01:37,500 --> 01:01:39,233
from the Timeline toolbar,
930
01:01:39,233 --> 01:01:42,800
but additionally we are going to learn
to make on the lines over the text,
931
01:01:42,966 --> 01:01:46,300
which is something very useful for YouTube
version, for videos,
932
01:01:46,300 --> 01:01:50,933
for social networks, and even titles
for movies and short films.
933
01:01:51,566 --> 01:01:53,500
On the other hand,
you are going to embellish
934
01:01:53,500 --> 01:01:55,866
those under the lines
with an action essential
935
01:01:56,066 --> 01:01:58,733
that I know is something
that you are going to love a lot.
936
01:01:59,333 --> 01:02:02,033
It should be noted that
although if you're going to use action
937
01:02:02,033 --> 01:02:03,600
essentials in this lesson,
938
01:02:03,600 --> 01:02:07,500
we are going to use Action essentials
in much more detail later on.
939
01:02:08,233 --> 01:02:10,433
So let's start with the text tool.
940
01:02:11,033 --> 01:02:15,966
So we simply have to select the text tool,
the T in the Timeline toolbar,
941
01:02:15,966 --> 01:02:19,900
and then go to the program manager
and click where we want the text to be.
942
01:02:20,766 --> 01:02:23,433
So I'm going to type B atelier.
943
01:02:25,266 --> 01:02:27,366
So immediately after we finish
944
01:02:27,366 --> 01:02:31,733
writing the text we want a graphic
clip is created on the timeline.
945
01:02:31,733 --> 01:02:34,700
We can stretch or squeeze
this clip as we want,
946
01:02:35,100 --> 01:02:37,733
and it's exactly the same
as if it were a video clip.
947
01:02:38,300 --> 01:02:41,633
Obviously, the only thing
visible in this clip is a text,
948
01:02:41,966 --> 01:02:46,400
and the text will be seen on the screen
as long as it is on top of any other clip.
949
01:02:46,800 --> 01:02:50,166
So we can click on this
and it will automatically open
950
01:02:50,166 --> 01:02:54,866
the general parameter in the control
panel, as if it were any other video clip.
951
01:02:55,433 --> 01:02:59,000
And obviously we can add defects we want
and they will only affect
952
01:02:59,100 --> 01:03:01,333
the text that we have here.
953
01:03:01,333 --> 01:03:02,466
But pay attention.
954
01:03:02,466 --> 01:03:03,033
In reality,
955
01:03:03,033 --> 01:03:06,700
the text that we had written is not
the only one that can be in this clip.
956
01:03:07,233 --> 01:03:11,066
I mean, we could add other text
that are inside this graphic clip
957
01:03:11,666 --> 01:03:15,000
and the individual parameters of each text
will appear in the effects
958
01:03:15,000 --> 01:03:16,566
control panel.
959
01:03:16,566 --> 01:03:19,733
So the graphic clip
would be a kind of general clip
960
01:03:19,733 --> 01:03:22,133
that can contain
all the text that we want.
961
01:03:22,600 --> 01:03:25,500
This is very important, too,
because we can add effects
962
01:03:25,500 --> 01:03:28,133
to the text in the clip separately.
963
01:03:28,600 --> 01:03:32,566
For example, if I keep the graphic
clip selected and also the timeline
964
01:03:32,566 --> 01:03:37,366
guide is on the graphic clip, if I select
the text tool, the gain in a right
965
01:03:37,600 --> 01:03:41,500
and it's in a new text
will be created within this same clip.
966
01:03:42,600 --> 01:03:45,300
So pay
attention that I have typed to my name
967
01:03:45,733 --> 01:03:48,733
and no new clip
was created in the timeline.
968
01:03:49,033 --> 01:03:52,633
But if we review the graphic clip
that we have already created,
969
01:03:52,633 --> 01:03:56,466
we will find individual configuration
tab of that new text.
970
01:03:57,000 --> 01:04:00,900
But you have to pay close attention
to a detail that has to do with this.
971
01:04:01,533 --> 01:04:03,900
You had to be careful
because you can get confused.
972
01:04:04,133 --> 01:04:05,966
It happened to me at the beginning.
973
01:04:05,966 --> 01:04:08,500
If you change the position
parameters of the clip,
974
01:04:08,800 --> 01:04:13,033
it will affect the position
of all the text that are inside it.
975
01:04:13,266 --> 01:04:16,133
It may seem logical,
but if you add the text first
976
01:04:16,133 --> 01:04:18,900
and you get movement to the clip
in the parameters, set the clip
977
01:04:19,233 --> 01:04:20,766
and not of the text.
978
01:04:20,766 --> 01:04:23,566
Then when you add another text,
you will be quite confused.
979
01:04:24,200 --> 01:04:29,033
Look how these parameters affect
two text that I have in the clip.
980
01:04:29,033 --> 01:04:33,300
So I'm going to delete this automation
that I just did on the clip.
981
01:04:33,900 --> 01:04:38,333
So if I wanted to get the movement
to one of the specific text,
982
01:04:38,333 --> 01:04:42,066
I would have to go to the individual
parameters of the text that I want
983
01:04:42,633 --> 01:04:46,900
so that it only moves that one
so we can check the parameters.
984
01:04:46,900 --> 01:04:50,933
So you can notice it and realize
that they are exactly the same.
985
01:04:51,600 --> 01:04:56,166
Obviously, this also allows us to add
effects that only affect a specific text.
986
01:04:56,766 --> 01:05:00,366
So for example
we are going to move this text bait.
987
01:05:01,766 --> 01:05:05,200
So I'm going to do exactly the same one
keyframe at the beginning
988
01:05:05,200 --> 01:05:10,933
in another little later
with two different positions respectively.
989
01:05:14,566 --> 01:05:16,700
So now you can see how only the text
990
01:05:16,700 --> 01:05:18,900
where iterates at earlier moves.
991
01:05:20,333 --> 01:05:24,100
Additionally, as you can see here,
you can change the font parameters.
992
01:05:24,600 --> 01:05:28,700
You will find all those parameters
that the usually changing word of face
993
01:05:28,700 --> 01:05:34,100
here, the separation between the letters
if it's bold or not, etc., etc.
994
01:05:35,033 --> 01:05:37,533
Obviously all the criteria of two letters
995
01:05:37,700 --> 01:05:41,700
really has to do with your style,
with the project that you're want to do.
996
01:05:42,000 --> 01:05:42,933
And on the other hand,
997
01:05:42,933 --> 01:05:46,600
you can activate or deactivate
a text that you have in the graphic clip.
998
01:05:47,500 --> 01:05:48,733
But pay attention to this.
999
01:05:48,733 --> 01:05:50,266
It's very important.
1000
01:05:50,266 --> 01:05:54,000
It's not the same that I scaled the text
using the clip parameter.
1001
01:05:54,000 --> 01:05:57,633
I mean, if I want to sum
in a specific letter, for example,
1002
01:05:57,633 --> 01:06:01,633
to make it look bigger, if I do it
with the parameters of the clip,
1003
01:06:02,000 --> 01:06:06,233
I will expose the pixels of the text
and you won't notice it
1004
01:06:06,233 --> 01:06:07,366
in the program monitor.
1005
01:06:07,366 --> 01:06:11,400
You will notice it when you export
the sequence, the end of the editing.
1006
01:06:12,000 --> 01:06:15,633
So the correct way to make the letter big
without pixelated
1007
01:06:15,900 --> 01:06:19,866
it is to increase the font size
in the text parameters.
1008
01:06:19,866 --> 01:06:22,966
I mean, make them big enough
that even approaching it
1009
01:06:22,966 --> 01:06:27,500
with the parameter of the clip or
the text itself, it doesn't get pixelated.
1010
01:06:28,133 --> 01:06:31,633
So I always recommend the font as quick
as we can
1011
01:06:32,000 --> 01:06:34,500
and zooming in or out using this scale
1012
01:06:35,033 --> 01:06:39,866
so that it always has enough resolution
and doesn't get pixelated when exported.
1013
01:06:41,000 --> 01:06:43,866
So on the other
hand, there is a very interesting effect
1014
01:06:43,866 --> 01:06:47,700
that I wanted to show you
for the letters, for the text.
1015
01:06:48,266 --> 01:06:51,600
We must go to the V effects folder
and then to generate
1016
01:06:52,100 --> 01:06:54,766
and then choose for color gradient.
1017
01:06:55,566 --> 01:07:00,033
So with React Effect emblazoned
before the text, we wanted to effect.
1018
01:07:00,033 --> 01:07:04,200
So pay attention that if I put it
below the text, it doesn't affect it.
1019
01:07:04,500 --> 01:07:07,200
It must be above the text.
1020
01:07:07,200 --> 01:07:09,433
So this effect allows me to modify
1021
01:07:09,433 --> 01:07:13,500
each of those mixed colors
that are appearing in the text.
1022
01:07:13,933 --> 01:07:17,433
There are four different ones,
and the software will generate
1023
01:07:17,433 --> 01:07:21,466
a whole range between the colors.
1024
01:07:21,466 --> 01:07:26,100
So I find this effect very nice because
you can actually automate all that change
1025
01:07:26,400 --> 01:07:31,000
and it gives our text a modern
look in a very match with the backgrounds.
1026
01:07:31,833 --> 01:07:35,333
So now we are going to move on
to the underline into action essential.
1027
01:07:36,200 --> 01:07:39,333
So to underline the text
in an animated way,
1028
01:07:39,333 --> 01:07:42,433
which is how I usually do it,
we must create a solid
1029
01:07:42,433 --> 01:07:45,533
background later,
so we must go to the general.
1030
01:07:45,566 --> 01:07:48,866
Then we click on the right mouse button,
1031
01:07:48,866 --> 01:07:51,600
we go to new item and then to color matte.
1032
01:07:52,066 --> 01:07:55,566
So this small window opens
that tells us the size of the clip
1033
01:07:55,833 --> 01:07:58,133
that will be created by default.
1034
01:07:58,133 --> 01:08:01,733
It always adapts to the size
of the sequence in which we are working.
1035
01:08:02,400 --> 01:08:06,833
So we click on okay, and then we must
choose the color that it match color with.
1036
01:08:06,833 --> 01:08:11,100
Have we click on okay again
and we put and then if we went
1037
01:08:12,066 --> 01:08:12,966
actually I have
1038
01:08:12,966 --> 01:08:16,800
already created a color matte, but
I just wanted to teach you how to do it.
1039
01:08:17,000 --> 01:08:19,400
So we must direct that clip
to the timeline.
1040
01:08:19,500 --> 01:08:24,300
That color match clip will be like
any other video clip is like a photo
1041
01:08:24,300 --> 01:08:28,200
with the difference that we can change
the color of that photo whenever we want.
1042
01:08:28,866 --> 01:08:34,133
So the next thing to do is to add a crop
effect to that color magically.
1043
01:08:34,466 --> 01:08:37,433
So we go to Transform folder
and we select crop
1044
01:08:37,433 --> 01:08:39,466
and we drag that effect to the table.
1045
01:08:39,700 --> 01:08:43,900
So once we add the defect,
we must try to create a kind of two lines
1046
01:08:44,500 --> 01:08:47,566
by using these parameters over here.
1047
01:08:47,566 --> 01:08:51,566
So since we want to do a horizontal line,
we can modify the top
1048
01:08:51,833 --> 01:08:56,900
and bottom parameters.
1049
01:08:56,900 --> 01:09:01,500
I mean, until the line is that
thick as we want, but we must also modify
1050
01:09:01,500 --> 01:09:04,600
the left and right parameters
to adapt to the length of,
1051
01:09:04,600 --> 01:09:09,666
the text.
1052
01:09:09,666 --> 01:09:12,466
So what I want to do
is not a simple lines.
1053
01:09:12,766 --> 01:09:16,866
What I want to do is make a line appears
as if it were being drawn on the screen
1054
01:09:17,233 --> 01:09:19,400
as if it were animated.
1055
01:09:19,400 --> 01:09:22,733
So we move the right parameter
until the line disappears
1056
01:09:22,900 --> 01:09:25,200
and then we add the first keyframe.
1057
01:09:25,833 --> 01:09:28,400
So now we must choose the moment or point
1058
01:09:28,400 --> 01:09:31,000
where we want
the line to end up appearing.
1059
01:09:31,666 --> 01:09:34,600
And now the line appears by itself
fully animate it.
1060
01:09:34,933 --> 01:09:36,100
And now we can change if.
1061
01:09:36,100 --> 01:09:38,666
We want it to appear faster, for example.
1062
01:09:39,266 --> 01:09:42,733
So we simply have to bring
the second keyframe closer to the first.
1063
01:09:43,033 --> 01:09:46,100
I mean that
the space between them is shorter.
1064
01:09:46,100 --> 01:09:47,500
In fact, you could play with this.
1065
01:09:47,500 --> 01:09:49,200
The line could be another way, or
1066
01:09:49,200 --> 01:09:52,833
you could make elements appear disappear
in the composition in this way.
1067
01:09:53,700 --> 01:09:56,700
But what I really wanted to teach
you guys was to combine
1068
01:09:56,700 --> 01:09:59,333
an action essential with this underline.
1069
01:09:59,700 --> 01:10:00,866
But what is an action?
1070
01:10:00,866 --> 01:10:03,866
Essential is a video
recorded with a green screen.
1071
01:10:04,200 --> 01:10:07,900
But with that green background
already removed from the video,
1072
01:10:08,266 --> 01:10:12,000
I mean, what remains in the video
is only the element that we want to use.
1073
01:10:12,366 --> 01:10:14,600
There are action essentials of all kinds.
1074
01:10:14,600 --> 01:10:17,133
Fire shoots, blade.
1075
01:10:17,466 --> 01:10:19,533
In fact, Action Essentials is the brand.
1076
01:10:19,533 --> 01:10:22,033
Actually, these are perforated videos.
1077
01:10:22,033 --> 01:10:26,000
So I'm going to add in this case,
this spark that you seeing right now.
1078
01:10:26,600 --> 01:10:29,266
So look at how the sparks
look on the video.
1079
01:10:29,700 --> 01:10:32,800
Just the spark as if it were a PDF file.
1080
01:10:33,033 --> 01:10:35,566
So imagine everything you can do
by using these.
1081
01:10:35,566 --> 01:10:39,300
In fact, later on I'm going to teach you
how to use it with a video
1082
01:10:39,333 --> 01:10:43,333
as a visual effect in a lesson
dedicated exclusively to this.
1083
01:10:43,966 --> 01:10:47,666
So In this example, what we want to do
is make the spark appear
1084
01:10:47,666 --> 01:10:50,366
at the tip of the line
as the line appears.
1085
01:10:51,133 --> 01:10:53,833
So the first thing we must do is add
that the length
1086
01:10:53,833 --> 01:10:57,666
of the spark clip to the moment
where the line begins and ends.
1087
01:10:58,766 --> 01:11:02,033
So now what we
have to do is change the size of the spark
1088
01:11:02,266 --> 01:11:06,900
and then automate its movement so that
it follows the tip of the line to the end.
1089
01:11:07,766 --> 01:11:11,366
So we go to the beginning of the clip
and we modify the scaled
1090
01:11:11,366 --> 01:11:14,966
parameter and the position parameter
to what I already mentioned,
1091
01:11:15,566 --> 01:11:24,400
that the spark matches the line.
1092
01:11:24,400 --> 01:11:27,633
I mean, the most important thing
is to have the initial position.
1093
01:11:28,000 --> 01:11:31,466
Once we have the initial position,
but we had to do so to meet
1094
01:11:31,500 --> 01:11:55,500
the horizontal movement of the spark
until the end of the line.
1095
01:11:55,500 --> 01:11:58,366
There's something very important
to note regarding keyframes.
1096
01:11:58,766 --> 01:12:02,866
Sometimes we place keyframes and
then we modify the duration of the clip.
1097
01:12:03,233 --> 01:12:04,766
I mean, we squeeze it
1098
01:12:04,766 --> 01:12:08,700
and then the keyframe is hidden from
the timeline of the effects control panel.
1099
01:12:09,133 --> 01:12:11,166
And then we don't know where it is.
1100
01:12:11,166 --> 01:12:14,366
And we have to delete all automation
to start from scratch.
1101
01:12:14,366 --> 01:12:18,600
So what we need to do is stretch the clip
again until the keyframe appears again
1102
01:12:29,033 --> 01:12:29,666
perfect.
1103
01:12:29,666 --> 01:12:32,433
We already
have our spark adapted to the line,
1104
01:12:33,000 --> 01:12:35,633
but we could also add a background
image to test
1105
01:12:35,633 --> 01:12:38,800
how everything would look
with a background that wasn't black.
1106
01:12:39,400 --> 01:12:47,933
So we can select, for example,
the picture of the universe.
1107
01:12:47,933 --> 01:12:49,866
We can darken the universe a bit.
1108
01:12:49,866 --> 01:12:52,733
We can do it
by modifying the opacity parameter.
1109
01:12:52,733 --> 01:12:58,600
For example,
1110
01:12:58,600 --> 01:13:00,600
I'm going to do a little preview, render
1111
01:13:04,733 --> 01:13:05,100
well,
1112
01:13:05,100 --> 01:13:09,033
you know how to make animated
on their lines and add an effect to this.
1113
01:13:09,366 --> 01:13:13,833
You can use all these in your videos
for presentations, movies, for videos
1114
01:13:13,833 --> 01:13:17,633
on YouTube, for whatever you want,
and it will look very professional.
1115
01:13:17,866 --> 01:13:20,966
Always remember, too,
that the gradient colors of the letters
1116
01:13:21,266 --> 01:13:25,700
to the background colors in this case
they combined the colors of the letters
1117
01:13:25,700 --> 01:13:29,100
are within the range of the background
and it looks very good.
1118
01:13:29,933 --> 01:13:34,200
But in any case, later on we will go in
greater depth with the action essentials
1119
01:13:34,500 --> 01:13:38,666
and I will leave you some perforated
videos to use in your videos.
1120
01:13:38,666 --> 01:13:42,333
I mean as far as fire, etc..
1121
01:13:42,333 --> 01:13:59,900
So this lesson is up to here
and until the next one,
1122
01:13:59,900 --> 01:14:20,100
you know, perfect.
1123
01:14:20,100 --> 01:14:23,000
We are here again,
almost finishing the module
1124
01:14:23,866 --> 01:14:27,900
in this lesson, we are going to talk
about the exportation process.
1125
01:14:27,900 --> 01:14:30,100
So this stage is quite simple.
1126
01:14:30,633 --> 01:14:33,266
I would say it is the most simple of all.
1127
01:14:33,700 --> 01:14:37,933
So obviously since you have come this far,
you have already seen that
1128
01:14:37,933 --> 01:14:41,633
there are much more complicated things
when it comes to editing.
1129
01:14:42,100 --> 01:14:47,600
So the first thing we must do
is to mark the in and out in our sequence.
1130
01:14:47,600 --> 01:14:49,466
You already know how to do it,
1131
01:14:49,466 --> 01:14:52,466
but try to make sure
that you are doing this properly.
1132
01:14:52,900 --> 01:14:55,866
So the following a step
is to go to the file tab
1133
01:14:56,200 --> 01:14:59,700
and then go to export
and then you click on media
1134
01:15:00,100 --> 01:15:02,366
and this window will be displayed.
1135
01:15:02,366 --> 01:15:06,733
And in this window
you can modify the export settings.
1136
01:15:06,733 --> 01:15:09,733
Mainly you have two ways to export files.
1137
01:15:09,733 --> 01:15:14,633
I mean two files, a compressed file
in a non compressed file.
1138
01:15:15,000 --> 01:15:16,433
Let's start with this.
1139
01:15:16,433 --> 01:15:21,033
264 This is the most famous
well known in used format.
1140
01:15:21,333 --> 01:15:25,200
It's a compressed format
and you will have two main files
1141
01:15:25,200 --> 01:15:29,800
to choose the height, weight rate per file
and the medium bitrate rate per file.
1142
01:15:30,300 --> 01:15:33,100
They bitrate rate is the amount
of information per second that
1143
01:15:33,100 --> 01:15:34,400
the video will have.
1144
01:15:34,400 --> 01:15:37,666
And even though there are these two
mainly options, you will have
1145
01:15:37,700 --> 01:15:40,866
all these options over here, these least
1146
01:15:41,100 --> 01:15:45,966
which are older files
completely adapted to different platforms.
1147
01:15:45,966 --> 01:15:51,433
There are files adapted to smartphones,
to YouTube, even Vimeo files.
1148
01:15:51,733 --> 01:15:53,700
And basically those files help
1149
01:15:53,700 --> 01:15:57,166
the video to have a better performance
in the players.
1150
01:15:57,466 --> 01:16:01,433
And the most interesting thing
is that, for example, in this mobile file,
1151
01:16:01,666 --> 01:16:05,233
the system adapts
your sequence to this format,
1152
01:16:05,233 --> 01:16:10,566
not spoiling the nature of your video
in terms of aspect to radio, for example.
1153
01:16:10,866 --> 01:16:15,100
But basically these two main options
are the most important of all.
1154
01:16:15,100 --> 01:16:17,866
But there is an important factor
when it comes to export,
1155
01:16:17,866 --> 01:16:23,466
which is the file size, and you are able
to check an estimated file size over here.
1156
01:16:23,733 --> 01:16:27,600
And with this for file is 365 megabytes.
1157
01:16:27,933 --> 01:16:30,166
And with this other profile,
these a gigabytes.
1158
01:16:30,733 --> 01:16:33,800
But actually if we check the profile
settings,
1159
01:16:33,800 --> 01:16:37,566
we can modify the bitrate
that is the most important of all.
1160
01:16:38,100 --> 01:16:40,533
So we will have these two failures here
1161
01:16:41,300 --> 01:16:44,366
or sample failures
and they move in this faders.
1162
01:16:44,366 --> 01:16:47,766
We can choose how much information
per second the video will have
1163
01:16:48,100 --> 01:16:50,700
when we are talking about compressed
formats.
1164
01:16:51,133 --> 01:16:54,500
I highly recommend you
to keep these numbers.
1165
01:16:54,500 --> 01:16:56,566
This bit rate under ten
1166
01:16:56,700 --> 01:17:00,666
because you are creating
a compressed format in that format.
1167
01:17:00,666 --> 01:17:04,266
It's supposed to have a great quality,
but also you want it
1168
01:17:04,266 --> 01:17:06,966
to be light
also and light for the players.
1169
01:17:07,333 --> 01:17:12,166
So this is a reason why I highly recommend
you to keep the beat rate under ten.
1170
01:17:12,366 --> 01:17:16,200
You can play with that,
but must know also that the compression
1171
01:17:16,200 --> 01:17:19,200
will be noticed in the dark areas
of the image.
1172
01:17:19,566 --> 01:17:22,533
Additionally,
by uncheck in these boxes over here
1173
01:17:22,533 --> 01:17:25,333
you can modify
any of rest of the parameters,
1174
01:17:25,700 --> 01:17:28,300
but I know that you will not modify these
because
1175
01:17:28,500 --> 01:17:32,000
because you have created a sequence
with a specific settings.
1176
01:17:32,133 --> 01:17:35,700
And those settings are not supposed
to be modified in the export,
1177
01:17:35,933 --> 01:17:38,200
but you can modify the audio quality,
for example.
1178
01:17:38,200 --> 01:17:42,000
That is very important
because there is also a bitrate
1179
01:17:42,100 --> 01:17:46,266
related to the audio and then once
you finish selecting the settings,
1180
01:17:46,766 --> 01:17:50,633
you must click on export in an amp before
file will be created.
1181
01:17:51,000 --> 01:17:53,800
A simple step is not that complicated,
1182
01:17:53,800 --> 01:17:56,533
but let's move on to the
and compressed format.
1183
01:17:56,900 --> 01:18:00,433
I'm going to choose the quick time,
for example, and in this case
1184
01:18:00,433 --> 01:18:04,400
it's one of the best known formats
for exporting in high resolution.
1185
01:18:04,600 --> 01:18:07,500
So in this format
you will have all these presets.
1186
01:18:07,700 --> 01:18:11,600
Actually they are not completely
and compressed because the very process
1187
01:18:11,600 --> 01:18:16,200
of creating the final files,
a kind of compression to some extent
1188
01:18:16,566 --> 01:18:19,800
I'm going to choose this apple Prores
4444.
1189
01:18:20,133 --> 01:18:23,733
It's one of the most used presets
in export settings.
1190
01:18:23,733 --> 01:18:27,933
You will have almost the same features
you find in the compressed format,
1191
01:18:28,000 --> 01:18:31,733
but you will be able to choose features
like these render
1192
01:18:31,733 --> 01:18:36,000
at maximum depth, and you can also change
the depth in terms of color.
1193
01:18:36,000 --> 01:18:39,466
You can choose eight or 16
that has more quality.
1194
01:18:39,600 --> 01:18:43,900
But let's talk about this export
color space option is related
1195
01:18:43,900 --> 01:18:48,200
to the ability to transmit information
related to color in the format.
1196
01:18:48,400 --> 01:18:52,233
It happens that nowadays
people are likely to work with formats
1197
01:18:52,233 --> 01:18:55,700
like AK or six K in the video player.
1198
01:18:55,700 --> 01:19:00,633
Some platforms that works with those
formats work with another technology,
1199
01:19:00,733 --> 01:19:04,533
a specific technology
adapted to that resolution.
1200
01:19:04,533 --> 01:19:05,933
You HD formats.
1201
01:19:05,933 --> 01:19:09,900
For example, not only work
with more resolution with more pixels,
1202
01:19:10,100 --> 01:19:14,500
but also with another kind of technology
related to the distribution of colors
1203
01:19:14,500 --> 01:19:15,900
in the image.
1204
01:19:15,900 --> 01:19:18,666
So over here
you will have three options related
1205
01:19:18,666 --> 01:19:22,633
to the transmission of information
in terms of color.
1206
01:19:22,633 --> 01:19:28,433
The first one, the 709, is
the most used profile for HD videos,
1207
01:19:28,600 --> 01:19:32,533
like the sequences
we were working with in this course.
1208
01:19:32,533 --> 01:19:37,400
But the other two options is for working
in projects in Seats key or a key
1209
01:19:37,400 --> 01:19:39,266
resolution. Additionally,
1210
01:19:39,266 --> 01:19:43,266
these two other options allows you
to reach a higher dynamic range.
1211
01:19:43,466 --> 01:19:46,833
But don't get confused with this
a higher dynamic range.
1212
01:19:46,833 --> 01:19:50,933
When you are using a high end camera,
you are not able to bring out
1213
01:19:50,933 --> 01:19:54,933
more colors of what the format of a D
SLR can generate.
1214
01:19:55,333 --> 01:19:58,100
So it's very important
to take these into account
1215
01:19:58,533 --> 01:20:01,800
because people think that these options
are like a magic wand.
1216
01:20:01,800 --> 01:20:05,700
So I highly recommend you
if you have a DSLR camera, and
1217
01:20:05,700 --> 01:20:09,866
I know that most of you
are more likely to afford a DSLR camera,
1218
01:20:10,200 --> 01:20:14,533
so I highly recommend pay attention, close
attention to the corner
1219
01:20:14,566 --> 01:20:18,366
grading and color correction
lessons of this course, because if you
1220
01:20:18,366 --> 01:20:23,133
want to make your video look like
it was recorded with a high end camera,
1221
01:20:23,600 --> 01:20:26,766
you must start by modifying
the colors of the image.
1222
01:20:27,000 --> 01:20:29,833
You are supposed to modify them
creatively.
1223
01:20:30,233 --> 01:20:35,566
I mean, the high dynamic effect is
an optical illusion, not a statement.
1224
01:20:35,866 --> 01:20:38,833
So try to make sure
you have a good cinematography,
1225
01:20:39,133 --> 01:20:42,633
a good lighting to try to bring out
the best of the best
1226
01:20:42,733 --> 01:20:45,900
from your videos.
1227
01:20:45,900 --> 01:20:49,200
Additionally,
I recommend you to check this option.
1228
01:20:49,466 --> 01:20:51,466
Use maximum render quality.
1229
01:20:51,533 --> 01:20:55,766
Actually, this option can be used
for both the and before
1230
01:20:56,100 --> 01:20:59,833
in the QuickTime format
is another option over here.
1231
01:20:59,833 --> 01:21:03,666
When it relates use previews,
it's very useful
1232
01:21:03,666 --> 01:21:06,733
when it comes to creating the file
as quick as possible
1233
01:21:06,866 --> 01:21:10,600
because the system will use all
the rendered files that you have created
1234
01:21:10,600 --> 01:21:15,566
throughout the editing to create that
final file, thereby reducing
1235
01:21:16,533 --> 01:21:18,400
the export time.
1236
01:21:18,400 --> 01:21:22,066
There's a friendly reminder
I can give you when it comes
1237
01:21:22,066 --> 01:21:25,400
to exporting the file,
and it's related to the compressed
1238
01:21:25,400 --> 01:21:30,500
format the H 264
in the hardware of your computer
1239
01:21:30,966 --> 01:21:35,400
Over here, you are able to choose
what you want to use to create that file.
1240
01:21:35,400 --> 01:21:37,566
If you want to use the integrated card
1241
01:21:37,566 --> 01:21:40,966
of your computer
or if you want to use the TPU.
1242
01:21:41,466 --> 01:21:46,000
And this is very important because crashes
are likely to happen while exporting.
1243
01:21:46,366 --> 01:21:49,000
So if you find many problems exporting,
1244
01:21:49,200 --> 01:21:51,900
I highly recommend you to choose
software encoding.
1245
01:21:52,200 --> 01:21:55,400
But if you don't, you can choose
hardware encoding.
1246
01:21:55,400 --> 01:21:57,766
It will depend on your computer
performance.
1247
01:21:58,400 --> 01:22:01,000
Another important reminder related to this
1248
01:22:01,000 --> 01:22:04,266
compressed format is the bitrate encoding.
1249
01:22:04,533 --> 01:22:08,500
These options over here are to verify
the codification of the file.
1250
01:22:08,800 --> 01:22:12,833
Where it reads to pass
means that the software will carry out
1251
01:22:12,933 --> 01:22:17,833
two verifications in order to ensure
that the file is properly created.
1252
01:22:18,366 --> 01:22:21,500
Obviously it will take more time,
but it's safer.
1253
01:22:21,500 --> 01:22:24,766
Also, golden errors are not very common.
1254
01:22:24,766 --> 01:22:26,166
They do happen.
1255
01:22:26,166 --> 01:22:28,966
So when you reach this stage
you will be ready
1256
01:22:28,966 --> 01:22:32,066
to create your filed
by clicking on export.
1257
01:22:32,933 --> 01:22:35,300
So this would be
the most important formats
1258
01:22:35,300 --> 01:22:38,733
and the ones that you should use
when trying to make an export
1259
01:22:39,300 --> 01:23:06,733
until next lesson.
1260
01:23:10,833 --> 01:23:11,766
Hello people.
1261
01:23:11,766 --> 01:23:14,600
One of the biggest challenges
when it comes to video
1262
01:23:14,600 --> 01:23:19,300
editing is spacing your footage,
especially when it comes to music videos.
1263
01:23:19,933 --> 01:23:23,900
One of the elements that most related to
rhythm in editing are the cuts.
1264
01:23:24,033 --> 01:23:27,600
I mean, determining at what moment we go
from one take to another,
1265
01:23:27,900 --> 01:23:29,966
depending on the rhythm of the music.
1266
01:23:29,966 --> 01:23:33,000
This cut will be more frequent
or less frequent.
1267
01:23:33,566 --> 01:23:36,533
But this is not the only important factor
to take into account
1268
01:23:36,533 --> 01:23:39,500
when it comes to knowing
where to position the cuts.
1269
01:23:40,133 --> 01:23:44,600
It turns out that we must have certain
musical notions of time
1270
01:23:45,000 --> 01:23:49,866
to be able to do correctly, and that is
what we are going to see in this lesson.
1271
01:23:50,733 --> 01:23:51,100
This is
1272
01:23:54,533 --> 01:23:56,566
of with the students
1273
01:23:57,733 --> 01:24:03,300
in school. We
1274
01:24:04,333 --> 01:24:06,500
made a similar you saw
1275
01:24:07,000 --> 01:24:12,033
someone have a, you know,
1276
01:24:12,033 --> 01:24:16,500
doing perfect
and here in a software called Cubase.
1277
01:24:16,833 --> 01:24:19,033
This doesn't
mean that you're going to need it,
1278
01:24:19,033 --> 01:24:21,566
but am Incubus
because this software has a tool
1279
01:24:21,566 --> 01:24:23,766
that will work for me
to explain what they want.
1280
01:24:23,766 --> 01:24:25,000
Explain to you.
1281
01:24:25,000 --> 01:24:27,433
First of all, you have to understand
that in music videos,
1282
01:24:27,700 --> 01:24:32,466
the cuts are going to come
for two reasons by time or by action.
1283
01:24:32,966 --> 01:24:34,333
Let's start with time.
1284
01:24:34,333 --> 01:24:37,100
What does it mean for a cut to be of time?
1285
01:24:37,500 --> 01:24:42,033
So it means that we must make the cuts
in subdivisions of time
1286
01:24:42,166 --> 01:24:45,133
that the rhythm of the song
we are working with has.
1287
01:24:45,533 --> 01:24:49,866
So I know that these make sound
like you need to know music to do this,
1288
01:24:49,866 --> 01:24:53,266
but it really isn't
because anyone who goes to a concert,
1289
01:24:53,266 --> 01:24:56,166
that person can keep up with a song
they like.
1290
01:24:56,333 --> 01:24:57,766
I mean, people can dance.
1291
01:24:57,766 --> 01:25:00,466
People do many things
that involve their rhythm.
1292
01:25:01,100 --> 01:25:05,166
So following a rhythm is not a task
that only a musician can do.
1293
01:25:05,966 --> 01:25:09,666
So I'm going to use this music
video of mine as an example,
1294
01:25:09,666 --> 01:25:13,333
and I'm going to follow the rhythm
with my voice marking one and two.
1295
01:25:13,666 --> 01:25:17,066
So, for example, in this case
would be one, two,
1296
01:25:17,333 --> 01:25:22,066
one, two, one, two, one, two, one, two.
1297
01:25:22,600 --> 01:25:27,033
So and this is the rhythm that even the
timer of this software follows up here.
1298
01:25:27,666 --> 01:25:30,900
So the numbers look bigger would be
when I say one.
1299
01:25:31,100 --> 01:25:35,100
And the number that this between
the small numbers would be when I say two.
1300
01:25:35,766 --> 01:25:38,833
So I'm going to activate
the metronome of the software so that
1301
01:25:38,833 --> 01:25:40,000
it follows the rhythm.
1302
01:25:41,033 --> 01:25:43,066
So pay attention that it's the same.
1303
01:25:44,400 --> 01:25:48,033
One, two, one, two, one, two.
1304
01:25:49,233 --> 01:25:52,600
So we must know how to recognize the time
and rhythm of the song
1305
01:25:52,633 --> 01:25:56,766
to be able to position the cuts
both in Mach one or Mac two
1306
01:25:57,100 --> 01:26:00,900
or in any time mark
that can contain the rhythm of this song.
1307
01:26:01,200 --> 01:26:05,100
But however, this doesn't
have to be exact, but an approximation.
1308
01:26:05,233 --> 01:26:06,100
In other words,
1309
01:26:06,100 --> 01:26:11,166
you are supposed to do everything possible
to make it match, but not necessarily.
1310
01:26:11,166 --> 01:26:13,600
100% of the shots must match.
1311
01:26:14,100 --> 01:26:16,500
So pay attention
to, for example, this part.
1312
01:26:16,966 --> 01:26:19,733
See how it changes from
one shot to another
1313
01:26:19,766 --> 01:26:22,333
almost perfectly.
1314
01:26:24,433 --> 01:26:25,600
Did you notice
1315
01:26:25,600 --> 01:26:27,900
that is almost perfect. One,
1316
01:26:29,666 --> 01:26:31,533
one, etc., etc..
1317
01:26:31,533 --> 01:26:34,166
The cuts are following the rhythm.
1318
01:26:34,166 --> 01:26:37,633
Pay attention to the numbers
that I mentioned in the small line
1319
01:26:37,633 --> 01:26:41,166
that belongs to the number
and feel the cuts of the assembly.
1320
01:26:41,733 --> 01:26:44,133
So pay attention. That is not perfect.
1321
01:26:44,133 --> 01:26:44,766
That is.
1322
01:26:44,766 --> 01:26:49,733
It's always an approximation in important
parts of the song in terms of rhythm,
1323
01:26:50,133 --> 01:26:53,666
but also the cuts are regular
but always follow in the rhythm.
1324
01:26:53,866 --> 01:26:57,433
For example, here is a cut,
but then the next take continuous.
1325
01:26:58,500 --> 01:27:01,033
For example here one to
1326
01:27:05,633 --> 01:27:12,933
look at.
1327
01:27:12,933 --> 01:27:17,133
On the other hand, something interesting
happens here because despite the fact that
1328
01:27:17,133 --> 01:27:20,200
the chorus is the most important thing
and you could say that
1329
01:27:20,433 --> 01:27:24,500
the cut mass match exactly with the bar,
it doesn't happen here.
1330
01:27:24,733 --> 01:27:26,500
I mean, the first take of the chorus
1331
01:27:26,500 --> 01:27:30,166
doesn't start on one,
but on two before that one.
1332
01:27:30,566 --> 01:27:33,800
And that happens because the action
that I'm doing there, singing,
1333
01:27:34,000 --> 01:27:37,733
it's necessary to see its complete
1334
01:27:44,200 --> 01:27:48,500
end. That would be a cut by action.
1335
01:27:48,500 --> 01:27:57,000
The song can be, you know,
1336
01:27:58,633 --> 01:28:00,000
but let's move on to this.
1337
01:28:00,000 --> 01:28:04,366
Another example, another music video
I'm going to count and follow music
1338
01:28:04,366 --> 01:28:06,466
and you are going to pay attention
to the cuts.
1339
01:28:07,500 --> 01:28:10,566
One, two, one, two,
1340
01:28:11,133 --> 01:28:14,500
one, two, one, six.
1341
01:28:15,000 --> 01:28:19,900
One, two, one, two, one, two,
1342
01:28:20,500 --> 01:28:23,666
one, two, one, two.
1343
01:28:24,500 --> 01:28:27,333
So most of the cuts going
you see the good data mark,
1344
01:28:27,766 --> 01:28:30,800
but there may even be moments
where the music is louder
1345
01:28:31,033 --> 01:28:33,933
and you can make many cuts with
rhythm like it is.
1346
01:28:34,000 --> 01:28:34,500
Example
1347
01:28:37,933 --> 01:28:41,366
even score one here.
1348
01:28:41,366 --> 01:28:42,966
So those three cuts
1349
01:28:42,966 --> 01:28:44,300
completely followed
1350
01:28:44,300 --> 01:28:48,533
the rhythmic arrangement of the music,
which is something also very useful,
1351
01:28:49,166 --> 01:28:53,400
an attention to the fact the gears
hug matches the beat of the snare drum
1352
01:28:53,866 --> 01:28:59,300
because it's an important gesture
visually.
1353
01:28:59,300 --> 01:29:23,700
So as we gonna send a signal to you,
1354
01:29:23,700 --> 01:29:27,266
but the cuts in movies or short films
work differently.
1355
01:29:27,800 --> 01:29:30,066
They are not determined
by the rhythm of the music,
1356
01:29:30,533 --> 01:29:33,600
but by the time
the shot needs to be read properly.
1357
01:29:33,900 --> 01:29:36,533
So it's the music
that adapts to the editing.
1358
01:29:36,833 --> 01:29:40,333
And only some exceptions
when it's a very musical sequence,
1359
01:29:40,500 --> 01:29:43,800
we could try to adapt the shots
to the rhythm of the music.
1360
01:29:44,300 --> 01:29:46,233
But let's pay attention to this. A scene.
1361
01:29:46,233 --> 01:29:48,300
This is seen as a proof that communication
1362
01:29:48,300 --> 01:29:51,600
is the most important factor
when it comes to cuts in pacing.
1363
01:29:52,133 --> 01:29:56,400
In this scene, the cuts are very fast
and the reason why this is so is
1364
01:29:56,400 --> 01:29:57,433
because Benjamin's
1365
01:29:57,433 --> 01:30:01,233
voice is exactly explained in everything
that is happening on the screen.
1366
01:30:01,366 --> 01:30:05,066
So the information
communication is double visual
1367
01:30:05,066 --> 01:30:07,866
and through the voice of the character.
1368
01:30:07,866 --> 01:30:12,000
Now, a taxi driver dropped off a family
and stopped to get a cup of coffee.
1369
01:30:13,933 --> 01:30:17,900
And all the while Daisy was realize
1370
01:30:20,100 --> 01:30:22,633
and this cab driver
who dropped off earlier fare
1371
01:30:22,733 --> 01:30:25,266
and he stopped to get the cup of coffee
I picked up.
1372
01:30:25,266 --> 01:30:30,300
The lady was going shop
The Mysskin of the cab.
1373
01:30:30,300 --> 01:30:32,700
The taxi had to stop for a man
crossing the street.
1374
01:30:32,800 --> 01:30:36,433
We left for work 5 minutes later
than he normally did because he forgot.
1375
01:30:36,466 --> 01:30:38,200
Said set his long
1376
01:30:39,000 --> 01:30:41,800
while that man late for work was crossing
the street.
1377
01:30:42,366 --> 01:30:45,333
Daisy had finished renovations
and was taking a shower
1378
01:30:46,433 --> 01:30:47,666
while Daisy was showering.
1379
01:30:47,666 --> 01:30:51,100
The taxi was waiting outside a boutique
for the woman to pick up a package
1380
01:30:51,466 --> 01:30:54,300
which hadn't been wrapped yet
because the girl who was supposed to rapid
1381
01:30:54,600 --> 01:30:56,766
had broken up with a boyfriend
the night before
1382
01:30:57,800 --> 01:31:00,133
and forgot when the package was wrapped.
1383
01:31:00,133 --> 01:31:03,566
The woman was back in the cab,
blocked by a delivery truck.
1384
01:31:03,866 --> 01:31:08,100
All the while Daisy was getting dressed.
1385
01:31:08,100 --> 01:31:12,333
The delivery truck pulled away
and the taxi was able to move a daisy.
1386
01:31:12,333 --> 01:31:16,233
The last to be dressed waited for one of
her friends who had broken a shoelace
1387
01:31:17,733 --> 01:31:20,366
while the taxi
was stopped waiting for a traffic light.
1388
01:31:20,866 --> 01:31:23,266
Daisy and a friend
came out the back of the theater,
1389
01:31:24,866 --> 01:31:29,800
and if only one thing had happened,
if that shoelace hadn't broken
1390
01:31:30,433 --> 01:31:34,866
or the delivery truck had moved
momentarily packed and wrapped and ready
1391
01:31:35,133 --> 01:31:37,300
because the girl hadn't
broken up with the boyfriend,
1392
01:31:37,900 --> 01:31:40,666
what that man had said is long
and got to 5 minutes earlier.
1393
01:31:41,733 --> 01:31:44,166
That taxi driver
hadn't stopped for a cup of coffee
1394
01:31:44,933 --> 01:31:46,833
or that woman had remembered Cope.
1395
01:31:46,833 --> 01:31:49,500
He got to an earlier cab.
1396
01:31:49,500 --> 01:31:52,333
Daisy
and a friend would have crossed the street
1397
01:31:52,333 --> 01:32:05,800
and the taxi would have driven by. We.
1398
01:32:05,800 --> 01:32:09,133
But life being what it is,
a series of intersecting
1399
01:32:09,133 --> 01:32:11,966
lives and incidents of anyone's control.
1400
01:32:12,300 --> 01:32:14,533
So that Taxi did not go
1401
01:32:16,200 --> 01:32:18,233
and that driver was momentarily distracted
1402
01:32:21,200 --> 01:32:23,900
and that taxi hit Daisy
1403
01:32:27,366 --> 01:32:31,200
and her leg was crushed.
1404
01:32:31,200 --> 01:32:35,000
It's important to note that sometimes
when the composers are quiet,
1405
01:32:35,300 --> 01:32:38,933
the editing adapts to the music
because there is a musical arrangement
1406
01:32:38,966 --> 01:32:42,233
that is impossible to modify
to adapt it to the editing.
1407
01:32:42,633 --> 01:32:45,600
So in those cases, it's the editor
who is supposed
1408
01:32:45,600 --> 01:32:48,433
to adapt to the music
at those precise moments.
1409
01:32:48,933 --> 01:32:53,200
But in general, rules the communication
process in the evolution of emotions
1410
01:32:53,200 --> 01:32:57,033
in the film that determines the rhythm
of the editing that we are going to do.
1411
01:32:58,200 --> 01:33:01,133
Well, this lesson is up to here in a way,
for you
1412
01:33:01,133 --> 01:33:27,600
to continue in the next one.
1413
01:33:27,600 --> 01:33:28,666
Perfect. We are here.
1414
01:33:28,666 --> 01:33:33,566
We are going to open our editing software,
which is in this case premiere.
1415
01:33:34,100 --> 01:33:39,033
So I'm going to go to my folder
to click on the icon on the shortcut.
1416
01:33:39,833 --> 01:33:43,300
I remind you that regardless
of the software you use, once you master
1417
01:33:43,300 --> 01:33:48,200
one, it will be much easier to master
the rest of the video editing softwares.
1418
01:33:48,600 --> 01:33:53,133
So this welcome window will open in
which we will find and the recent projects
1419
01:33:53,133 --> 01:33:57,266
we had work done, but also the possibility
of creating a new project.
1420
01:33:57,933 --> 01:34:00,600
So we click on new project and immediately
1421
01:34:01,133 --> 01:34:03,766
this new window will be displayed.
1422
01:34:04,566 --> 01:34:06,300
So what is this about?
1423
01:34:06,300 --> 01:34:09,533
So in this window
you will find the general settings
1424
01:34:09,533 --> 01:34:12,366
of the project, mainly the of the project,
1425
01:34:13,100 --> 01:34:16,366
and especially the folder
in which the software will save all the
1426
01:34:16,366 --> 01:34:21,700
temporary files that it will create
so that the workflow is better for us.
1427
01:34:21,700 --> 01:34:23,200
So we can click on Browse
1428
01:34:23,200 --> 01:34:26,966
and choose the folder where you want
all these information to be saved,
1429
01:34:27,433 --> 01:34:30,133
which is going to be very important
because eventually
1430
01:34:30,433 --> 01:34:34,600
we are going to have to delete files
or also recover files.
1431
01:34:35,466 --> 01:34:37,633
So by default in the software safes,
1432
01:34:37,633 --> 01:34:41,100
all these in the Windows
or Mac documents folder.
1433
01:34:41,100 --> 01:34:45,233
So first of all, we're going to
name our project over here.
1434
01:34:46,200 --> 01:34:48,900
We're going to write down the video
editing.
1435
01:34:48,900 --> 01:34:53,266
For example, so you can see that here.
1436
01:34:53,266 --> 01:34:55,533
Below there are three taps.
1437
01:34:55,533 --> 01:34:58,400
The most important is this first general,
1438
01:34:59,033 --> 01:35:03,666
and the first thing we are going to find
is this box related to video rendering
1439
01:35:03,666 --> 01:35:05,400
and playback where we can change
1440
01:35:05,400 --> 01:35:09,066
the video hardware that the computer
will use to work on the project.
1441
01:35:09,633 --> 01:35:12,100
Either the general manager of the software
1442
01:35:12,100 --> 01:35:14,966
as well as when creating the final files.
1443
01:35:15,466 --> 01:35:18,933
Remember that
the software is constantly creating files
1444
01:35:19,466 --> 01:35:22,533
so that can see a preview
of what we are editing.
1445
01:35:23,033 --> 01:35:27,366
So here in this little tab,
we will be able to choose either
1446
01:35:27,366 --> 01:35:31,066
the computer's GPU card,
especially for video
1447
01:35:31,266 --> 01:35:34,200
or the computer's integrated video card.
1448
01:35:34,666 --> 01:35:38,333
This is very important
because obviously when using the GPU,
1449
01:35:38,366 --> 01:35:41,433
everything is faster but also less stable.
1450
01:35:41,766 --> 01:35:46,133
In, for example, this error could appear
with your exports in the final file,
1451
01:35:46,633 --> 01:35:50,733
which means that the GPU card failed
because it got too hard
1452
01:35:50,766 --> 01:35:55,033
or because it doesn't have enough power
to create that file.
1453
01:35:55,800 --> 01:35:59,200
That is depending on the type of projects
you are editing.
1454
01:35:59,200 --> 01:36:03,433
When you support the final file
or make the renders files,
1455
01:36:03,766 --> 01:36:06,000
you will be able to use one or the other.
1456
01:36:06,600 --> 01:36:09,766
However, if you have the latest generation
computer,
1457
01:36:09,766 --> 01:36:11,900
I don't think you have my your problem.
1458
01:36:11,900 --> 01:36:16,833
So in that case, you should always have
the computer's GPU selected
1459
01:36:17,300 --> 01:36:20,000
in this next box
you're going to set how you want
1460
01:36:20,000 --> 01:36:23,333
at the time to be measured by frames
or by time.
1461
01:36:23,700 --> 01:36:25,866
At this moment, you won't understand this.
1462
01:36:26,100 --> 01:36:27,300
I'm going to explain it to you.
1463
01:36:27,300 --> 01:36:32,133
When we are learning about the timeline
because it's easier to see it in a want
1464
01:36:32,133 --> 01:36:36,433
to explain how to prepare a project First,
it's worth mentioning
1465
01:36:36,433 --> 01:36:41,200
that you will be able to change this
any time in this older parameter.
1466
01:36:41,200 --> 01:36:43,633
We will be able to choose
how we want the time loan
1467
01:36:43,633 --> 01:36:45,733
to make the time for the audio.
1468
01:36:45,966 --> 01:36:49,333
To do this, we must understand
what the sample rate is.
1469
01:36:49,466 --> 01:36:51,966
The sample rate
is the resolution of the audio.
1470
01:36:52,300 --> 01:36:56,133
That is the number of record samples
that a no DO file has,
1471
01:36:56,366 --> 01:37:00,166
so the timeline can measure the time
for each of those recordings
1472
01:37:00,166 --> 01:37:04,433
as well as for milliseconds,
which would be the continuous time.
1473
01:37:04,766 --> 01:37:08,700
The following box works to set
the type of video captured for event
1474
01:37:09,100 --> 01:37:12,800
there are still some cameras in the market
that work with tape
1475
01:37:13,133 --> 01:37:15,100
and also with film roles.
1476
01:37:15,100 --> 01:37:18,300
This capture box
allows us to set what resolution
1477
01:37:18,300 --> 01:37:22,533
we want to capture to be in order
to connect the software to the hardware
1478
01:37:22,566 --> 01:37:26,400
VTR, which is the device
that is used for dead.
1479
01:37:26,566 --> 01:37:30,566
But in reality, that something
that is really no longer used
1480
01:37:31,033 --> 01:37:34,100
and this last box
is related to a possibility
1481
01:37:34,100 --> 01:37:37,433
that has been given to users
to improve color editing,
1482
01:37:37,800 --> 01:37:42,700
especially When we use film cameras,
which have a high dynamic range of colors.
1483
01:37:43,200 --> 01:37:45,700
So this allows us
to have a better configuration
1484
01:37:45,700 --> 01:37:48,800
between the software
and our physical monitor.
1485
01:37:48,800 --> 01:37:53,400
But in reality, personally,
since I dedicate myself to making fiction,
1486
01:37:53,700 --> 01:37:56,566
I think that the image quality is
1487
01:37:56,566 --> 01:37:59,400
not only related to the dynamic range,
1488
01:37:59,666 --> 01:38:02,566
but rather to the photographic quality
in lighting.
1489
01:38:03,200 --> 01:38:07,033
But however, if it's the case,
if animation works, for example,
1490
01:38:07,033 --> 01:38:11,033
where you have to really respect
the color of the landscape so characters
1491
01:38:11,033 --> 01:38:16,200
to get the best out of them, we can change
the setting to the highest values
1492
01:38:16,200 --> 01:38:19,933
to have a better reference,
move on to the second tab.
1493
01:38:20,566 --> 01:38:24,000
This second tab that we see here,
scratch these.
1494
01:38:24,100 --> 01:38:25,700
It's very important.
1495
01:38:25,700 --> 01:38:28,466
In this tab
you're going to indicate to the software
1496
01:38:28,500 --> 01:38:31,866
where it's going
to save temporary files of the project,
1497
01:38:32,400 --> 01:38:37,200
this temporary files that the software
is going to create to improve the workflow
1498
01:38:37,733 --> 01:38:40,533
in these folders,
that only the temporary files
1499
01:38:40,533 --> 01:38:43,333
will be saved, but also the capture files.
1500
01:38:43,800 --> 01:38:46,466
Additionally, the audio recording files
1501
01:38:46,466 --> 01:38:51,666
will also be saved there in folders
in the case that we do a dubbing,
1502
01:38:51,700 --> 01:38:53,166
for example.
1503
01:38:53,166 --> 01:38:55,533
So we must pay close attention
to this folder.
1504
01:38:56,100 --> 01:38:59,266
Obviously we choose the main folder
where the project be saved,
1505
01:38:59,533 --> 01:39:04,066
but in this case in that same folder,
super folders will be created
1506
01:39:04,366 --> 01:39:09,000
that will contain all these temporary
files in non temporary files.
1507
01:39:09,733 --> 01:39:13,133
I highly recommend you not to change
the location of these folders
1508
01:39:13,400 --> 01:39:18,133
because all the files of the same project
are supposed to be in the same place,
1509
01:39:18,133 --> 01:39:22,500
not only to maintain order and prevent
errors from happening on the computer,
1510
01:39:22,633 --> 01:39:26,700
but also because it's possible
that our computer crashes unexpectedly.
1511
01:39:27,033 --> 01:39:30,566
Then we will have to move
the entire project to another computer.
1512
01:39:30,566 --> 01:39:34,233
So we must know where all the files
related to one project are.
1513
01:39:34,566 --> 01:39:37,333
On the other hand, also in many locations,
1514
01:39:37,333 --> 01:39:41,400
we are going to need to delete
temporary files related to the renders.
1515
01:39:41,700 --> 01:39:44,466
I mean to free up space on the hard disk.
1516
01:39:46,333 --> 01:39:47,100
These
1517
01:39:47,100 --> 01:39:50,166
are tab
we have here is to ingest settings.
1518
01:39:50,566 --> 01:39:52,233
What is this for it?
1519
01:39:52,233 --> 01:39:55,600
It turns out that at some point
if we are going to work on projects
1520
01:39:55,600 --> 01:40:00,433
where they are going to use film cameras,
those files generated in the film
1521
01:40:00,433 --> 01:40:04,866
camera are going to have a high resolution
and are going to be quite heavy.
1522
01:40:05,266 --> 01:40:07,466
Therefore,
we are going to have to transfer them
1523
01:40:07,633 --> 01:40:11,700
to a external hard drive
before they reach our computer.
1524
01:40:11,933 --> 01:40:17,100
So this ingest tool allows me to move
those files that are on the external hard
1525
01:40:17,100 --> 01:40:21,100
drive to the internal hard
drive of the computer more easily.
1526
01:40:21,333 --> 01:40:23,333
And how are we going to do this?
1527
01:40:23,333 --> 01:40:26,166
We must select this,
a small box that we see here.
1528
01:40:26,533 --> 01:40:29,300
And the Adobe premiere
will automatically connect
1529
01:40:29,300 --> 01:40:33,500
with another software from the same Adobe
suite called Media Encoder.
1530
01:40:34,200 --> 01:40:36,100
That software do the transfer.
1531
01:40:36,100 --> 01:40:38,400
Whether we continue to work on Premiere,
1532
01:40:39,200 --> 01:40:43,566
it's a very useful tool, but in reality
it requires that we have a computer
1533
01:40:43,566 --> 01:40:47,233
powerful enough to do both processes
at the same time.
1534
01:40:47,600 --> 01:40:50,266
Additionally,
we can select a place where we want
1535
01:40:50,266 --> 01:40:52,366
the hard drive files to be copied.
1536
01:40:52,766 --> 01:40:55,600
It's interesting
because we can even save in the audio
1537
01:40:55,600 --> 01:40:59,433
creative cloud or in the folder
that we want on the computer.
1538
01:41:00,000 --> 01:41:04,800
We have the option to copy the files
with verification or without verification.
1539
01:41:04,800 --> 01:41:06,366
What is this for?
1540
01:41:06,366 --> 01:41:10,866
Because sometimes the files that come
from the camera, some of them have errors
1541
01:41:11,200 --> 01:41:14,766
so that the software allows us to verify
which of them have errors,
1542
01:41:15,000 --> 01:41:18,600
either to correct them
or to skip the transfer of those files.
1543
01:41:18,933 --> 01:41:21,866
But we also have the option to copy
without verification.
1544
01:41:22,466 --> 01:41:25,766
But on the other hand,
we can switch to the Transcode option.
1545
01:41:26,100 --> 01:41:30,100
This allows me to copy the files,
but converting them to a high resolution
1546
01:41:30,100 --> 01:41:35,633
compressed format which allows me to edit
almost as if it were the original files.
1547
01:41:36,166 --> 01:41:39,566
However, we had the option
at the end of the editing to export.
1548
01:41:39,600 --> 01:41:43,400
Both is in those files
and the use in the original files.
1549
01:41:43,433 --> 01:41:45,700
Maxim resolution.
1550
01:41:45,700 --> 01:41:48,600
In the same way the Marine Corps
there will copy the files
1551
01:41:48,600 --> 01:41:52,400
in the background
while we work on the premiere here.
1552
01:41:52,400 --> 01:41:55,566
There are several formats,
some heavier than others,
1553
01:41:55,566 --> 01:41:58,366
but in general
they all have good resolution.
1554
01:41:58,866 --> 01:42:02,166
These are compressed files,
but they have great resolution
1555
01:42:02,166 --> 01:42:05,000
and information
so that we can edit with them
1556
01:42:05,200 --> 01:42:09,200
and even export s in them
without losing so much information.
1557
01:42:09,766 --> 01:42:13,500
The next option is to create proxies
in what is a proxy?
1558
01:42:13,833 --> 01:42:17,500
In the same way as we can create
the previous compressed files,
1559
01:42:17,766 --> 01:42:21,366
we can create the proxies
that are even more compressed files
1560
01:42:21,600 --> 01:42:25,433
that allow me to work with files
without compression in high resolution.
1561
01:42:26,133 --> 01:42:29,500
So it happens that sometimes we work
with film cameras
1562
01:42:29,600 --> 01:42:33,966
which generate four key or six key
or eight key files
1563
01:42:34,466 --> 01:42:35,966
which are very large.
1564
01:42:35,966 --> 01:42:39,700
So the proxies are a kind of low
resolution twin files
1565
01:42:39,833 --> 01:42:41,866
that Premier uses to it.
1566
01:42:41,866 --> 01:42:44,433
And this greatly improve the workflow
1567
01:42:44,433 --> 01:42:47,866
as if we were editing
with a super powerful computer.
1568
01:42:48,033 --> 01:42:51,966
So we will be able to edit as we were
working with the original files.
1569
01:42:52,233 --> 01:42:56,366
But when exporting this software
will connect with the original files.
1570
01:42:57,133 --> 01:43:00,133
Proxies are going to be your best friends
from now on.
1571
01:43:00,800 --> 01:43:04,033
We are actually going to use them
in examples later on.
1572
01:43:04,433 --> 01:43:07,100
So it's important to pay attention
to the lessons
1573
01:43:07,100 --> 01:43:10,200
where I talk about this
topic of proxy files.
1574
01:43:11,000 --> 01:43:13,500
So in the same way can choose
in which folder
1575
01:43:13,500 --> 01:43:17,466
we want to software to save the files,
the proxy files.
1576
01:43:17,466 --> 01:43:21,433
So there are the same options,
save the files in the same project
1577
01:43:21,433 --> 01:43:26,100
folder, in the creative cloud,
and also the option to choose the folder
1578
01:43:26,800 --> 01:43:28,966
so we can change the proxy parameters
1579
01:43:28,966 --> 01:43:33,000
that is from very low resolution
to ones more resolution.
1580
01:43:33,233 --> 01:43:37,766
It's very similar to the case
of transcoding compressed files
1581
01:43:38,033 --> 01:43:40,833
with the difference
that in the case of Transcode, it files
1582
01:43:41,300 --> 01:43:44,033
almost all the options for high quality.
1583
01:43:44,033 --> 01:43:48,600
It's important to understand that
in both proxy in Transcode cases,
1584
01:43:49,033 --> 01:43:51,900
these parameters are used to improve
the workflow.
1585
01:43:51,900 --> 01:43:55,933
That is, their main objective is just
that sometimes
1586
01:43:55,933 --> 01:43:57,566
we have a movie camera and we want to it.
1587
01:43:57,566 --> 01:44:01,033
It's jobs quickly
that don't require super resolution.
1588
01:44:01,033 --> 01:44:04,766
Transcode files are perfect
and the last option
1589
01:44:04,766 --> 01:44:07,033
is to copy and create proxies.
1590
01:44:07,800 --> 01:44:10,866
This function allows me to create
two separate folders
1591
01:44:11,233 --> 01:44:14,300
on the one hand, the original files
that are on the external hard
1592
01:44:14,300 --> 01:44:17,500
drive
and on the other hand in another folder.
1593
01:44:17,500 --> 01:44:19,200
The proxies remember that
1594
01:44:19,200 --> 01:44:22,800
the main encoder will transfer
all those files in the background.
1595
01:44:23,133 --> 01:44:28,000
But in reality, as I told you,
it also consumes computers from memory.
1596
01:44:28,466 --> 01:44:31,833
Anyway, we are going to continue
talking about the proxy later on.
1597
01:44:32,100 --> 01:44:33,000
Okay, We'll show you
1598
01:44:33,000 --> 01:44:36,400
how to connect the proxies
to the editing in the program monitor.
1599
01:44:36,933 --> 01:44:40,566
But it's important to know all about
is subject of proxies because most
1600
01:44:40,733 --> 01:44:43,000
you don't have a supercomputer.
1601
01:44:43,000 --> 01:44:47,133
And even those computers that we think
are super powerful, last generation
1602
01:44:47,133 --> 01:44:51,000
Mac, for example,
even those need to use proxies.
1603
01:44:51,000 --> 01:44:54,533
So once we had finished
the general configuration of the project,
1604
01:44:54,866 --> 01:44:59,166
we simply had to click okay in our project
will open immediately.
1605
01:44:59,700 --> 01:45:02,400
So since they already have a project
created
1606
01:45:02,400 --> 01:45:05,433
precisely
to teach you how to use this software.
1607
01:45:05,800 --> 01:45:08,433
I will simply click on
Cancel and I will select
1608
01:45:08,433 --> 01:45:11,733
one of the last recent projects
where we are going to work.
1609
01:45:12,233 --> 01:45:16,700
So this would be the most important
when it comes to creating a new project.
1610
01:45:16,900 --> 01:45:20,466
So this first lesson is up to here
and we will continue learning
1611
01:45:20,466 --> 01:45:51,666
about this Adopt
from your software in the next lesson.
1612
01:45:51,666 --> 01:45:54,600
So here we already have our project open.
1613
01:45:54,733 --> 01:45:57,300
We are ready to start
getting to know the premiere.
1614
01:45:58,100 --> 01:46:01,933
The first thing they want you to realize
is, is that we can modify
1615
01:46:01,933 --> 01:46:05,833
those same settings that we were reviewing
in the last lesson.
1616
01:46:06,200 --> 01:46:10,033
We go to the first tap file
and we go to project settings and then to
1617
01:46:11,133 --> 01:46:13,200
and there we can return to modify
1618
01:46:13,200 --> 01:46:20,566
the general configuration of the project.
1619
01:46:20,566 --> 01:46:24,166
I want to focus mainly on explaining
what are those fundamental
1620
01:46:24,166 --> 01:46:27,733
tools of Adobe
premiere in those characters sticks
1621
01:46:28,100 --> 01:46:31,200
that will allow us to develop any project
I need.
1622
01:46:31,200 --> 01:46:35,166
You don't need to know all the functions
of the software to be a good editor.
1623
01:46:35,833 --> 01:46:38,900
That has nothing to do reality,
because in the end
1624
01:46:39,033 --> 01:46:41,900
there are many ways
to do exactly the same thing
1625
01:46:42,100 --> 01:46:46,433
when it comes to video
editing at those premiere has some presets
1626
01:46:46,433 --> 01:46:50,400
related to some general configurations
that help us to adapt
1627
01:46:50,400 --> 01:46:54,766
the software to the specific stage
in which we are in our project.
1628
01:46:55,266 --> 01:46:57,900
I am currently
in the editing configuration,
1629
01:46:57,900 --> 01:47:01,933
but there are others, for example, here
where it's very it's color.
1630
01:47:02,333 --> 01:47:07,000
It's another configuration
completely adapted to color correction.
1631
01:47:07,000 --> 01:47:12,800
What is really relevant about this color
configuration is the color range analyzer,
1632
01:47:13,300 --> 01:47:17,933
the limited scopes that allows us
to see the color ranges of an image.
1633
01:47:18,066 --> 01:47:20,466
But anyway, we will see that later on.
1634
01:47:20,766 --> 01:47:26,233
Simply what I want you to see is how it
looks like and how an image translated to.
1635
01:47:26,233 --> 01:47:28,000
You made three scopes, looks like
1636
01:47:30,133 --> 01:47:32,866
this is another effect setup here.
1637
01:47:32,866 --> 01:47:37,733
You will be able to quickly access
the facts folders here on the right.
1638
01:47:38,433 --> 01:47:41,100
I don't particularly
use that configuration
1639
01:47:41,100 --> 01:47:44,733
because I can fully access the effects
from the editing preset.
1640
01:47:45,433 --> 01:47:48,600
We simply had to go to this
a small tab that is here
1641
01:47:48,900 --> 01:47:51,433
and look for it reads effects
1642
01:47:52,233 --> 01:47:56,800
and actually it's much better and easier
to use and easier to understand.
1643
01:47:57,366 --> 01:48:00,300
It's preset works this way,
but they highly recommend
1644
01:48:00,300 --> 01:48:05,833
you only focus on 2% editing one
that we are seen in the only one
1645
01:48:06,000 --> 01:48:10,166
that we are going to use a lot
because it has the audio mixer
1646
01:48:10,200 --> 01:48:13,533
where we are going to put the
all the effects directly on the tracks.
1647
01:48:13,800 --> 01:48:16,766
Nevertheless, I know that later on
you are going to change it
1648
01:48:16,766 --> 01:48:19,800
however you want.
1649
01:48:19,800 --> 01:48:23,900
It's worth mentioning that the same tools
are always present in the presets.
1650
01:48:23,900 --> 01:48:28,000
For example, these are small effects
control type, which is where
1651
01:48:28,000 --> 01:48:32,533
we will be able to edit and effects
will always be present in all the presets.
1652
01:48:33,033 --> 01:48:37,066
The library preset allows us to access
effects directly from the Adobe
1653
01:48:37,066 --> 01:48:41,800
Cloud, where we can buy extra effects
and plugins for our premiere.
1654
01:48:42,633 --> 01:48:45,733
This is Preset is the most useless of all
because
1655
01:48:45,733 --> 01:48:48,733
you can actually do exactly the same thing
into editing.
1656
01:48:48,733 --> 01:48:52,466
Preset in the last preset is for learning
1657
01:48:52,766 --> 01:48:56,333
where premiere gypsies are twice
impartially helps us
1658
01:48:56,333 --> 01:49:04,733
to use the software.
1659
01:49:04,733 --> 01:49:08,866
So when we open the software
we will always see these main spaces.
1660
01:49:09,266 --> 01:49:14,366
On the right will be the timeline
that we will see in more detail later.
1661
01:49:14,666 --> 01:49:16,333
Just to the left of the timeline,
1662
01:49:16,333 --> 01:49:19,800
we will see the toolbar
that we will also explain later.
1663
01:49:20,133 --> 01:49:24,900
But then farther to the left
we will see the file tray displays.
1664
01:49:24,900 --> 01:49:30,233
It's nothing else but a file browser
as if it were a file folder on the Mac
1665
01:49:30,233 --> 01:49:34,266
or be seen where we are going
to put the video or all the files
1666
01:49:34,466 --> 01:49:39,466
or even photos or gif files
and have them there to use in our edition.
1667
01:49:40,200 --> 01:49:43,533
For example, I'm going to drag
any video file into the tray
1668
01:49:43,533 --> 01:49:47,766
so that you can see how easy it is
to add a video file to the project.
1669
01:49:48,500 --> 01:49:51,666
Both the file tray
and the timeline will be connected
1670
01:49:51,666 --> 01:49:55,566
to the reference monitor
and the program monitor respectively.
1671
01:49:56,566 --> 01:49:57,833
Adobe Premiere has two
1672
01:49:57,833 --> 01:50:01,300
main monitors, which are the ones
we are going to use when editing.
1673
01:50:01,733 --> 01:50:06,300
The main one is the program monitor,
where we will see what we are editing
1674
01:50:06,533 --> 01:50:07,466
to activate it.
1675
01:50:07,466 --> 01:50:11,233
We simply have to go to the window tab
and go to the program monitor.
1676
01:50:11,600 --> 01:50:14,700
So our monitor be activated immediately.
1677
01:50:15,133 --> 01:50:18,266
This monitor will be directly connected
to the timeline.
1678
01:50:18,933 --> 01:50:22,300
But on the other hand,
there is also a reference monitor.
1679
01:50:22,300 --> 01:50:26,700
We just have to go to the Windows tab
again and we click on reference monitor.
1680
01:50:26,900 --> 01:50:29,900
On that monitor,
we will be able to preview each
1681
01:50:29,900 --> 01:50:32,966
of the video files
that we are going to use in the editing
1682
01:50:33,166 --> 01:50:37,500
so that we can select the exact fragment
that we want to use from that video.
1683
01:50:38,700 --> 01:50:39,200
We must
1684
01:50:39,200 --> 01:50:42,200
understand what is the reference monitor
in the program?
1685
01:50:42,200 --> 01:50:45,000
Monitor
As I told you, the reference monitor
1686
01:50:45,000 --> 01:50:47,633
allows us to see what we are going to use
in editing.
1687
01:50:48,100 --> 01:50:51,900
For example,
if I click on this video here, over here
1688
01:50:52,266 --> 01:50:55,266
that I added a moment ago, it will open
1689
01:50:55,266 --> 01:50:57,766
automatically on the reference monitor.
1690
01:50:58,466 --> 01:51:00,800
In that monitor, we will be able to select
1691
01:51:00,800 --> 01:51:05,400
the exact fragment that we want
from that video so that we can add
1692
01:51:05,400 --> 01:51:10,466
that small part of video to the timeline
when we will be doing the editing
1693
01:51:11,433 --> 01:51:14,700
to choose that small part of video,
we must press the eye
1694
01:51:14,733 --> 01:51:18,333
to mark the beginning
and then oh to mark the end,
1695
01:51:18,700 --> 01:51:24,400
which is actually in and out to Mark
and and out of that video fragment.
1696
01:51:26,266 --> 01:51:26,700
Once we
1697
01:51:26,700 --> 01:51:30,700
know which part of the video we need,
we are ready to take it to the timeline
1698
01:51:31,466 --> 01:51:34,366
which is the place
where we will be doing the editing.
1699
01:51:34,733 --> 01:51:37,333
There are three ways to direct
the video clip.
1700
01:51:37,933 --> 01:51:43,133
The first is by clicking directly on
the video in dragging it to the timeline.
1701
01:51:43,500 --> 01:51:47,366
That way, we will track both the video
and the audio of the file.
1702
01:51:48,066 --> 01:51:50,800
The second way is by clicking
only in this film,
1703
01:51:50,800 --> 01:51:54,533
the roll symbol,
which allows us to drag just the video.
1704
01:51:55,166 --> 01:51:58,433
And the third way is by clicking on
this little sound
1705
01:51:58,433 --> 01:52:01,600
wave that allows me to direct
only the audio.
1706
01:52:01,600 --> 01:52:04,933
So at this moment
I'm going to add the audio and video
1707
01:52:04,933 --> 01:52:08,066
at the same time
to the timeline as an example.
1708
01:52:09,533 --> 01:52:09,900
So the
1709
01:52:09,900 --> 01:52:13,733
software will ask us if we want to keep
the settings of the sequence
1710
01:52:14,100 --> 01:52:18,000
or if we want to change the settings
to those of the video file.
1711
01:52:18,366 --> 01:52:20,800
We must click on
keep the existing settings
1712
01:52:21,000 --> 01:52:24,966
so that they continue to be the same
as the ones we choose for the sequence.
1713
01:52:25,366 --> 01:52:28,200
From this moment
on, we are able to see images
1714
01:52:28,200 --> 01:52:30,866
on the program Monitor
What I mean by this.
1715
01:52:31,466 --> 01:52:35,533
This means that the program monitor
will always be connected to the sequences.
1716
01:52:35,933 --> 01:52:39,300
If there is no sequence,
nothing will be seen on the program.
1717
01:52:39,300 --> 01:52:44,600
Monitor In fact, for the timeline to open,
which is the timeline
1718
01:52:44,600 --> 01:52:48,900
where we do the editing,
where I just added the video fragment
1719
01:52:49,066 --> 01:52:52,600
for the timeline to open,
there must be sequences.
1720
01:52:53,266 --> 01:52:56,166
For example, here in the tray
there is a sequence.
1721
01:52:56,166 --> 01:53:00,233
We can identify the sequences
because they had these little loosening
1722
01:53:00,266 --> 01:53:04,300
all in the corner
that's like little overlapping bars.
1723
01:53:04,966 --> 01:53:08,766
Actually, you can notice that in the older
video files there is not these.
1724
01:53:09,266 --> 01:53:14,066
There is simply now the wave form, which
means that the file also contains audio.
1725
01:53:14,766 --> 01:53:17,200
So look, I'm going to delete the sequence
1726
01:53:17,700 --> 01:53:21,600
so that you can see how the timeline
automatically disappears.
1727
01:53:21,900 --> 01:53:26,900
That is it closes because the timeline is
practically the sequence inside.
1728
01:53:27,700 --> 01:53:31,633
So I think it's a good way to understand
how the timeline works.
1729
01:53:31,933 --> 01:53:33,300
I'm going to reverse this.
1730
01:53:33,300 --> 01:53:34,633
I mean, Contours Z,
1731
01:53:35,933 --> 01:53:38,100
so I'm
going to click on the sequence again
1732
01:53:38,100 --> 01:53:40,733
so you can see the timeline open again.
1733
01:53:41,700 --> 01:53:45,066
So even though our monitors
are connected to different things,
1734
01:53:45,066 --> 01:53:49,233
I mean, the program monitor
to the sequences and the reference monitor
1735
01:53:49,233 --> 01:53:52,333
to the files in the tray, both monitors.
1736
01:53:52,333 --> 01:53:54,700
Sure. It's certain important features.
1737
01:53:55,366 --> 01:53:59,633
For example, here in this little tab
where it reads quarter
1738
01:54:00,166 --> 01:54:02,600
there, we can change the resolution
with which
1739
01:54:02,766 --> 01:54:06,100
we want to sequence
or DVD file to be reproduced.
1740
01:54:06,633 --> 01:54:11,100
Obviously, the higher resolution,
the more resources the computer consumes.
1741
01:54:11,766 --> 01:54:14,166
Also, in this other tab, we can change
1742
01:54:14,166 --> 01:54:17,233
how close
we want to serve the details of the video.
1743
01:54:17,666 --> 01:54:22,266
But your attention and not changing the
some of the video in the editing simply
1744
01:54:22,266 --> 01:54:26,466
how close are far unseen
the image that appears on the monitor?
1745
01:54:27,133 --> 01:54:29,533
We can see it's very close or very far.
1746
01:54:29,533 --> 01:54:32,666
This works to see details
such as how focused
1747
01:54:32,666 --> 01:54:36,033
an image is or details of the skin color.
1748
01:54:36,033 --> 01:54:40,966
For example, obviously
the most important is the program monitor,
1749
01:54:41,000 --> 01:54:44,000
where we will see what we are
editing in the sequences.
1750
01:54:44,500 --> 01:54:47,700
It's important
to know these in the same way as we use
1751
01:54:47,700 --> 01:54:50,733
the eye and the all for the in and out.
1752
01:54:51,366 --> 01:54:54,000
We can do the same in the sequence
to determine
1753
01:54:54,000 --> 01:54:57,566
what will be the beginning
and the end of what we want to export.
1754
01:54:57,566 --> 01:54:59,633
When we had finished editing.
1755
01:55:00,100 --> 01:55:03,433
So in the lower right
part of the program monitor,
1756
01:55:03,666 --> 01:55:07,333
you will see the time related
to the duration of that part
1757
01:55:07,400 --> 01:55:11,566
of the sequence that we have selected
by using the in and out.
1758
01:55:12,733 --> 01:55:13,100
Another
1759
01:55:13,100 --> 01:55:15,933
important detail that we are going to see
throughout the course
1760
01:55:16,233 --> 01:55:19,733
are these tools that appear here
below in the program.
1761
01:55:19,733 --> 01:55:22,966
Monitor I'm going to mention
the most important ones
1762
01:55:22,966 --> 01:55:26,366
because in fact there are some
that you will never use in your life,
1763
01:55:27,000 --> 01:55:29,700
not because they are useless, but because,
1764
01:55:29,700 --> 01:55:32,933
as I told you, there are many ways
to do the same in the software.
1765
01:55:33,433 --> 01:55:36,300
For example,
if we wanted to make a static image
1766
01:55:36,300 --> 01:55:40,733
of a specific moment in the video
that is generate a photograph,
1767
01:55:41,266 --> 01:55:44,100
we can click on this little camera
that we see here
1768
01:55:44,100 --> 01:55:47,633
and generate a photograph
from that frame there.
1769
01:55:47,633 --> 01:55:50,766
It indicates the path
in which the image will be saved,
1770
01:55:51,066 --> 01:55:54,966
but also this same image will be
added to the project automatically.
1771
01:55:55,533 --> 01:55:58,566
So we can use that photo
as if it were another video
1772
01:55:59,066 --> 01:56:01,900
that we can mix photos with videos only.
1773
01:56:01,900 --> 01:56:04,200
Obviously the photo is not emotion,
1774
01:56:04,866 --> 01:56:08,866
so we simply track the photo to
the timeline and we can it.
1775
01:56:10,000 --> 01:56:10,533
There are
1776
01:56:10,533 --> 01:56:14,633
other important tools that are below,
such as the proxy commentator
1777
01:56:15,233 --> 01:56:19,333
We must activated to be precise
in this little cross right here,
1778
01:56:20,133 --> 01:56:22,700
and then drag the commentator icon
1779
01:56:22,700 --> 01:56:26,300
to the monitor.
1780
01:56:26,300 --> 01:56:30,500
So this tool allows me to connect
the video files to their respective
1781
01:56:30,600 --> 01:56:33,833
proxy files,
which are something very important.
1782
01:56:34,033 --> 01:56:37,800
If we are going to see that later
on, that will allows us to be able
1783
01:56:37,800 --> 01:56:39,566
to edit in any resolution
1784
01:56:39,566 --> 01:56:43,100
despite the fact that our computer doesn't
have enough power.
1785
01:56:44,133 --> 01:56:46,966
I'm going to leave this up to here
so that you can review
1786
01:56:46,966 --> 01:56:50,100
and digest this content step by step.
1787
01:56:50,400 --> 01:56:53,433
We will continue reviewing the software
layout
1788
01:56:53,433 --> 01:57:15,700
in the next lesson.
1789
01:57:15,700 --> 01:57:16,266
Perfect.
1790
01:57:16,266 --> 01:57:18,566
We are here again in Adobe Premiere.
1791
01:57:18,966 --> 01:57:22,700
In this lesson,
we're going to see how to create sequence,
1792
01:57:22,700 --> 01:57:27,500
which I think is the most important thing
to start working in Adobe Premiere.
1793
01:57:27,933 --> 01:57:31,933
Before we begin, I wanted to mention
something related to the distribution of,
1794
01:57:31,933 --> 01:57:33,300
the folders.
1795
01:57:33,300 --> 01:57:36,566
When we are in a project,
we must know what the general folder
1796
01:57:36,566 --> 01:57:39,600
is and in order to identify it,
it was simple.
1797
01:57:39,600 --> 01:57:43,000
Observe that the name of the project
appears sound more aligned,
1798
01:57:43,333 --> 01:57:44,433
as you can see here.
1799
01:57:44,433 --> 01:57:46,433
Well, we are in that folder.
1800
01:57:46,433 --> 01:57:49,266
Additionally,
the return button is not enabled.
1801
01:57:49,500 --> 01:57:51,966
This building here is not enabled.
1802
01:57:51,966 --> 01:57:56,066
If I click on this folder automatically,
the return button is enabled.
1803
01:57:56,433 --> 01:58:00,333
And of course in this case these folders
intensified with another name
1804
01:58:00,333 --> 01:58:02,200
which is being.
1805
01:58:02,200 --> 01:58:05,300
But remember that you can identify
the folders as you want.
1806
01:58:05,833 --> 01:58:08,566
That is put the name you want.
1807
01:58:08,566 --> 01:58:12,666
So I will write folder one.
1808
01:58:12,666 --> 01:58:16,233
So knowing this, we can now move on to
what is important.
1809
01:58:16,500 --> 01:58:18,733
How to create a sequence.
1810
01:58:18,733 --> 01:58:23,133
First of all, by clicking the right mouse
button either inside the folder
1811
01:58:23,633 --> 01:58:28,466
or in this space up here, the option
to create a new element will be enabled.
1812
01:58:29,133 --> 01:58:33,266
It can be a new folder, a folder search,
which is in the case
1813
01:58:33,266 --> 01:58:37,200
that we have many folders,
or it can also be a new item.
1814
01:58:37,366 --> 01:58:41,133
In this last option,
a long set of items will appear,
1815
01:58:41,133 --> 01:58:45,000
but for now you're going to focus mainly
on the first one in the sequence.
1816
01:58:45,633 --> 01:58:49,500
Immediately, when creating the sequence,
this window opens
1817
01:58:49,800 --> 01:58:52,933
where these folders, different presets
will appear.
1818
01:58:53,433 --> 01:58:56,566
Each of these presets are related
to the configurations
1819
01:58:56,566 --> 01:59:01,300
of the different types of cameras
with which we could had shot the scenes.
1820
01:59:02,066 --> 01:59:04,866
I don't recommend
using any of these presets
1821
01:59:05,133 --> 01:59:08,900
because we are supposed to learn
to configure our sequence
1822
01:59:08,900 --> 01:59:12,933
by understanding each of the parameters
that these sequences will have.
1823
01:59:13,266 --> 01:59:17,500
In the end, we have to be able to
configure the sequence as we really want.
1824
01:59:17,833 --> 01:59:21,500
Not to mention that many of these presets
related to formats
1825
01:59:21,833 --> 01:59:26,500
for wave television broadcast
that almost no longer exist.
1826
01:59:26,933 --> 01:59:30,000
So we must go directly to settings.
1827
01:59:30,000 --> 01:59:34,033
So right here we are going to be able
to choose the specific parameters
1828
01:59:34,033 --> 01:59:35,400
for the sequence.
1829
01:59:35,400 --> 01:59:37,733
The first is the editing mode.
1830
01:59:37,733 --> 01:59:41,166
Here we are going to find all the presets
that we saw previously,
1831
01:59:41,166 --> 01:59:43,200
but all displayed on a list.
1832
01:59:43,200 --> 01:59:46,000
But as I told you,
it will always be better to do it
1833
01:59:46,000 --> 01:59:50,300
ourselves, to choose the specific
parameters for our sequence.
1834
01:59:50,400 --> 01:59:55,033
So I recommend you select custom Selecting
custom enables
1835
01:59:55,033 --> 01:59:59,233
the configuration of all the parameters,
so pay attention to the difference.
1836
01:59:59,233 --> 02:00:01,500
If I select any of the other presets,
1837
02:00:02,233 --> 02:00:05,266
notice how I cannot modify the frame size
1838
02:00:05,566 --> 02:00:09,533
nor the visualization field,
nor to video previews.
1839
02:00:09,533 --> 02:00:11,200
So as I told you, when you select
1840
02:00:11,200 --> 02:00:14,866
custom all the parameters
you can modify as you want.
1841
02:00:15,300 --> 02:00:18,300
So make sure then
that the sequences in custom,
1842
02:00:18,566 --> 02:00:21,300
the first parameter is set frames
per second.
1843
02:00:21,566 --> 02:00:24,900
Remember
that moving images are made up of frames
1844
02:00:25,200 --> 02:00:28,000
that are photos
that were buzzing quickly one
1845
02:00:28,000 --> 02:00:30,933
after generating the fact of motion.
1846
02:00:31,200 --> 02:00:34,733
In the case of cinema, it's
24 frames per second.
1847
02:00:35,000 --> 02:00:38,500
23 Come on, 876 is exactly the same.
1848
02:00:38,833 --> 02:00:42,300
There are audio configurations
such as those of television
1849
02:00:42,300 --> 02:00:45,933
that have 30 frames or 60 frames
per second,
1850
02:00:46,333 --> 02:00:49,800
but we must always set it to 24
frames per second.
1851
02:00:49,900 --> 02:00:52,366
After days, we must go to the video box.
1852
02:00:52,600 --> 02:00:55,733
In this box we are going to find
five important parameters.
1853
02:00:56,100 --> 02:00:57,200
We're going to pay attention
1854
02:00:57,200 --> 02:01:01,400
to the first two, the frame size
and the pixel aspect ratio.
1855
02:01:01,900 --> 02:01:04,133
Let's start with the frame size.
1856
02:01:04,133 --> 02:01:07,733
This parameter will allow us
to set the resolution of the frame
1857
02:01:08,000 --> 02:01:11,400
that is the number of pixels
that each frames will have.
1858
02:01:11,733 --> 02:01:15,533
Remember that each format, HD, two,
K, etc.
1859
02:01:15,533 --> 02:01:17,733
has a specific number of pixels.
1860
02:01:18,166 --> 02:01:23,133
The next parameter pixel aspect
ratio is related to the type of defamation
1861
02:01:23,133 --> 02:01:28,266
that each of these pixels will have
to adapt to a specific type of the screen.
1862
02:01:28,933 --> 02:01:31,800
Remember that
there are different types of two screens.
1863
02:01:32,200 --> 02:01:34,366
Those elongated movie screens,
1864
02:01:34,933 --> 02:01:37,733
also the screens
of the digital televisions
1865
02:01:38,033 --> 02:01:42,500
and even the television screens
of the last century that are more square.
1866
02:01:43,100 --> 02:01:46,000
The pixels aspect ratio distorts
the pixels.
1867
02:01:46,000 --> 02:01:48,100
To achieve these adaptation.
1868
02:01:48,100 --> 02:01:50,266
And I will give you an example here.
1869
02:01:50,266 --> 02:01:53,933
It reads for 1040 by 1080.
1870
02:01:54,233 --> 02:01:57,433
But here on one side it also reads 1690.
1871
02:01:57,800 --> 02:02:02,866
And that means that with the distortion
that the pixel aspect ratio of 1.3
1872
02:02:03,000 --> 02:02:06,400
is generated in the screen
with Luke 16 nine
1873
02:02:06,600 --> 02:02:09,566
because the pixels are stretched
to the size to chip it.
1874
02:02:09,800 --> 02:02:12,600
But this is not the correct way to do it
in a video
1875
02:02:12,600 --> 02:02:15,500
editing of this time 2023.
1876
02:02:15,833 --> 02:02:19,866
Because today almost all devices
everywhere have a high resolution
1877
02:02:19,866 --> 02:02:23,633
and many screens that adapt
to the original size of the video.
1878
02:02:24,233 --> 02:02:29,233
So knowing this, we must go back the
settings and select into square pixels.
1879
02:02:30,000 --> 02:02:31,533
We attention that in the tab.
1880
02:02:31,533 --> 02:02:34,033
There are several defamation options,
1881
02:02:34,533 --> 02:02:38,166
but I highly recommend
you always use square pixels
1882
02:02:38,766 --> 02:02:41,466
so that the shape of the image
is really related
1883
02:02:41,466 --> 02:02:45,766
to the number of pixels
that we have set in the frame size.
1884
02:02:45,766 --> 02:02:48,066
But attention now to the actual size.
1885
02:02:48,066 --> 02:02:52,800
If related to this resolution
in a square pixel aspect ratio,
1886
02:02:53,166 --> 02:02:56,233
the image now looks a square
like a normal television
1887
02:02:56,500 --> 02:02:59,833
because it's respecting
the square aspect of the pixels.
1888
02:03:00,366 --> 02:03:03,000
So if I wanted to change
the size of the image
1889
02:03:03,200 --> 02:03:06,100
so that it looks like a digital television
screen
1890
02:03:06,100 --> 02:03:08,900
in any home that is 1690,
1891
02:03:09,133 --> 02:03:13,333
then I will have to take it
to 1920 by 1080.
1892
02:03:13,866 --> 02:03:18,466
In that way, the image would be 1990
with the square pixels
1893
02:03:18,700 --> 02:03:22,800
like a digital television,
and we would be doing it the right way.
1894
02:03:23,433 --> 02:03:26,600
That means that
if I wanted to create a much more stretch
1895
02:03:26,666 --> 02:03:31,333
look to the sides, as in the case of movie
screens, I would have to add
1896
02:03:31,433 --> 02:03:36,100
many more pixels to the horizontal line
to get to that size.
1897
02:03:36,566 --> 02:03:40,800
On the other hand, it's important to know
these I mean, if it's the case of a video
1898
02:03:41,166 --> 02:03:45,333
for Instagram or TikTok,
I mean, with a vertical appearance,
1899
02:03:45,333 --> 02:03:48,433
you must convert into the proportion
of the size of the image.
1900
02:03:49,333 --> 02:03:52,766
So we mass resize first 1080
1901
02:03:53,933 --> 02:03:56,200
and then 1920, for example.
1902
02:03:57,100 --> 02:03:59,300
So in this way, our program monitor
1903
02:03:59,300 --> 02:04:02,000
will have the appearance of a video
for reals.
1904
02:04:02,600 --> 02:04:05,500
But doing this,
you must pay close attention to something.
1905
02:04:06,066 --> 02:04:08,766
It happens
that when you are editing later on
1906
02:04:09,066 --> 02:04:11,833
you are going to have to adapt
the videos to this aspect.
1907
02:04:12,366 --> 02:04:15,766
So you are going to have to zoom in
in the image enough in order
1908
02:04:15,766 --> 02:04:17,400
to adapt to the aspect.
1909
02:04:17,400 --> 02:04:19,600
But we are going to lose resolution.
1910
02:04:19,600 --> 02:04:21,600
So I had two reminders.
1911
02:04:21,600 --> 02:04:25,200
First of all is that you record
with a camera with enough resolution
1912
02:04:25,500 --> 02:04:30,200
so that even by zooming in that way,
you don't lose much resolution.
1913
02:04:30,733 --> 02:04:36,033
The other solution is to turn the camera
vertically so that it records vertically.
1914
02:04:36,366 --> 02:04:37,100
The problem means
1915
02:04:37,100 --> 02:04:40,666
that you are going to be able to do this
only without the SLR camera.
1916
02:04:41,000 --> 02:04:46,333
With a film camera is not that easy.
1917
02:04:46,333 --> 02:04:50,700
But let's continue with another important
thing about the pixel aspect radio,
1918
02:04:51,166 --> 02:04:54,733
because there are still cameras
in the market record,
1919
02:04:54,733 --> 02:04:58,266
for example, 1920 by 1080.
1920
02:04:58,533 --> 02:05:01,800
But they give us the possibility
of having a cinematic
1921
02:05:01,800 --> 02:05:04,700
look that is elongated to the sides.
1922
02:05:05,100 --> 02:05:09,933
So that file generated by the camera would
come with distorted pixels by default.
1923
02:05:10,366 --> 02:05:13,066
So in those cases, the pixel aspect ratio
1924
02:05:13,066 --> 02:05:16,533
tool is useful
so that the image is not distorted.
1925
02:05:17,100 --> 02:05:21,733
So if it's the case that we are working
with a camera whose files are in HD
1926
02:05:22,133 --> 02:05:24,800
but distorted to 1.3 to have
1927
02:05:24,800 --> 02:05:28,133
a cinematic look,
our sequence cannot be set
1928
02:05:28,133 --> 02:05:31,800
in a square pixels
because the image will look squishy.
1929
02:05:32,233 --> 02:05:35,433
So in example, you are looking at
you can see how any mature
1930
02:05:35,433 --> 02:05:39,733
originally recorded with a pixel aspect
ratio of 1.3
1931
02:05:39,733 --> 02:05:43,400
would look like in a sequence
with a square pixels.
1932
02:05:43,400 --> 02:05:47,266
Now, particularly in the opposite case,
it works differently.
1933
02:05:47,866 --> 02:05:50,866
I mean, if the video file
I am using originally
1934
02:05:50,866 --> 02:05:55,066
has a big aspect ratio of one
that is its square.
1935
02:05:55,400 --> 02:05:59,533
If I changed the configuration
after sequence took 1.3,
1936
02:06:00,000 --> 02:06:02,933
the video image would not be distorted.
1937
02:06:02,933 --> 02:06:06,633
Simply that when the file is a sports,
the file will have
1938
02:06:06,666 --> 02:06:09,000
the pixels stretched to the sides.
1939
02:06:09,800 --> 02:06:12,833
It's important
to know that almost all movie cameras
1940
02:06:13,300 --> 02:06:16,066
do not distort the pixel aspect ratio.
1941
02:06:16,633 --> 02:06:20,500
They seem to bring in configurations
with more pixels of fewer pixels
1942
02:06:20,700 --> 02:06:24,833
to adapt to the number of pixels
to the wide aspect of the movie screen
1943
02:06:24,966 --> 02:06:27,700
or to aspect a square for televisions.
1944
02:06:28,500 --> 02:06:30,900
In any case,
you can play with this parameter.
1945
02:06:30,900 --> 02:06:33,566
I will always recommend
using the square pixels,
1946
02:06:33,800 --> 02:06:37,466
and if it's the case that you need
the image to look wider or simply modify
1947
02:06:37,466 --> 02:06:41,266
the number of pixels
to the necessary point, In fact,
1948
02:06:41,400 --> 02:06:44,733
you didn't even have to respect
traditional aspect to radius.
1949
02:06:45,000 --> 02:06:48,200
You can make the image as wide
or as square as you want.
1950
02:06:48,466 --> 02:06:52,100
These here is the traditional
look of digital screens.
1951
02:06:52,100 --> 02:06:54,000
16 nine.
1952
02:06:54,000 --> 02:06:58,200
It's important to mention that even after
creating the sequence, you can continue
1953
02:06:58,200 --> 02:07:02,966
modifying the parameters of the sequence
by simply clicking on the sequence
1954
02:07:03,300 --> 02:07:06,766
with the right mouse button
and then going to the sequence
1955
02:07:06,766 --> 02:07:11,200
settings.
1956
02:07:11,200 --> 02:07:13,766
So the next parameter is the fields.
1957
02:07:14,133 --> 02:07:16,033
What does this consist of?
1958
02:07:16,033 --> 02:07:20,600
Long ago when there were only analog
televisions in analog television
1959
02:07:20,600 --> 02:07:24,600
broadcast, one thing was to play a movie
in a movie theater
1960
02:07:25,233 --> 02:07:28,666
in quite in order to broadcast it
by open signal,
1961
02:07:29,133 --> 02:07:33,133
transmit time frames per second to an open
signal was very difficult.
1962
02:07:33,533 --> 02:07:36,000
So they had to resort
to another technology
1963
02:07:36,000 --> 02:07:39,600
so that the human side
could perceive the frames per second.
1964
02:07:39,600 --> 02:07:41,200
As in a movie theater.
1965
02:07:41,200 --> 02:07:46,500
Then a technology was invented
that allowed the frames to be duplicated
1966
02:07:47,033 --> 02:07:51,000
by using horizontal bars
that displayed the image fast enough
1967
02:07:51,233 --> 02:07:55,800
so that the human eye would not detect
the frames passing one after another.
1968
02:07:56,333 --> 02:07:59,666
So one of those technologies is NTSC
1969
02:08:00,133 --> 02:08:02,733
that is used throughout American continent
1970
02:08:03,066 --> 02:08:06,633
in the order is Paul technology
that is used in Europe.
1971
02:08:07,233 --> 02:08:11,033
So we have these two options
to choose from here and lower field
1972
02:08:11,033 --> 02:08:14,166
first
that belong to those two technologies.
1973
02:08:14,800 --> 02:08:17,200
But these exist in Adobe Premiere
1974
02:08:17,200 --> 02:08:20,133
because even today
there is an open signal television.
1975
02:08:20,633 --> 02:08:23,100
So it's necessary
that we had the possibility
1976
02:08:23,100 --> 02:08:26,133
of setting up our project
under that configuration.
1977
02:08:26,700 --> 02:08:30,933
But the truth is that you must always set
the sequence in progressive scan.
1978
02:08:30,933 --> 02:08:33,233
That is, those parts don't appear.
1979
02:08:33,600 --> 02:08:37,400
So the frame flow is continuous,
as in a digital television.
1980
02:08:37,900 --> 02:08:41,500
That way you can have
the best video quality in your sequence
1981
02:08:42,033 --> 02:08:46,133
and then later in the expert
if you want or it's necessary for you,
1982
02:08:46,366 --> 02:08:51,533
you can adapt the final file to NTSC
or file format when necessary.
1983
02:08:52,100 --> 02:08:55,566
But always remember
to set the sequence in progressive
1984
02:08:55,800 --> 02:08:59,333
so that the image is as clean as possible.
1985
02:08:59,333 --> 02:09:02,400
Actually,
if you forget to set these to progressive,
1986
02:09:02,400 --> 02:09:08,733
you will notice some horizontal bars
on the image.
1987
02:09:08,733 --> 02:09:12,600
The next parameter that we have here
is the time measurement mode
1988
02:09:12,900 --> 02:09:15,533
in the timeline display format
1989
02:09:15,933 --> 02:09:19,233
I already told you about it
when we were creating the project.
1990
02:09:19,666 --> 02:09:21,033
There are several options.
1991
02:09:21,033 --> 02:09:24,700
The first is to tell the software
to follow the frames per second
1992
02:09:25,100 --> 02:09:27,900
while viewing continuous time.
1993
02:09:27,900 --> 02:09:31,866
This second option
num drop frame timecode is a mode
1994
02:09:31,866 --> 02:09:35,700
that allows us to adapt to the errors
that the capture may have as a result
1995
02:09:35,700 --> 02:09:39,100
of the data transmission process
from the tape to the computer.
1996
02:09:39,333 --> 02:09:43,900
So this option allows me to skip
those errors and follow continuous time.
1997
02:09:44,333 --> 02:09:45,600
We are not going to use this.
1998
02:09:45,600 --> 02:09:47,800
We should always use the timecode
1999
02:09:47,800 --> 02:09:51,100
which is the way
adapted to real time in the editing.
2000
02:09:51,100 --> 02:09:54,200
And you yourself will realize this
when you are measuring
2001
02:09:54,200 --> 02:09:57,733
the duration of a scene
over and over again.
2002
02:09:57,733 --> 02:10:03,033
There's also the feed blass frames
16 millimeters and 35 millimeters mode.
2003
02:10:03,533 --> 02:10:07,400
This is for film
roll cameras with this analog format.
2004
02:10:07,400 --> 02:10:08,733
Then the software measures
2005
02:10:08,733 --> 02:10:12,900
the amount of film real in its relation
to the frames per second.
2006
02:10:13,066 --> 02:10:15,933
And finally,
there is the frame small in which only
2007
02:10:15,933 --> 02:10:18,766
the frames will displayed in not the time.
2008
02:10:19,066 --> 02:10:21,500
What is the difference
visually on the timeline
2009
02:10:22,033 --> 02:10:23,933
we're going to use, for example,
the continuous.
2010
02:10:23,933 --> 02:10:28,233
TimeCode So now look at the timeline
where you can see the time directly
2011
02:10:28,566 --> 02:10:31,800
and have the general time meter
not only on the timeline
2012
02:10:31,800 --> 02:10:34,200
but also on the program monitor.
2013
02:10:34,800 --> 02:10:36,600
But you can change this into settings.
2014
02:10:36,600 --> 02:10:41,566
For example, two frames now pay attention
that the time shift to frames
2015
02:10:42,266 --> 02:10:45,666
now it shows each of the frames
and here on the monitor
2016
02:10:45,933 --> 02:10:50,233
it rich Sierra because there's not
any video selected in the timeline
2017
02:10:50,766 --> 02:10:53,600
but also in the same timeline workspace,
2018
02:10:53,600 --> 02:10:56,333
we can change the time display we want.
2019
02:10:56,800 --> 02:11:00,833
I mean, it's a feature that is not
exclusive to the sequence settings.
2020
02:11:01,200 --> 02:11:04,100
And in the same way,
you can also change it in the program.
2021
02:11:04,100 --> 02:11:04,666
Monitor
2022
02:11:06,200 --> 02:11:07,200
The next parameter
2023
02:11:07,200 --> 02:11:10,266
is the working color space
that I had mentioned.
2024
02:11:10,266 --> 02:11:12,133
When we would create in the project.
2025
02:11:12,133 --> 02:11:15,833
We had several options to work
with high dynamic range of colors.
2026
02:11:16,166 --> 02:11:18,800
But as I told you,
I will explain them later.
2027
02:11:19,300 --> 02:11:23,033
The important thing is that we can change
all these settings when we want
2028
02:11:23,600 --> 02:11:26,400
the next parameter is the audio parameter
2029
02:11:26,766 --> 02:11:28,800
where we are going
to find the sample rate.
2030
02:11:28,833 --> 02:11:32,800
That is the audio resolution that I had
mentioned in the previous lessons.
2031
02:11:33,333 --> 02:11:36,266
So we will be able to choose
several resolutions
2032
02:11:36,266 --> 02:11:39,333
and this will depend on the audio
interface you have.
2033
02:11:39,900 --> 02:11:44,300
I mean, if you have one
or also on the computer's resources,
2034
02:11:44,300 --> 02:11:47,900
of course, the higher resolution,
the better the audio will be.
2035
02:11:48,233 --> 02:11:50,966
But it's also consumes
many more resources.
2036
02:11:51,433 --> 02:11:54,066
We can not only modify the sample rate,
2037
02:11:54,066 --> 02:11:57,633
but also how the all your time
will be measured in the timeline.
2038
02:11:58,133 --> 02:12:00,200
But don't get too hung up on this.
2039
02:12:00,900 --> 02:12:05,333
This doesn't really change
anything important, just a visual feature
2040
02:12:05,400 --> 02:12:10,233
on the timeline that we will see
later on in these last books we have here.
2041
02:12:10,233 --> 02:12:12,766
Below is the video previews.
2042
02:12:12,766 --> 02:12:16,933
The first parameter of the Xbox
has to do with the program monitor.
2043
02:12:17,233 --> 02:12:21,700
That is what type of format the sequence
will be displayed on the monitor.
2044
02:12:22,266 --> 02:12:24,600
I highly recommend
you choose in quick QuickTime.
2045
02:12:24,600 --> 02:12:26,533
They are simply preview formats.
2046
02:12:26,533 --> 02:12:30,266
In fact, they are all compressed
to have a better workflow.
2047
02:12:30,800 --> 02:12:34,066
I always leave it in the animation codec,
but there are also
2048
02:12:34,066 --> 02:12:36,300
other progress compressed formats.
2049
02:12:36,566 --> 02:12:38,500
There are many different ones.
2050
02:12:38,500 --> 02:12:41,233
There are some
with more quality than others and in fact
2051
02:12:41,433 --> 02:12:44,533
it's something
that you can also change at any time.
2052
02:12:45,033 --> 02:12:46,966
This has nothing to do with export.
2053
02:12:46,966 --> 02:12:50,100
It's simply the parameters
that the program monitor will have.
2054
02:12:50,100 --> 02:12:51,900
Whether you are editing.
2055
02:12:51,900 --> 02:12:54,866
Let me mention
not only QuickTime is useful.
2056
02:12:54,866 --> 02:12:57,633
Also a frame only impact is very good.
2057
02:12:58,300 --> 02:13:03,166
In fact, the difference in performance
between the one and the other is not much.
2058
02:13:03,166 --> 02:13:06,633
On the other hand, it's important
to mention that the more information
2059
02:13:06,633 --> 02:13:10,933
the video files have,
those files that you use in the sequence,
2060
02:13:11,233 --> 02:13:16,933
the computer will also use more resources.
2061
02:13:16,933 --> 02:13:17,733
On the other hand,
2062
02:13:17,733 --> 02:13:21,500
these boxes that are here
below had to do with the video preview.
2063
02:13:22,066 --> 02:13:24,600
But the attention
that is very well specified,
2064
02:13:24,900 --> 02:13:27,600
they are right inside the video
previews box.
2065
02:13:28,200 --> 02:13:31,233
The linear call to compensated
help is to have a better color
2066
02:13:31,233 --> 02:13:34,566
in the preview,
but consumes more computer resources.
2067
02:13:35,066 --> 02:13:40,500
There are also the options of maximum
bit of depth, a maximum render quality.
2068
02:13:40,800 --> 02:13:44,933
The important thing to know is that all
these details are for the video preview,
2069
02:13:45,266 --> 02:13:48,966
not for the sequence itself
or the file to be exported.
2070
02:13:49,700 --> 02:13:52,466
Something that I usually do
while I'm editing
2071
02:13:52,466 --> 02:13:55,766
is turn these parameters
on to see an approximation
2072
02:13:56,200 --> 02:14:00,333
of the final quality of the work,
and then I turn them off.
2073
02:14:01,600 --> 02:14:02,566
On the other hand,
2074
02:14:02,566 --> 02:14:06,266
when creating the sequence,
we also have the possibility of creating
2075
02:14:06,266 --> 02:14:09,533
as many of the tracks
we want in the format we want.
2076
02:14:10,100 --> 02:14:13,966
It can be a serial surround 5.1.
2077
02:14:14,100 --> 02:14:17,033
It can be multichannel and also in mono.
2078
02:14:17,533 --> 02:14:20,533
As I told you,
you can add as many tracks as you want.
2079
02:14:21,133 --> 02:14:25,433
Adding a new track will automatically open
the same number of tracks.
2080
02:14:25,433 --> 02:14:27,633
The mixture in the audio preset.
2081
02:14:27,633 --> 02:14:30,500
For example, here I had added six tracks.
2082
02:14:30,933 --> 02:14:35,933
If I click okay, six tracks will
automatically be added to the sequence.
2083
02:14:35,933 --> 02:14:38,266
But if we wanted to add
even more audio tracks,
2084
02:14:38,266 --> 02:14:42,400
for example, in this other sequence
I created when it was explaining to you,
2085
02:14:42,433 --> 02:14:46,533
we simply had to go to the sequence
tab up here and click on track.
2086
02:14:47,133 --> 02:14:50,866
This way I can add more audio or video
tracks to the sequence
2087
02:14:50,866 --> 02:14:55,366
and I can even indicate where I want it
to appear in relation to the other tracks.
2088
02:14:55,900 --> 02:14:59,433
In fact, I can modify
all those same parameters related
2089
02:14:59,433 --> 02:15:03,566
to the audio tracks that we could select
when we were creating the sequence.
2090
02:15:03,966 --> 02:15:06,966
In fact, as you can see,
you can also select a format
2091
02:15:07,233 --> 02:15:09,966
where there is a stereo mono for surround.
2092
02:15:10,800 --> 02:15:13,200
For example,
the mono tracks are very important
2093
02:15:13,200 --> 02:15:16,266
because they are two tracks
where we are going to do the dubbing.
2094
02:15:16,966 --> 02:15:19,766
So when we had a mono track,
a small symbol will
2095
02:15:19,766 --> 02:15:22,766
automatically be added to the notified
That track.
2096
02:15:23,100 --> 02:15:24,500
It's a small speaker.
2097
02:15:24,500 --> 02:15:27,533
It's necessary to do track
where we do the job in this mono
2098
02:15:27,533 --> 02:15:31,033
because it's a single microphone
which will capture the voice.
2099
02:15:31,200 --> 02:15:33,066
So we will also see this later.
2100
02:15:33,066 --> 02:15:36,733
We get it's something that we will
surely have to do as editors.
2101
02:15:37,466 --> 02:15:41,733
And finally, after all the tracks tab,
we had the virtual reality tab
2102
02:15:42,066 --> 02:15:45,833
obviously in this course
we are not going to touch on this topic
2103
02:15:46,200 --> 02:15:48,966
because neither you nor
I have the appropriate
2104
02:15:48,966 --> 02:15:51,566
hardware
at this time to explain this to you.
2105
02:15:52,200 --> 02:15:54,433
But I'm very motivated to do it.
2106
02:15:54,433 --> 02:15:56,566
It's something that I plan to add
to this course
2107
02:15:56,633 --> 02:15:59,700
once I have all the devices
related to this technology.
2108
02:16:00,333 --> 02:16:01,466
But it's important to know
2109
02:16:01,466 --> 02:16:04,566
that Adobe Premiere
allows us to work with virtual reality.
2110
02:16:04,866 --> 02:16:08,733
And this is the parameter
that allows me to work with those devices.
2111
02:16:09,200 --> 02:16:13,166
This comes with the latest additions
of Adobe Premiere.
2112
02:16:13,166 --> 02:16:16,166
Then we press
okay, in our sequence is created.
2113
02:16:16,500 --> 02:16:20,400
I know I had to cancel
because during the explanation process
2114
02:16:20,400 --> 02:16:24,666
the sequence was created automatically
and remember that by right
2115
02:16:24,666 --> 02:16:28,066
clicking on the sequence
and then going to the sequence settings,
2116
02:16:28,433 --> 02:16:33,200
you can still modify the sequence
settings as many times as you want.
2117
02:16:33,200 --> 02:16:37,100
That would be everything with respect
to creating a sequence in.
2118
02:16:37,100 --> 02:16:41,133
As I told you, this sequence
will be connected to the program monitor.
2119
02:16:41,700 --> 02:16:45,700
So once we had our sequence created,
we're going to start adding videos
2120
02:16:45,700 --> 02:16:49,466
to the timeline
that is the fragment of the video we want.
2121
02:16:50,133 --> 02:16:52,400
When we do it,
the software will ask us if.
2122
02:16:52,400 --> 02:16:55,333
We want to keep the existing settings
in the sequence
2123
02:16:55,600 --> 02:16:58,766
or if we want to change the settings
to those of the video file.
2124
02:16:59,033 --> 02:17:14,400
And we must click on
keep existing settings.
2125
02:17:14,400 --> 02:17:17,833
That would be all important
when it comes to creating a sequence.
2126
02:17:18,166 --> 02:17:22,866
From now on, we are going to store
to dive deeper into editing and understand
2127
02:17:22,866 --> 02:17:25,933
what are those fundamental tools
that will allow you
2128
02:17:25,933 --> 02:17:28,533
to truly become an editor for film.
2129
02:17:29,033 --> 02:17:31,000
I see you in the next lesson. You
2130
02:17:53,166 --> 02:17:53,833
Hello people.
2131
02:17:53,833 --> 02:17:57,633
I really want to give you some important
piece of advice, not only as a video
2132
02:17:57,633 --> 02:18:01,533
editor or a film director,
but an artist himself.
2133
02:18:02,000 --> 02:18:06,033
I know that many of you also shoot videos,
or at least a large part of you
2134
02:18:06,300 --> 02:18:11,133
are interested in one way or another
in shooting stories or whatever,
2135
02:18:11,133 --> 02:18:14,166
and obviously editing
is part of that process.
2136
02:18:14,733 --> 02:18:18,433
But the truth is that the tools that you
need to know to adhere to professionally
2137
02:18:18,433 --> 02:18:22,633
or well enough to carry out an audio
project are not too many.
2138
02:18:23,000 --> 02:18:26,066
So the rest of the knowledge
doesn't come from itself,
2139
02:18:26,400 --> 02:18:30,466
from learning all the terms, shortcuts
or functions of a software
2140
02:18:31,033 --> 02:18:35,400
it doesn't matter which one
it is Premiere Sonny Vegas or DaVinci.
2141
02:18:36,100 --> 02:18:39,000
I mean, the rest of the knowledge comes
from how we use you.
2142
02:18:39,000 --> 02:18:44,266
Are you consuming quality
in terms of image of any stories?
2143
02:18:44,866 --> 02:18:47,500
So if there are not qualitative references
2144
02:18:47,500 --> 02:18:51,000
in your mind, it's impossible
for you to have a quality result.
2145
02:18:51,000 --> 02:18:53,166
Editing a simple asset.
2146
02:18:53,700 --> 02:18:57,000
For example, you cannot expect to be
a great air cinematographer
2147
02:18:57,366 --> 02:18:59,400
if you only consume Marvel movies.
2148
02:19:00,033 --> 02:19:00,966
I'm not trying to say
2149
02:19:00,966 --> 02:19:04,466
that you cannot learn technical
things from a superhero movie,
2150
02:19:04,800 --> 02:19:07,700
but you have to learn,
first of all, to be fully aware of what
2151
02:19:07,700 --> 02:19:09,000
you are watching on the screen.
2152
02:19:09,000 --> 02:19:11,333
And in order to have a visual culture.
2153
02:19:11,733 --> 02:19:13,900
I always talk about this
with my colleagues
2154
02:19:14,366 --> 02:19:18,000
and I use an example
the movie Spider-Man in Forest Gump.
2155
02:19:18,233 --> 02:19:19,900
I mean, the way they shoot at the scene.
2156
02:19:19,900 --> 02:19:23,033
The boss in the movie is Spider-Man,
and I compare it with
2157
02:19:23,033 --> 02:19:26,333
the one in the movie
Forrest Gump, for example.
2158
02:19:26,333 --> 02:19:29,600
Pay attention
to these first shot of the scene.
2159
02:19:29,600 --> 02:19:32,400
Are you aware, for example,
that the colors of the costumes
2160
02:19:32,400 --> 02:19:36,700
were specifically chosen
to match the range of colors of the grass?
2161
02:19:37,100 --> 02:19:40,100
That is very important
because video editors can change
2162
02:19:40,100 --> 02:19:43,100
or modify
the colors of any elements in a scene.
2163
02:19:43,100 --> 02:19:46,300
For example,
look at this man that's painting.
2164
02:19:46,300 --> 02:19:50,566
It's the same selection of colors in the
composition, the blue of the shirts.
2165
02:19:50,566 --> 02:19:53,633
It's representing
that blue color of this guy.
2166
02:19:54,300 --> 02:19:57,600
This other painting by moonlight
is the same blue
2167
02:19:57,600 --> 02:20:01,633
in shades of green our colors
that match that green of the grass.
2168
02:20:01,900 --> 02:20:05,233
So what I'm trying to say is that
this scene is not like that
2169
02:20:05,633 --> 02:20:08,466
because the color palette
downloaded from the Internet
2170
02:20:08,700 --> 02:20:12,000
I mean, is the byproduct
of having a great visual culture.
2171
02:20:12,733 --> 02:20:16,233
On the other hand, the attention
to the duration of this first shot,
2172
02:20:16,466 --> 02:20:19,900
that shot
last long enough on the screen to detail
2173
02:20:19,933 --> 02:20:24,233
that there is a dirt road
and they leave far from the city or town.
2174
02:20:25,033 --> 02:20:28,500
Now, pay attention
to the green color of the ceiling, the bus
2175
02:20:28,966 --> 02:20:32,666
that was also deliberately drawn
to match the whole country vibe
2176
02:20:32,700 --> 02:20:35,800
because that is the road
the boss is traveling on.
2177
02:20:36,766 --> 02:20:40,066
I'm forced for car
2178
02:20:40,066 --> 02:20:40,300
door.
2179
02:20:40,300 --> 02:20:48,900
Dorothy
Harris Well, now we're strangers anymore.
2180
02:20:48,900 --> 02:20:53,366
Now pay attention that the close shots
are only reserved for the main character
2181
02:20:53,633 --> 02:20:54,600
and that no one else
2182
02:20:54,600 --> 02:20:58,600
has the same color in their clothes
that forest has in the shirt.
2183
02:20:58,900 --> 02:21:02,766
And I would say that even the color
of the children's clothing is selected
2184
02:21:02,766 --> 02:21:05,800
so that no one stands out and also blends
2185
02:21:05,800 --> 02:21:10,533
with the color of the seats.
2186
02:21:10,533 --> 02:21:14,700
Can't sit here.
2187
02:21:14,700 --> 02:21:20,166
You know, it's funny what a young man
recollects because I don't pay attention
2188
02:21:20,166 --> 02:21:23,766
also that even the shirt
that forest has an adult is blue.
2189
02:21:23,766 --> 02:21:27,900
Also, it's only
so we connected with the child directly
2190
02:21:28,200 --> 02:21:30,466
but also matches the trees around.
2191
02:21:31,200 --> 02:21:34,266
On the other hand, just at the moment
that the girls appears on the screen
2192
02:21:34,266 --> 02:21:39,300
for the first time in the film, the most
powerful lay motif of the sun took place.
2193
02:21:41,100 --> 02:21:41,700
I had never
2194
02:21:41,700 --> 02:21:44,600
seen anything beautiful in my life.
2195
02:21:45,500 --> 02:21:48,066
She was like an angel.
2196
02:21:48,066 --> 02:21:50,166
Have you noticed that exactly
the same thing
2197
02:21:50,166 --> 02:21:53,600
has been repeated
as when Forest with his mother.
2198
02:21:54,000 --> 02:21:56,500
The girl has a light green dress.
2199
02:21:56,866 --> 02:22:01,900
All these that I'm telling you is to try
to awaken their artistic flame in you.
2200
02:22:01,900 --> 02:22:05,900
Artistic sensibility is what will lead you
to make better decisions.
2201
02:22:05,933 --> 02:22:07,366
I say leaders
2202
02:22:07,500 --> 02:22:11,533
pay attention to the lighting of the scene
to create depth in the faces.
2203
02:22:11,533 --> 02:22:15,933
One half of the girl's face is shaded
in, the other is illuminated,
2204
02:22:16,100 --> 02:22:20,500
and there is even a small tree of light
heat in the window frame as a step.
2205
02:22:20,500 --> 02:22:22,133
It does
2206
02:22:23,133 --> 02:22:24,233
Anjali
2207
02:22:25,033 --> 02:22:27,500
and pause for school.
2208
02:22:27,500 --> 02:22:29,700
From that day on, we was always together.
2209
02:22:29,700 --> 02:22:34,266
Now let's move on to the Spider-Man,
a scene which also happens on a school bus
2210
02:22:34,600 --> 02:22:37,300
where love of the
main character is introduced.
2211
02:22:38,266 --> 02:22:38,633
But let me
2212
02:22:38,633 --> 02:22:42,666
assure you, this is like any story
worth is all about.
2213
02:22:42,666 --> 02:22:43,566
A girl.
2214
02:22:44,266 --> 02:22:46,533
That girl, the girl next door.
2215
02:22:47,066 --> 02:22:48,966
Mary Jane Watson.
2216
02:22:48,966 --> 02:22:52,033
The woman I've loved since
before I even liked.
2217
02:22:52,033 --> 02:22:55,733
Pay attention that in the editing
that is closely related to the script,
2218
02:22:56,000 --> 02:22:57,633
they introduced you to the girl
2219
02:22:57,633 --> 02:23:01,600
at the beginning
without any surprises in the scene.
2220
02:23:01,600 --> 02:23:04,933
You are surprised that he finds
the love of his life on the bus.
2221
02:23:05,500 --> 02:23:09,766
And here there is no surprise,
neither by editing nor by script.
2222
02:23:10,166 --> 02:23:13,533
So The woman I've loved
since before I even liked girls.
2223
02:23:14,133 --> 02:23:16,866
I'd like to tell you
that's me next to her.
2224
02:23:16,866 --> 02:23:20,733
I had told you that the closest shots
are used for the main characters.
2225
02:23:20,733 --> 02:23:23,766
I don't know why
there is a close shot for this guy.
2226
02:23:24,033 --> 02:23:26,133
He has no importance in the story.
2227
02:23:26,133 --> 02:23:28,300
I tell you this because in film editing,
2228
02:23:28,300 --> 02:23:31,200
we can craft this shot
to create a more close to one.
2229
02:23:31,700 --> 02:23:32,400
A close up.
2230
02:23:32,400 --> 02:23:36,533
For example, here they do it again
and they do it randomly in.
2231
02:23:36,533 --> 02:23:38,933
That cannot be done that way.
2232
02:23:38,933 --> 02:23:40,566
It has an important INS
2233
02:23:40,566 --> 02:23:43,733
and the importance is called
the cinematographic point of view.
2234
02:23:44,100 --> 02:23:46,833
In the case of the girl, it's important
because we are talking
2235
02:23:46,833 --> 02:23:50,766
about a lot of his life, but
the rest of the characters from that boss,
2236
02:23:50,966 --> 02:23:53,533
they are not that important
for this story.
2237
02:23:54,166 --> 02:23:57,000
Pay attention
that the customs here had no importance
2238
02:23:57,000 --> 02:24:00,266
in the statics of the scene
nor the colors in the space.
2239
02:24:00,733 --> 02:24:04,866
So knowing exactly
why things are done in a movie or a scene
2240
02:24:04,866 --> 02:24:09,600
is extremely important to be able
to make correct decisions as editors.
2241
02:24:09,600 --> 02:24:13,500
Additionally, the editing stage
is the last right in a stage of a film.
2242
02:24:13,966 --> 02:24:16,533
It's the last chance
that the film project has
2243
02:24:16,533 --> 02:24:20,833
to repair the weaknesses.
2244
02:24:20,833 --> 02:24:22,766
This is a perfect example about it.
2245
02:24:22,766 --> 02:24:26,000
Imagine that you only see movies
of that kind of quality.
2246
02:24:26,400 --> 02:24:27,633
I don't really hate that
2247
02:24:27,633 --> 02:24:31,700
the Spiderman movie, in fact,
I find it quite entertaining.
2248
02:24:32,000 --> 02:24:34,800
But if you only see movies of that nature
in one day,
2249
02:24:34,800 --> 02:24:38,766
you want to shoot one story
in which there is a scene, a boss.
2250
02:24:38,933 --> 02:24:42,600
What do you think will be your point
of reference to create and the scene
2251
02:24:43,000 --> 02:24:44,733
that will be your reference?
2252
02:24:44,733 --> 02:24:46,633
It will not be another.
2253
02:24:46,633 --> 02:24:51,700
The same happens if you are a musician
or if you are a painter or a photographer.
2254
02:24:51,866 --> 02:24:55,033
It's the same when you see the quality
of someone's work.
2255
02:24:55,333 --> 02:25:00,466
I immediately ask whether their customs,
what do they usually do in free time?
2256
02:25:00,733 --> 02:25:03,000
What kind of things do they enjoy?
2257
02:25:03,566 --> 02:25:07,733
I mean, everything we do
in free time will feed our creativity.
2258
02:25:07,733 --> 02:25:11,900
I mean, editing is part of the filmmaking,
and filmmaking is like a speaking
2259
02:25:11,900 --> 02:25:13,333
a language. You cannot fully
2260
02:25:13,333 --> 02:25:17,100
learn a language overnight,
and it's full of so many things.
2261
02:25:17,100 --> 02:25:21,966
Music, theater,
painting, sound art, soundscapes, etc.
2262
02:25:26,433 --> 02:25:27,133
So over
2263
02:25:27,133 --> 02:25:30,900
the years working in editing,
I have come across many editors
2264
02:25:30,900 --> 02:25:35,400
and videographers who approach out of this
work in a very superficial way,
2265
02:25:35,933 --> 02:25:39,733
because many of them focus
all their knowledge on knowing
2266
02:25:39,733 --> 02:25:43,666
which are the best plugins
to improve the quality of the image.
2267
02:25:43,666 --> 02:25:47,200
What is the best camera
with the best dynamic range?
2268
02:25:47,500 --> 02:25:52,300
Which camera has the highest resolution,
which is the most advanced software?
2269
02:25:52,300 --> 02:25:54,600
For example in the years go by?
2270
02:25:54,700 --> 02:25:57,033
And there were continuous
with the same quality,
2271
02:25:57,433 --> 02:26:01,066
the same kind of places,
the same lack of visual culture.
2272
02:26:01,300 --> 02:26:05,700
All of this is something that no is going
to teach you in one single lesson.
2273
02:26:06,133 --> 02:26:09,166
It's something that takes years
to cultivate for you.
2274
02:26:09,266 --> 02:26:12,733
It should become a habit
that you go to a machine,
2275
02:26:12,733 --> 02:26:15,600
to an exhibition
that you contemplate quality art.
2276
02:26:16,000 --> 02:26:19,300
I'm not trying to say that
the technical elements are not important,
2277
02:26:19,866 --> 02:26:23,433
but in reality, if there is something,
I don't want for you,
2278
02:26:23,666 --> 02:26:26,533
it's for you
to become that kind of videographers
2279
02:26:26,966 --> 02:26:30,066
or editors
who only cares about technical things.
2280
02:26:30,333 --> 02:26:32,733
So I wish you could really be the best
you can be.
2281
02:26:33,033 --> 02:26:37,933
So what many people call talent
is actually the byproduct of a lifestyle.
2282
02:26:38,400 --> 02:26:40,933
All these are very important
for the video editor
2283
02:26:41,300 --> 02:26:43,666
because you are given
the date of a project.
2284
02:26:43,766 --> 02:26:46,200
I mean, the film footage of a project
2285
02:26:46,200 --> 02:26:50,466
you are supposed to learn to choose
which are the best shots of the scene.
2286
02:26:50,533 --> 02:26:53,700
So, for example,
what is the criteria you're going to use
2287
02:26:53,700 --> 02:26:56,466
to choose the best
take or to correct a shot?
2288
02:26:56,833 --> 02:27:00,700
Sometimes you have to crop shots,
for example, or reframe the image
2289
02:27:00,700 --> 02:27:04,633
to create a new and you must have good
visual reference to do that.
2290
02:27:05,366 --> 02:27:07,766
Determining
the violence of an image is essential
2291
02:27:07,766 --> 02:27:10,966
for the editor because you will be
cropping images all the time.
2292
02:27:11,100 --> 02:27:14,266
The violence comes from the vernacular
sight of human beings,
2293
02:27:14,400 --> 02:27:18,466
and this vernacular site
doesn't focus attention on both eyes
2294
02:27:18,466 --> 02:27:22,766
at the same time, but one is always
the one that concentrates the most
2295
02:27:23,033 --> 02:27:24,700
and the other complements it.
2296
02:27:24,700 --> 02:27:27,766
And that is the reason why
the law of figures in an image
2297
02:27:27,833 --> 02:27:31,166
must be respected to censor
the main elements of the composition
2298
02:27:31,200 --> 02:27:35,400
In any of those four points
that you see there in this case
2299
02:27:35,400 --> 02:27:38,900
is the girl's face
that is close to the upper right point.
2300
02:27:39,600 --> 02:27:43,200
This was used for the balance of rock
paintings and drawings,
2301
02:27:43,400 --> 02:27:46,700
and it's a fundamental
the is today for cinematography.
2302
02:27:47,100 --> 02:27:52,866
Being aware of this knowledge
is part of what make us better editors.
2303
02:27:52,866 --> 02:27:55,600
So there are a lot of ideas
that will come to your mind
2304
02:27:55,600 --> 02:27:57,733
when you have a great audio
visual culture.
2305
02:27:58,033 --> 02:28:01,166
Those ideas are the ones
that will help you to create
2306
02:28:01,166 --> 02:28:04,500
very much a better
editing and a better job.
2307
02:28:04,866 --> 02:28:07,566
So take all of these into account
and let's
2308
02:28:07,566 --> 02:28:11,333
continue
learning in this film editing course, you
2309
02:28:41,333 --> 02:28:41,733
perfect.
2310
02:28:41,733 --> 02:28:42,566
We are here again.
2311
02:28:42,566 --> 02:28:46,566
It is of a premiere and it's time to learn
how to use the effects control panel
2312
02:28:46,800 --> 02:28:47,500
And why?
2313
02:28:47,500 --> 02:28:50,433
Because every time we add a video clip
to the timeline
2314
02:28:50,433 --> 02:28:54,400
that, in fact can also be a photo
or an animation, etc.
2315
02:28:54,466 --> 02:28:58,800
we are going to be able to edit
certain parameters in that clip and above
2316
02:28:58,800 --> 02:29:03,533
all, give instructions to the software,
automate changes in those clips.
2317
02:29:03,966 --> 02:29:05,666
So the purpose of this lesson
2318
02:29:05,666 --> 02:29:08,866
is to be able to teach you
how to use the effects control panel,
2319
02:29:09,433 --> 02:29:12,033
which in fact is the same place
where you will be able
2320
02:29:12,033 --> 02:29:15,600
to add different effects
that the software has to use.
2321
02:29:16,100 --> 02:29:19,100
So this time
you're going to work with this photo.
2322
02:29:19,733 --> 02:29:21,700
So I'm going to add to the timeline.
2323
02:29:21,700 --> 02:29:25,400
This photo that I have here
is a photo of this space.
2324
02:29:25,533 --> 02:29:30,400
So you know that once we add an element
to the timeline and this line is over,
2325
02:29:30,433 --> 02:29:34,700
that element, we're going to see
that video clip on the program's monitor.
2326
02:29:35,133 --> 02:29:40,200
But it happens that usually the clips
don't share the same size sequence.
2327
02:29:40,366 --> 02:29:42,966
I mean, most of the time
the video or photo
2328
02:29:42,966 --> 02:29:46,766
has a different resolution in appearance
than the sequence.
2329
02:29:46,766 --> 02:29:50,133
For example, this photo is bigger
than the of the sequence.
2330
02:29:50,466 --> 02:29:51,800
And how do we check it?
2331
02:29:51,800 --> 02:29:54,200
Simply by double clicking on the monitor.
2332
02:29:54,533 --> 02:29:56,666
I kind of friend will be activated.
2333
02:29:57,000 --> 02:30:00,900
That indicates the actual of the image
we are using.
2334
02:30:01,433 --> 02:30:02,900
So this frame is a tool
2335
02:30:02,900 --> 02:30:06,500
that allows us to modify
the size of the image on the monitor.
2336
02:30:06,666 --> 02:30:09,900
For example, in this case
we could the space image
2337
02:30:09,900 --> 02:30:12,566
match
as much as possible with the sequence,
2338
02:30:13,133 --> 02:30:16,600
but it could be the case that we want
a certain part of the image
2339
02:30:16,833 --> 02:30:18,366
to be seen in the sequence.
2340
02:30:18,366 --> 02:30:23,333
So this frame allows me to play with that
because by moving these different points
2341
02:30:23,333 --> 02:30:27,333
that we see in the lines of the frame,
we can change the position
2342
02:30:27,333 --> 02:30:32,133
and the size of the image,
but we can also modify the image rotation.
2343
02:30:32,633 --> 02:30:36,733
But when we are modifying the position
and size that this clip will have
2344
02:30:36,733 --> 02:30:40,633
with respect to the sequence
we are modifying in the parameters
2345
02:30:40,633 --> 02:30:45,133
that are in Effects control panel,
which is one of the most important places
2346
02:30:45,133 --> 02:30:46,866
in the perimeter when it comes to editing.
2347
02:30:46,866 --> 02:30:48,100
Anything for.
2348
02:30:48,100 --> 02:30:51,833
Example while we are moving the frame
a few moments ago, the position
2349
02:30:51,833 --> 02:30:55,533
and the scale parameter was changing
in the motion section.
2350
02:30:55,533 --> 02:30:57,633
In this effect Control panel.
2351
02:30:57,633 --> 02:30:58,533
So pay attention.
2352
02:30:58,533 --> 02:30:59,966
I'm going to move the image again
2353
02:30:59,966 --> 02:31:03,600
so you can see how the numbers move
in the position parameter.
2354
02:31:03,766 --> 02:31:04,633
In the same way.
2355
02:31:04,633 --> 02:31:09,233
If I so mean or zoom out,
the image changes the scale parameter.
2356
02:31:09,500 --> 02:31:13,200
In fact, we can go even deeper
because these parameters allow
2357
02:31:13,200 --> 02:31:14,600
me to change if I want to.
2358
02:31:14,600 --> 02:31:18,400
For example,
the scale to be uniform or not.
2359
02:31:18,400 --> 02:31:22,433
So if I disable the uniform
and scale option, I can modify
2360
02:31:22,466 --> 02:31:25,333
how wide or along a one to image to look.
2361
02:31:25,333 --> 02:31:28,500
Of course we are
distorting the original of the image.
2362
02:31:29,033 --> 02:31:33,433
So basically you can modify the size
of the image either by using the frame
2363
02:31:33,433 --> 02:31:36,900
in the programs monitor
or by changing the values in the effects.
2364
02:31:36,900 --> 02:31:38,133
Control panel.
2365
02:31:38,133 --> 02:31:42,233
Of course, you will always have the option
to undo any of the changes.
2366
02:31:42,633 --> 02:31:43,666
So pay attention
2367
02:31:43,666 --> 02:31:47,666
that also with the issue of rotation,
the values change in the panel.
2368
02:31:48,366 --> 02:31:51,166
And additionally,
remember that whenever you want to modify
2369
02:31:51,166 --> 02:31:55,800
the rotation using the programs monitor,
you must position the cursor
2370
02:31:55,800 --> 02:31:59,966
in the corners, the frame
until you see that small curved arrow
2371
02:31:59,966 --> 02:32:03,166
indicating that we are enabled
to change the rotation.
2372
02:32:03,700 --> 02:32:06,233
But the next tool after the rotation
2373
02:32:06,233 --> 02:32:09,600
one is the anchor point,
which is very important.
2374
02:32:10,200 --> 02:32:13,633
The anchor point allows me to tell
the software the reference point
2375
02:32:13,633 --> 02:32:17,466
it will have as we a scale in rotate
the image.
2376
02:32:18,000 --> 02:32:21,200
For example,
you can notice that when assuming an out,
2377
02:32:21,533 --> 02:32:23,700
that is when I change the scale.
2378
02:32:23,866 --> 02:32:27,966
This happens towards the center
of the program is monitor in the same way.
2379
02:32:27,966 --> 02:32:30,000
When we change the image rotation,
2380
02:32:30,400 --> 02:32:34,100
the image rotates
using the center of the image sexes.
2381
02:32:34,700 --> 02:32:38,200
But it happens that if a changing curve
point to the lower
2382
02:32:38,200 --> 02:32:42,033
left corner, for example,
when I modify the scale of the image,
2383
02:32:42,400 --> 02:32:46,800
this image will not assuming or zoom out
towards the center.
2384
02:32:46,800 --> 02:32:49,033
But to that point below and to the left,
2385
02:32:49,766 --> 02:32:52,800
and the same will happen
for the rotation parameter.
2386
02:32:53,300 --> 02:32:55,866
But why I am explaining all this to you?
2387
02:32:56,000 --> 02:32:59,066
Because now on we are going to know
something very important
2388
02:32:59,500 --> 02:33:01,333
that we are going to use all the time.
2389
02:33:01,333 --> 02:33:07,300
When it comes to editing the key frame in
what is the key frame used for the key
2390
02:33:07,300 --> 02:33:11,000
frame analysis to give an instruction
to the software to make a change
2391
02:33:11,000 --> 02:33:14,700
in any of the parameters
that we find in the control panel,
2392
02:33:15,100 --> 02:33:18,200
not only in the parameters
that are already come by default,
2393
02:33:18,466 --> 02:33:21,300
but also the parameters
of the different effects
2394
02:33:21,300 --> 02:33:25,500
that we can add to the clips
and which will also appear in this effect.
2395
02:33:25,500 --> 02:33:26,800
Control Panel.
2396
02:33:26,800 --> 02:33:29,000
We are going to use this scale
as an example.
2397
02:33:29,466 --> 02:33:33,733
You know that when you click on
any of the clip, the corresponding effect
2398
02:33:33,733 --> 02:33:37,700
control is immediately
enabled where we can modify many things.
2399
02:33:38,066 --> 02:33:41,700
I mean, all that
we had just seen in many other things
2400
02:33:41,700 --> 02:33:45,300
that we will continue to see
and learn throughout the course.
2401
02:33:45,300 --> 02:33:48,433
The idea is to go with step by step, but
2402
02:33:48,433 --> 02:33:51,566
you may also notice the next to the effect
controlled by enabled.
2403
02:33:51,600 --> 02:33:53,800
It's displayed on the right.
2404
02:33:53,800 --> 02:33:56,033
I search for.
2405
02:33:56,033 --> 02:34:00,366
But this small timeline
corresponds to the space of time occupied
2406
02:34:00,366 --> 02:34:03,766
by that small video clip
that we have selected.
2407
02:34:04,200 --> 02:34:09,233
Obviously can modify that duration simply
by stretching or squeezing the clip.
2408
02:34:09,666 --> 02:34:11,100
So it's important to know this
2409
02:34:11,100 --> 02:34:14,966
because this space is where
we are going to place into key frames.
2410
02:34:14,966 --> 02:34:16,300
So we must be aware that
2411
02:34:16,300 --> 02:34:19,800
this small timeline
corresponds to the duration of the clip.
2412
02:34:20,400 --> 02:34:23,766
It's important to know this
because sometimes we are going to place
2413
02:34:23,800 --> 02:34:27,500
key frames, the effects control timeline,
and then we are going
2414
02:34:27,500 --> 02:34:30,466
to change the duration of the clip
in the main timeline.
2415
02:34:30,766 --> 02:34:34,266
And then when we return to the fact
control timeline,
2416
02:34:34,266 --> 02:34:38,966
we will not see the key frames anymore
because they were hidden ahead or back.
2417
02:34:39,666 --> 02:34:42,800
But you're going to see all these
using one of the parameters,
2418
02:34:42,800 --> 02:34:46,400
for example,
the scale here in the motion panel.
2419
02:34:47,533 --> 02:34:48,733
So the first thing we
2420
02:34:48,733 --> 02:34:52,033
must do is activate
these little clock that we have here.
2421
02:34:52,600 --> 02:34:56,166
Notice that all parameters
have their respective clock.
2422
02:34:56,666 --> 02:34:59,466
It's simply
what allows us to activate the key frames.
2423
02:34:59,700 --> 02:35:03,433
Once we activated the first key
frame that appears in the timeline
2424
02:35:03,433 --> 02:35:08,700
of this effect panel, which is indicating
to the software that right at that point
2425
02:35:08,700 --> 02:35:13,933
the images are going to have that specific
a scale that is specific size.
2426
02:35:13,933 --> 02:35:18,733
So we are going to automate this image
about a universe from scratch.
2427
02:35:19,066 --> 02:35:22,733
We are going to make it
move its size in time by automating
2428
02:35:22,733 --> 02:35:25,233
these parameters, using the key frames.
2429
02:35:26,233 --> 02:35:29,566
I mean, the values
change assignment progresses.
2430
02:35:30,033 --> 02:35:34,033
So we simply position
the cursor at the beginning of the clip,
2431
02:35:34,033 --> 02:35:38,233
then activate the clock
corresponding to the scale and the first
2432
02:35:38,233 --> 02:35:42,566
keyframe will automatically appear
and the automation will be activated.
2433
02:35:42,566 --> 02:35:46,633
Also So a few seconds later
we make a change in size.
2434
02:35:47,000 --> 02:35:49,833
We can do it directly in the scale
parameter
2435
02:35:50,400 --> 02:35:53,600
in the effects control panel,
or we can do it by moving
2436
02:35:53,600 --> 02:35:56,766
the size of the image
with the frame in the program.
2437
02:35:56,766 --> 02:35:58,000
Monitor
2438
02:35:58,000 --> 02:36:02,833
So in other words, changing the parameters
in any of the ways is exactly the same.
2439
02:36:02,833 --> 02:36:04,500
The important thing is to be aware
2440
02:36:04,500 --> 02:36:07,500
that the key frames
are in the place that we want.
2441
02:36:08,033 --> 02:36:10,566
So notice
now that when I play the montage,
2442
02:36:10,766 --> 02:36:13,633
the image changes size.
2443
02:36:13,633 --> 02:36:16,800
Obviously, all this procedure works
for any of the parameters
2444
02:36:16,800 --> 02:36:20,500
and even for many other effects
that the premiere brings.
2445
02:36:20,833 --> 02:36:25,533
For example, we could do this automation
to change the effect of the anchor point.
2446
02:36:25,900 --> 02:36:29,900
I simply activated the clock
in the anchor point parameter and move
2447
02:36:29,900 --> 02:36:33,333
the anchor point
to this lower left corner for example.
2448
02:36:33,800 --> 02:36:37,900
So since we also automated the scale,
now when the image scales,
2449
02:36:37,900 --> 02:36:43,566
instead of going to the center,
it will now go to that lower left.
2450
02:36:43,566 --> 02:36:45,433
But you must be careful with the key
frames.
2451
02:36:45,433 --> 02:36:46,600
Notice that I'm going to add
2452
02:36:46,600 --> 02:36:50,533
another one here, but this time
without changing the parameters
2453
02:36:50,733 --> 02:36:51,566
and pay attention
2454
02:36:51,566 --> 02:36:54,900
that it will not change at all
because I didn't change the parameter.
2455
02:36:55,100 --> 02:36:58,600
Let's move on to another parameter,
for example, the image position.
2456
02:36:59,100 --> 02:37:03,133
Then we simply have to look for
the position parameter and click the clock
2457
02:37:03,200 --> 02:37:07,800
to activate the automation
and the first key friend will be created.
2458
02:37:07,800 --> 02:37:10,200
From there we must advance a few seconds.
2459
02:37:10,700 --> 02:37:14,933
The ones we want of
and change the image position.
2460
02:37:15,300 --> 02:37:18,233
We can do it
using the frame on the programs, monitor
2461
02:37:23,766 --> 02:37:24,966
Pay attention that even the
2462
02:37:24,966 --> 02:37:27,900
software
will create a kind of guide for the route
2463
02:37:28,000 --> 02:37:30,566
that the image will have up that position
2464
02:37:35,700 --> 02:37:36,766
so we can check
2465
02:37:36,766 --> 02:37:40,033
all the changes by simply
going back to the beginning of the clip
2466
02:37:40,300 --> 02:37:43,833
and playing the mount Edge
to see how the automation behaves.
2467
02:37:44,766 --> 02:37:46,100
It's something quite simple.
2468
02:37:46,100 --> 02:37:49,233
Once we understand it, we are ready to use
all the premiere effects
2469
02:37:49,500 --> 02:37:52,800
because style will allow us
to automate any of the effects
2470
02:37:52,800 --> 02:37:55,800
that the premiere has.
2471
02:37:55,800 --> 02:38:00,166
So I'm telling you all these
because a large part of you want to learn
2472
02:38:00,166 --> 02:38:00,800
how to do it.
2473
02:38:00,800 --> 02:38:06,000
It is for YouTube or for your Instagram
or TikTok channels, whatever.
2474
02:38:06,000 --> 02:38:10,366
I mean, create content so it's necessary
to know these in order to add elements
2475
02:38:10,366 --> 02:38:15,366
that enrich the videos,
turn them into dynamic and fine.
2476
02:38:15,366 --> 02:38:17,166
So we can use another example.
2477
02:38:17,166 --> 02:38:21,300
For instance, you see in this logo
that I have here below,
2478
02:38:21,766 --> 02:38:25,166
we can add it
on the top of the picture of the universe.
2479
02:38:25,166 --> 02:38:28,133
So let me mention that
in this case, it's a page
2480
02:38:28,400 --> 02:38:31,766
that is one that contains
only the part of the logo.
2481
02:38:32,266 --> 02:38:35,633
Let everything that is below
part of the roof.
2482
02:38:35,633 --> 02:38:38,866
So I'm going to delete all the keyframes
and the automations
2483
02:38:39,300 --> 02:38:41,966
that we made in the photo of the universe.
2484
02:38:42,500 --> 02:38:44,500
We just have to click on these curved
2485
02:38:45,133 --> 02:38:48,566
that are to the right
to return to the initial state.
2486
02:38:49,000 --> 02:38:52,500
So what I'm going to do for you
is something typical of the videos.
2487
02:38:52,800 --> 02:38:54,433
I'm going to make this logo appear.
2488
02:38:54,433 --> 02:38:58,066
Suddenly that is a it enters the image
2489
02:38:58,400 --> 02:39:01,966
and in order to do this
we must automate the logo position
2490
02:39:02,200 --> 02:39:04,800
because it's
what will allow me to remove the logo
2491
02:39:04,800 --> 02:39:07,566
from the frame in the image
whenever I want.
2492
02:39:08,100 --> 02:39:12,433
Then we simply have to click on the logo
clip and we have to activate
2493
02:39:12,433 --> 02:39:17,200
the automation of the position in effect,
control clicking on the clock, of course.
2494
02:39:17,933 --> 02:39:21,566
So we need to set how long they want
the logo to take to appear,
2495
02:39:22,000 --> 02:39:25,533
and then we need to create
another keyframe at that position.
2496
02:39:25,866 --> 02:39:28,666
In this case,
we need two positions to tell the software
2497
02:39:28,666 --> 02:39:32,333
where the logo should be at the beginning
and where it should go.
2498
02:39:32,400 --> 02:39:33,766
You should always pay attention
2499
02:39:33,766 --> 02:39:37,633
to being right over two key frames
to make sure you are on the key framed.
2500
02:39:37,800 --> 02:39:41,033
You should make sure
that little blue dot lags have.
2501
02:39:41,333 --> 02:39:45,100
Let me mention that you can add other key
frames using that little button too.
2502
02:39:45,633 --> 02:39:50,166
So when in the first keyframe we change
the horizontal position of the logo
2503
02:39:50,566 --> 02:39:54,266
to a point
where it's not visible on the screen,
2504
02:39:54,266 --> 02:39:58,400
remember that you can do it
by changing these numbers here directly
2505
02:39:58,400 --> 02:40:02,200
in the horizontal parameter,
which would be the one on the left.
2506
02:40:02,300 --> 02:40:06,166
The vertical one is the one on the right,
but you can also change here
2507
02:40:06,166 --> 02:40:08,700
to use
in the frame in the programs monitor.
2508
02:40:09,300 --> 02:40:12,666
But in this case
I highly recommend changing it directly
2509
02:40:12,666 --> 02:40:15,700
to the horizontal value
so that the logo moves
2510
02:40:15,700 --> 02:40:20,300
only horizontally.
2511
02:40:20,300 --> 02:40:22,300
So as you can see, it's quite simple.
2512
02:40:22,300 --> 02:40:25,500
If you want, for example, the logo
to appear much faster,
2513
02:40:25,866 --> 02:40:28,933
you simply have to decrease the distance
between the first,
2514
02:40:28,933 --> 02:40:32,600
the second key frames
so that the change is faster.
2515
02:40:33,600 --> 02:40:36,866
Then we could even
change another parameter like the scale.
2516
02:40:36,866 --> 02:40:39,933
For example,
if we wanted the logo to zoom in
2517
02:40:39,933 --> 02:40:42,800
and slowly after appearing on the screen.
2518
02:40:43,166 --> 02:40:46,966
So we make a first keyframe
just when it finishes appearing.
2519
02:40:47,266 --> 02:40:52,266
And then later we make another key frame
where the logo is supposed to be closer.
2520
02:40:53,266 --> 02:40:56,866
So in this case, for example,
we can use the frame on the screen
2521
02:40:56,866 --> 02:41:00,133
to put to the logo just the
we want at the end.
2522
02:41:00,500 --> 02:41:04,100
Remember that once the automation
is activated, any change we make to
2523
02:41:04,100 --> 02:41:08,466
the parameters will automatically generate
a new keyframe
2524
02:41:09,466 --> 02:41:13,100
Obviously throughout the course
we are going to use many keyframes.
2525
02:41:13,533 --> 02:41:16,266
But I wanted you to know
the effects control panel,
2526
02:41:16,266 --> 02:41:20,033
at least this first part motion
in this lesson.
2527
02:41:20,166 --> 02:41:22,600
In other lessons,
we will see the other parts,
2528
02:41:22,600 --> 02:41:25,933
but it's a good story to know
the key frames perfectly.
2529
02:41:26,833 --> 02:41:30,100
So try to practice photos
with videos, with anything.
2530
02:41:30,466 --> 02:41:34,466
Well, we continue advancing in the opinion
and the content of the course
2531
02:41:34,900 --> 02:42:04,833
until the next lesson.
2532
02:42:04,833 --> 02:42:05,466
Perfect.
2533
02:42:05,466 --> 02:42:08,400
We are going to continue learning
to use the effects control panel
2534
02:42:08,766 --> 02:42:09,666
and this time you're going
2535
02:42:09,666 --> 02:42:13,500
to review the positive parameter,
which is not as simple as it seems.
2536
02:42:13,700 --> 02:42:16,933
However, it's one of the most useful tools
we get from here.
2537
02:42:16,933 --> 02:42:19,733
We are going to learn
to create transitions.
2538
02:42:20,000 --> 02:42:20,866
So we're going to start
2539
02:42:20,866 --> 02:42:24,433
with one of the most important things
to highlight about opacity.
2540
02:42:24,633 --> 02:42:29,433
So this is the first of the general
parameters that allows us to make a mask.
2541
02:42:29,666 --> 02:42:30,900
And this is one of the features
2542
02:42:30,900 --> 02:42:33,800
that were going to find
in the rest of the premiere effects.
2543
02:42:34,133 --> 02:42:37,033
A mask is nothing more than a tool
that allows me to create
2544
02:42:37,033 --> 02:42:41,633
a specific selection within the image
to which the effect be applied.
2545
02:42:42,200 --> 02:42:44,900
In any case, we are going to see these
throughout the course,
2546
02:42:45,100 --> 02:42:49,366
but basically these three buttons
allow me to create three types of mask,
2547
02:42:49,633 --> 02:42:52,966
a circular one,
a square one, and a customizable
2548
02:42:52,966 --> 02:42:55,500
one in which I can create
and the shape I want.
2549
02:42:56,233 --> 02:43:00,900
For example, if I choose the first option,
the circle, the mask will be a circle.
2550
02:43:00,900 --> 02:43:04,533
And since I am in Duplicity,
which is the parameter that controls
2551
02:43:04,533 --> 02:43:09,000
the transparency of the image,
it automatically creates this effect.
2552
02:43:09,333 --> 02:43:11,866
Obviously,
I can modify the type of circle,
2553
02:43:12,233 --> 02:43:15,400
but I also have the second option,
the square shape.
2554
02:43:15,866 --> 02:43:19,100
And here I can also modify
the structure of the square,
2555
02:43:19,233 --> 02:43:23,466
turning it into a different polygon
and well, that there are three options.
2556
02:43:23,500 --> 02:43:27,200
That would be the one that allows us
to make the shape by joining end points
2557
02:43:27,466 --> 02:43:29,033
as if it were a constellation.
2558
02:43:29,033 --> 02:43:31,133
And that is the one I use the most
2559
02:43:31,133 --> 02:43:35,066
because the masks
almost always have a regular shapes.
2560
02:43:35,366 --> 02:43:37,700
And there are other features
that we can modify
2561
02:43:37,700 --> 02:43:41,100
so that the ages are softened in
no so sharp.
2562
02:43:41,300 --> 02:43:44,700
For example, if I move the
feather, we can at the edges.
2563
02:43:45,733 --> 02:43:46,800
Actually we can also
2564
02:43:46,800 --> 02:43:49,800
modify the mask, opacity and.
2565
02:43:49,800 --> 02:43:52,600
The mask itself can have transparency,
2566
02:43:53,333 --> 02:43:57,100
and we can also
expand mask ages to enlarge the size.
2567
02:43:57,333 --> 02:44:01,033
But anyway, we will understand
all these better as we progress
2568
02:44:01,166 --> 02:44:02,466
throughout the course.
2569
02:44:02,466 --> 02:44:05,933
And although we are not going to talk
mainly about the masks in this
2570
02:44:06,100 --> 02:44:09,400
specific lesson,
it's important that you already know them,
2571
02:44:09,400 --> 02:44:11,733
because I believe that knowledge is like
that.
2572
02:44:11,833 --> 02:44:15,966
You have to see different points
of view of this same tool and above
2573
02:44:15,966 --> 02:44:20,000
all, lose the fear of using Adobe Premiere
tools.
2574
02:44:20,000 --> 02:44:23,700
Let's talk about opacity then,
and what is capacity.
2575
02:44:23,700 --> 02:44:27,600
Opacity is that feature that allows us
to make an image transparent,
2576
02:44:27,900 --> 02:44:30,666
to make visible any image below it.
2577
02:44:31,233 --> 02:44:32,100
There's a way premiere
2578
02:44:32,100 --> 02:44:36,600
timeline works in layers in the same way
as the Photoshop that is,
2579
02:44:36,600 --> 02:44:41,333
the video clips that are on top will be
the ones will be seen on the monitor.
2580
02:44:41,566 --> 02:44:43,200
So here you can see an example.
2581
02:44:43,200 --> 02:44:47,000
I have put another photo of the universe
on top of the one that already
2582
02:44:47,000 --> 02:44:50,866
had a mean a overlapped clip in this
how this one looks.
2583
02:44:50,866 --> 02:44:55,866
First it has priority, but notice
that if I modify the opacity percentage
2584
02:44:55,966 --> 02:45:01,166
in that clip that I just added,
the image below begins to be seen.
2585
02:45:01,533 --> 02:45:06,200
So the less percentage it has,
the more visible the image below will be.
2586
02:45:06,333 --> 02:45:10,200
But what I really want to show you
is that Adobe premiere like Photoshop
2587
02:45:10,200 --> 02:45:13,433
allows me to modify
the nature of that opacity.
2588
02:45:14,000 --> 02:45:17,266
I mean that the way in which
that transparency mixes
2589
02:45:17,266 --> 02:45:21,566
with the image below has a spatial
in unique characteristics.
2590
02:45:22,533 --> 02:45:23,133
So this
2591
02:45:23,133 --> 02:45:26,333
plan mode allows
me not only to use the normal opacity,
2592
02:45:26,333 --> 02:45:29,600
but all these options
that you can see here and try.
2593
02:45:29,600 --> 02:45:33,000
But the interesting thing
is that when using any of the blend modes,
2594
02:45:33,000 --> 02:45:36,333
even having the opacity value at 100%,
2595
02:45:36,800 --> 02:45:40,200
a type of transparency will be generated
the image below.
2596
02:45:40,800 --> 02:45:44,400
So it actually is a tool that allows us
to experiment with the video layers
2597
02:45:44,833 --> 02:45:47,800
because that effect
that you're going to see on the programs
2598
02:45:47,800 --> 02:45:52,433
monitor is the byproduct
of that blend mode in the specific
2599
02:45:52,433 --> 02:45:56,200
characteristics of the images
in terms of light and colors.
2600
02:45:57,166 --> 02:46:01,066
So for example, here
we can see that when we isolate the clip,
2601
02:46:01,500 --> 02:46:04,933
I mean that the clip doesn't
have any other clip below it.
2602
02:46:05,400 --> 02:46:07,233
The blend mode doesn't work.
2603
02:46:07,233 --> 02:46:10,666
I mean, it will only work
when the images are overlapped,
2604
02:46:11,166 --> 02:46:17,366
when there is one below.
2605
02:46:17,366 --> 02:46:21,300
So as I told you, capacity is important
because it will allow us
2606
02:46:21,300 --> 02:46:24,600
to make creative
and professional transitions.
2607
02:46:24,600 --> 02:46:29,100
This blend mode exist to improve the
transitions between one clip in another.
2608
02:46:29,500 --> 02:46:32,100
One of the most common
transitions are dissolves.
2609
02:46:32,400 --> 02:46:37,200
When one image dissolves that the order
appears survi, makes in the two images.
2610
02:46:37,933 --> 02:46:40,233
So in a previous lesson
I was talking about
2611
02:46:40,233 --> 02:46:43,033
the pen tool in opacity automation.
2612
02:46:43,266 --> 02:46:47,566
So we automate a kind of fade
in in the opacity line
2613
02:46:47,600 --> 02:46:50,766
at the beginning of the clip
that in turn is overlapping.
2614
02:46:50,800 --> 02:46:54,033
Another one we will do a now
of course dissolve.
2615
02:46:54,500 --> 02:46:57,833
So if in addition to this,
we use different blend modes,
2616
02:46:58,133 --> 02:47:02,133
we make that transition more spatial
because the images will have
2617
02:47:02,166 --> 02:47:07,000
visual characteristic that will adapt
esthetically to each of those modes.
2618
02:47:07,400 --> 02:47:10,833
So if you use Photoshop,
this will be very familiar to you
2619
02:47:10,833 --> 02:47:14,000
because this blend modes also exist.
2620
02:47:14,000 --> 02:47:16,000
Image layers in Photoshop.
2621
02:47:16,000 --> 02:47:17,866
On the other hand,
there's an important element
2622
02:47:17,866 --> 02:47:21,866
to take into account
when we make this type of transitions,
2623
02:47:22,533 --> 02:47:25,500
and that is that they blend modes
to makes images.
2624
02:47:25,500 --> 02:47:31,300
Even when the positive value is at 100%,
it's necessary that there is not only fade
2625
02:47:31,300 --> 02:47:35,433
in in the clip that is above,
but also in the clip that is below.
2626
02:47:35,433 --> 02:47:39,366
There is a fade out
because otherwise you will notice
2627
02:47:39,366 --> 02:47:42,466
an abrupt change
when you reach the end of the clip.
2628
02:47:42,466 --> 02:47:46,166
That is below, for instance,
you can notice it here when they hover
2629
02:47:46,166 --> 02:47:49,700
the timeline cursor over
right at the end of the clip below.
2630
02:47:50,166 --> 02:47:54,433
So right there at the end,
you will notice a change in transparency
2631
02:47:54,933 --> 02:47:57,266
that will not be soft, but like a cut.
2632
02:47:57,900 --> 02:48:00,400
So we must automate a kind of fade
2633
02:48:00,400 --> 02:48:03,100
out in the opacity line of the clip below
2634
02:48:03,600 --> 02:48:08,266
so that this is not noticeable.
2635
02:48:08,266 --> 02:48:09,533
So pay attention now.
2636
02:48:09,533 --> 02:48:20,900
How the transition is completely smooth.
2637
02:48:20,900 --> 02:48:26,000
Another important thing is that we can
make that transition as long as we want.
2638
02:48:26,866 --> 02:48:28,533
So we're going to do another example.
2639
02:48:28,533 --> 02:48:29,866
The use in video.
2640
02:48:29,866 --> 02:48:32,966
We're going to use the same short film
that we were working with,
2641
02:48:33,366 --> 02:48:39,333
and I'm going to select a part of a scene
to make it transition with another scene.
2642
02:48:39,333 --> 02:48:42,433
So here we have this image of the girl
looking back,
2643
02:48:42,900 --> 02:48:46,866
and I'm going to mix it with the scene
of the character of the raft.
2644
02:48:47,800 --> 02:48:51,933
So if we want to make a special transition
between these two scenes,
2645
02:48:52,333 --> 02:48:57,000
we simply click on the video clip
above and choose the blend mode we want.
2646
02:48:57,300 --> 02:48:59,466
Remember that to check blend mode.
2647
02:48:59,866 --> 02:49:04,766
You must be right at the point where
the two clips of video are overlapping.
2648
02:49:05,366 --> 02:49:08,866
Then you can try any of the modes
using video.
2649
02:49:08,866 --> 02:49:13,000
It's much more interesting
because in fact it's the most cinematic
2650
02:49:13,000 --> 02:49:19,966
way of doing holds.
2651
02:49:19,966 --> 02:49:22,566
For example,
look how good this mode looks.
2652
02:49:23,000 --> 02:49:24,566
Soft light.
2653
02:49:24,566 --> 02:49:28,933
So the first thing is to automate
with Bend tool, the fade in in the clip
2654
02:49:28,933 --> 02:49:32,366
above
that cleaned up the character on draft.
2655
02:49:32,800 --> 02:49:35,433
But I also have to do the fade out
in the clip below
2656
02:49:35,633 --> 02:49:39,366
where the girl is remembered
that if you don't fade out
2657
02:49:39,500 --> 02:49:43,600
the clip below, you will notice an abrupt
change in the blend mode.
2658
02:49:45,033 --> 02:49:45,700
The reason why
2659
02:49:45,700 --> 02:49:50,100
it's more professional this way is
because the original way of doing face
2660
02:49:50,433 --> 02:49:53,300
when cinema was analog was adding filters
2661
02:49:53,300 --> 02:49:56,400
directly
to film reels in the analog editor.
2662
02:49:56,833 --> 02:50:01,366
So use of blend mode in normal
always is not that professional.
2663
02:50:01,766 --> 02:50:06,066
So pay attention how interested in
the colors are mixed in this mode?
2664
02:50:06,300 --> 02:50:09,133
It looks very professional.
2665
02:50:09,133 --> 02:50:11,766
Check out these other modes called Darken
2666
02:50:11,766 --> 02:50:22,366
that only affects the plate.
2667
02:50:22,366 --> 02:50:30,866
This is an order called light burn
that is interesting to.
2668
02:50:30,866 --> 02:50:33,333
This is an order called light color.
2669
02:50:33,600 --> 02:50:38,200
For example, these.
2670
02:50:38,200 --> 02:50:44,766
So there is to hard light.
2671
02:50:44,766 --> 02:50:47,100
This other one is called vivid light.
2672
02:50:47,233 --> 02:50:50,166
It's very nice.
2673
02:50:50,166 --> 02:50:52,333
Pay attention to these with dark mode.
2674
02:50:52,666 --> 02:50:55,666
For example, with this mode
you could play with the mask
2675
02:50:56,133 --> 02:50:59,566
so that the transparency
only affects the blade.
2676
02:50:59,566 --> 02:51:03,900
We could use a circular mask
that only selects the blade, for example.
2677
02:51:04,933 --> 02:51:07,800
So we
try to make the circle match the blade,
2678
02:51:08,100 --> 02:51:11,300
but it doesn't have to be perfect
just an approximation.
2679
02:51:11,300 --> 02:51:14,633
And then we modify the edges
with the fader parameter,
2680
02:51:15,033 --> 02:51:17,166
softening the edges of the mask.
2681
02:51:17,833 --> 02:51:21,266
So notice how opacity
now only affects the blade.
2682
02:51:21,500 --> 02:51:24,633
It's a very creative resource, you know,
because it really allows you
2683
02:51:24,633 --> 02:51:27,400
to create effects in
and reach your radius a lot.
2684
02:51:27,933 --> 02:51:31,700
The important thing that you experiment
so that you can discover things.
2685
02:51:32,100 --> 02:51:35,600
Remember that each area has a specific
color features
2686
02:51:35,800 --> 02:51:40,433
that will result in a specific and unique
blending with the other clips.
2687
02:51:40,833 --> 02:51:44,600
So put all these into practice
in the next lesson.
2688
02:51:45,300 --> 02:52:16,633
So perfect.
2689
02:52:16,666 --> 02:52:21,000
Now we are going to address
the last parameter of defects contraband,
2690
02:52:21,000 --> 02:52:25,366
which is the time remapping, and we're
going to use this example to explain it.
2691
02:52:25,800 --> 02:52:30,633
I'm going to select a part of this video
where there is a slow motion shot.
2692
02:52:30,633 --> 02:52:34,200
Actually, it's one of my music videos
and well, in this case,
2693
02:52:34,200 --> 02:52:38,066
this shot was recorded at 60 frames
per second,
2694
02:52:38,466 --> 02:52:42,600
which means we can slow it down
without losing any fluency in the video.
2695
02:52:42,966 --> 02:52:47,933
So I had added this part of the video
to the timeline and we can check it
2696
02:52:47,933 --> 02:52:51,700
in the program, monitor Slow motion
shots are very attractive.
2697
02:52:51,700 --> 02:52:55,100
Remember that the slower
where you want it to look, the video
2698
02:52:55,100 --> 02:52:57,366
should have many more frames per second.
2699
02:52:58,233 --> 02:53:00,866
But anyway what I want to do right now
2700
02:53:00,866 --> 02:53:03,233
is to teach you the time remapping.
2701
02:53:03,900 --> 02:53:06,900
If we click on the video clip
and go to the effects
2702
02:53:06,900 --> 02:53:09,866
control panel, we are going to find this
parameter at the end
2703
02:53:10,400 --> 02:53:13,966
is to last up the parameters
of the ones that come by default.
2704
02:53:14,366 --> 02:53:18,300
So if you remember, I had told you that
the line that you see by default
2705
02:53:18,300 --> 02:53:23,333
in the video clips belongs to the opacity
parameter in that use in the pencil.
2706
02:53:23,333 --> 02:53:27,400
We can precisely automate
the opacity in the clip, but the truth is
2707
02:53:27,400 --> 02:53:31,800
that this is not the only parameter
that we can automate directly on the clip.
2708
02:53:32,466 --> 02:53:36,000
So if we wanted to change that parameter,
there are two ways.
2709
02:53:36,566 --> 02:53:42,000
The first is to click on the right mouse
button and we go to show clip keyframes.
2710
02:53:42,000 --> 02:53:46,400
We can change it, for example, to time
remapping and we click on the speed.
2711
02:53:46,500 --> 02:53:50,000
The other way is by clicking
and these are small box where it reads
2712
02:53:50,000 --> 02:53:54,200
effects and we can change the parameters
of this automation line.
2713
02:53:54,966 --> 02:53:58,633
But what is time
remapping for this parameter allows?
2714
02:53:58,633 --> 02:54:02,133
Me to modify
the speed of the video clip automatically.
2715
02:54:02,800 --> 02:54:04,633
And what does that mean?
2716
02:54:04,633 --> 02:54:08,500
Just as you see the image in slow motion
right now, you could make the images
2717
02:54:08,500 --> 02:54:12,166
speed up at a specific time
or slow it down.
2718
02:54:12,633 --> 02:54:16,800
And of course, everything will also appear
automated in the fixed control panel.
2719
02:54:17,066 --> 02:54:21,000
So what we must do,
select the pen tool and draw on line
2720
02:54:21,000 --> 02:54:24,500
the points where we want
a speed change to start and end.
2721
02:54:25,000 --> 02:54:28,600
I mean, we will be able to change
like time gaps.
2722
02:54:28,600 --> 02:54:31,100
So I'm going to draw the first point
2723
02:54:31,933 --> 02:54:33,966
and the second point over here,
2724
02:54:34,566 --> 02:54:36,866
and I'm going to draw also a third point.
2725
02:54:37,300 --> 02:54:41,366
So this three points has generated
four different gaps in which
2726
02:54:41,400 --> 02:54:44,833
I will be able to speed up
and slow down the speed of the clip.
2727
02:54:45,400 --> 02:54:49,100
So we must select the arrow
tool again, the first one,
2728
02:54:50,166 --> 02:54:51,133
and now we are going to
2729
02:54:51,133 --> 02:54:54,833
raise or lower the line
we want of the automation.
2730
02:54:55,100 --> 02:54:58,800
For example,
if I move up this specific lane,
2731
02:54:58,800 --> 02:55:01,200
I'm going to speed up at that moment,
2732
02:55:01,200 --> 02:55:04,133
but pay close attention
to how the clip is squished,
2733
02:55:04,500 --> 02:55:08,533
because by doing this I am accelerating
the passage of the frames.
2734
02:55:09,000 --> 02:55:12,433
So now look at the image
that's just at that moment.
2735
02:55:12,433 --> 02:55:14,900
The video increases the speed.
2736
02:55:14,900 --> 02:55:17,100
I'm going to increase the speed even more
2737
02:55:17,100 --> 02:55:32,100
so can notice it.
2738
02:55:32,100 --> 02:55:36,000
And also in the same way, you can move
the other gaps, the other lines
2739
02:55:36,000 --> 02:55:40,500
between the points,
2740
02:55:40,500 --> 02:55:43,600
so you can do it
also in the opposite direction.
2741
02:55:43,800 --> 02:55:47,433
I'm going to slow down to video
so you can see how it looks like.
2742
02:55:48,266 --> 02:55:50,100
Obviously when you slow it down.
2743
02:55:50,100 --> 02:55:59,100
The video clip expands.
2744
02:55:59,100 --> 02:56:03,566
Obviously, when we slow down the image,
the frames per second begin to be noticed
2745
02:56:04,166 --> 02:56:06,200
obviously when they are not enough.
2746
02:56:06,600 --> 02:56:09,033
On the other hand,
we attention to these same points
2747
02:56:09,366 --> 02:56:13,033
that I made in the automation
lane were also created
2748
02:56:13,066 --> 02:56:16,933
automatically in the timeline
of the effects control panel above.
2749
02:56:16,933 --> 02:56:20,833
So you can speed up or down like this
as long as you take into account
2750
02:56:20,833 --> 02:56:22,433
that the midpoint of the lane
2751
02:56:22,433 --> 02:56:27,066
is the actual speed of the clip
and app is faster and down is slower.
2752
02:56:28,833 --> 02:56:32,100
If you want to clear older automation,
just go to the time
2753
02:56:32,100 --> 02:56:36,800
remapping and effects panel
and turn it off on the blue clock.
2754
02:56:37,300 --> 02:56:39,266
But pay close attention to this wing.
2755
02:56:39,266 --> 02:56:43,666
When you do that, the clip
is going to get completely squished.
2756
02:56:43,666 --> 02:56:46,800
So you have stretched it again
to make it normal.
2757
02:56:47,133 --> 02:56:51,033
Try to remember it because you might
even think that the clip was late.
2758
02:56:51,533 --> 02:56:54,433
But there is another way to modify
the speed of the clip.
2759
02:56:54,433 --> 02:56:58,866
We simply press the right mouse button
and go to the speed duration parameter.
2760
02:56:59,233 --> 02:57:02,100
For example,
in this first feature percentage,
2761
02:57:02,566 --> 02:57:05,033
if I set it to 200%,
2762
02:57:05,500 --> 02:57:08,400
the speed of the clip will be multiplied
by two.
2763
02:57:08,933 --> 02:57:12,600
I mean, in the case of this clip,
it will run at the real speed
2764
02:57:12,866 --> 02:57:16,466
because the look of this video
is the byproduct of setting the video
2765
02:57:16,466 --> 02:57:19,566
recorded at 60 frames to 24 frames.
2766
02:57:20,433 --> 02:57:24,366
On the other hand, in this same tool,
you reverse the speed of the clip.
2767
02:57:24,666 --> 02:57:27,066
I mean, make it go backwards.
2768
02:57:27,066 --> 02:57:29,200
This is very useful as well.
2769
02:57:29,200 --> 02:57:31,633
You only have to select the reverse speed
2770
02:57:31,633 --> 02:57:49,666
box and the clip will go backwards.
2771
02:57:49,666 --> 02:57:53,133
On the other hand, with you
should pay close attention to in this tool
2772
02:57:53,133 --> 02:57:56,533
is the last parameter time interpolation.
2773
02:57:57,000 --> 02:58:00,900
This parameter allows me to modify the way
in which the frames will appear
2774
02:58:00,900 --> 02:58:04,666
when the video is displayed.
2775
02:58:04,666 --> 02:58:08,966
I'm going to activate the reverse
to explain it to you so you can see that
2776
02:58:08,966 --> 02:58:11,933
this shot, this video is in slow motion,
2777
02:58:12,333 --> 02:58:15,066
but maybe we want the video to go slower.
2778
02:58:15,433 --> 02:58:20,433
So we go to the speed tool
and select, for example, 60%.
2779
02:58:21,433 --> 02:58:22,933
But when you do this, the
2780
02:58:22,933 --> 02:58:26,700
video will stretch and therefore
the frames will start to show.
2781
02:58:27,033 --> 02:58:29,966
I mean,
as if the image had some small jumps
2782
02:58:30,366 --> 02:58:33,000
because in fact, it's
jumping from one frame to another
2783
02:58:33,200 --> 02:58:37,333
because there are not enough frames
to make the movement look smooth.
2784
02:58:38,400 --> 02:58:40,300
So you will have three options.
2785
02:58:40,300 --> 02:58:45,100
The first frames sampling that is selected
by default allows you to show
2786
02:58:45,100 --> 02:58:48,866
the frame, said the video has no matter
if the video is a slow or fast.
2787
02:58:49,266 --> 02:58:53,300
The second option frame blends in allows
you to mix the frames a bit.
2788
02:58:53,766 --> 02:58:57,433
I mean, when you slow down the image,
the movement is smoother,
2789
02:58:57,800 --> 02:59:01,233
but the less option
optical flow will create more frames
2790
02:59:01,233 --> 02:59:04,833
per second,
compensate for dead lag frames.
2791
02:59:05,233 --> 02:59:09,000
But the truth is that it will never look
like you have the video with more frames.
2792
02:59:09,266 --> 02:59:13,233
So I highly recommend you
not to make an excessive use of this tool.
2793
02:59:13,533 --> 02:59:14,666
Do not force it.
2794
02:59:15,633 --> 02:59:17,533
So this would be the most important
2795
02:59:17,533 --> 02:59:21,166
characteristics of this speed
parameter of this a speed tool.
2796
02:59:21,533 --> 02:59:25,133
This rehabilitative feature
is very simple, simply that sometimes
2797
02:59:25,133 --> 02:59:28,833
the clip to which we are modifying
the speed is next to another clip.
2798
02:59:29,133 --> 02:59:33,066
And obviously sometimes when we modify
the speed, the videos are squished.
2799
02:59:33,700 --> 02:59:37,800
And that tool allows me to make
the next clip attached to the clip.
2800
02:59:37,800 --> 02:59:38,700
We are changing.
2801
02:59:38,700 --> 02:59:42,300
The speed of a symbol
is that it doesn't add match complication,
2802
02:59:42,733 --> 02:59:46,100
but the most important features
are the ones I mentioned before.
2803
02:59:46,433 --> 02:59:47,600
So let's recap.
2804
02:59:47,600 --> 02:59:51,000
So you don't forget
we go to the speed tool
2805
02:59:51,433 --> 02:59:52,933
and the first thing we will find
2806
02:59:52,933 --> 02:59:55,800
is the percentage of the speed
we want the clip to have.
2807
02:59:56,633 --> 02:59:58,766
The second option is to reverse that.
2808
02:59:58,766 --> 03:00:01,500
The video goes backwards.
2809
03:00:01,500 --> 03:00:03,566
The ripple added
so that the clips are stay
2810
03:00:03,566 --> 03:00:06,733
attached to each other
even when we change their speed.
2811
03:00:07,166 --> 03:00:09,566
I don't think you guys use this too much.
2812
03:00:10,266 --> 03:00:14,100
And the one you're going to use
the most is the time interpolation.
2813
03:00:14,400 --> 03:00:15,033
It's a way
2814
03:00:15,033 --> 03:00:18,933
in which the frames will appear
to make the video smoother and more fluid.
2815
03:00:20,033 --> 03:00:22,033
Remember, there are three options.
2816
03:00:22,033 --> 03:00:26,666
The first one that shows exactly
the frames the video has, the second one
2817
03:00:27,000 --> 03:00:30,933
that mixes the frames to make
the video more fluid and is smoother.
2818
03:00:30,933 --> 03:00:32,433
And the other one, the last one
2819
03:00:32,433 --> 03:00:36,133
to create the necessary frames
to make it look more fluid.
2820
03:00:36,533 --> 03:00:39,966
But let's talk about this option
that is deactivated
2821
03:00:40,733 --> 03:00:44,066
it's important to mention
that when the video has out,
2822
03:00:44,100 --> 03:00:49,066
you and you modify the speed, the speed of
the audio will also be modified.
2823
03:00:49,400 --> 03:00:53,366
Therefore It will be had a lower
when the audio is lower
2824
03:00:53,366 --> 03:00:56,300
and faster,
like a squirrel voice when it's faster.
2825
03:00:56,666 --> 03:00:59,733
But this option called maintain
all the pitch
2826
03:01:00,333 --> 03:01:03,266
here, it's disabled
because the video doesn't have audio,
2827
03:01:03,600 --> 03:01:06,800
but it allows me
that even though the speed of the audio
2828
03:01:06,800 --> 03:01:10,066
changes,
the tone of the audio doesn't change.
2829
03:01:10,400 --> 03:01:14,533
I mean, the voices do not sound
like squirrel or very slow.
2830
03:01:15,666 --> 03:01:16,266
But will
2831
03:01:16,266 --> 03:01:20,033
you already know how to modify
the speed of any clip?
2832
03:01:20,033 --> 03:01:23,700
And this is the most important thing
related to this lesson.
2833
03:01:24,366 --> 03:01:26,900
Until the next time
2834
03:01:36,400 --> 03:01:56,400
or perfect.
2835
03:01:56,600 --> 03:02:00,433
We are here again in the Adobe
premiere in this lesson
2836
03:02:00,566 --> 03:02:04,000
are going to learn
to use this toolbar over here.
2837
03:02:04,500 --> 03:02:07,133
So this bar next to the timeline contains
2838
03:02:07,133 --> 03:02:09,800
the main tools that we will use
when editing.
2839
03:02:10,200 --> 03:02:15,933
So I would say that the main purpose
of this a lesson the main objective is,
2840
03:02:16,100 --> 03:02:20,100
is to give you a powerful insight
on these buttons over here.
2841
03:02:20,400 --> 03:02:22,933
The buttons in the toolbar.
2842
03:02:22,933 --> 03:02:26,700
So we are going to look for the sequence
we have already created
2843
03:02:27,300 --> 03:02:31,166
in the previous lessons
and we are going to add a video fragment,
2844
03:02:31,166 --> 03:02:34,566
the timeline
that is to say to this sequence.
2845
03:02:35,133 --> 03:02:38,100
So here I have selected a piece of video.
2846
03:02:38,100 --> 03:02:41,600
Remember that you must use the AI in
oh two said
2847
03:02:41,600 --> 03:02:44,466
the beginning
and the end of that piece of video.
2848
03:02:44,966 --> 03:02:48,000
For example,
the video fragment could be up to here.
2849
03:02:49,200 --> 03:02:52,533
So we press oh to select the end.
2850
03:02:53,133 --> 03:02:55,600
So we are going to drag the video
to the timeline,
2851
03:02:56,100 --> 03:02:58,433
holding down the right mouse button.
2852
03:02:58,433 --> 03:03:00,600
We pull the video to the timeline
2853
03:03:00,600 --> 03:03:03,866
and we are going to click on
keep existing settings.
2854
03:03:04,366 --> 03:03:08,333
Remember that it's to maintain
the sequence configuration.
2855
03:03:09,600 --> 03:03:13,200
So already
have our piece of video on the timeline.
2856
03:03:13,733 --> 03:03:17,866
But before dig into the Timeline toolbar,
I want to address this
2857
03:03:18,100 --> 03:03:22,033
yellow line over here
that appears here on the timeline.
2858
03:03:22,433 --> 03:03:26,500
So this yellow line indicates
that the computer's dedicated video card
2859
03:03:26,833 --> 03:03:30,900
that is
the DPU is generating temporary previews
2860
03:03:30,900 --> 03:03:33,400
so we can see what we are
editing on the program.
2861
03:03:33,400 --> 03:03:37,800
Monitor that the yellow line
represents a partial render.
2862
03:03:37,933 --> 03:03:41,333
If you had a powerful computer or,
the preview will look good enough
2863
03:03:41,533 --> 03:03:43,400
on the program's monitor.
2864
03:03:43,400 --> 03:03:47,366
However, depending on the complexity
of what we are editing or how heavy
2865
03:03:47,366 --> 03:03:51,833
the fires we are working with are,
we will have to advance in the render
2866
03:03:52,133 --> 03:03:56,233
that is, convert
that yellow line into a green line.
2867
03:03:56,533 --> 03:03:57,000
I mean that
2868
03:03:57,000 --> 03:04:01,100
the computer makes a complete render
so that what we see on the programs
2869
03:04:01,100 --> 03:04:06,066
monitor looks completely continuous
without interruptions, without delays.
2870
03:04:06,233 --> 03:04:07,200
And you will need these,
2871
03:04:07,200 --> 03:04:11,333
especially if you don't have
sufficiently powerful computer.
2872
03:04:11,500 --> 03:04:15,300
So what you have to do is select the input
and output of the section
2873
03:04:15,300 --> 03:04:18,966
you want to render by pressing
right and o on the keyboard
2874
03:04:19,933 --> 03:04:21,366
and once you have the section
2875
03:04:21,366 --> 03:04:24,933
selected,
you are going to go to the sequence tab
2876
03:04:25,533 --> 03:04:28,866
and then you are going to click
and render in two out
2877
03:04:29,366 --> 03:04:33,033
and then immediately a kind of final
render of the entire montage
2878
03:04:33,100 --> 03:04:37,266
of what is between the scene in the out
will begin to be made.
2879
03:04:37,666 --> 03:04:41,066
Of course, you will have to wait a bit,
especially depending
2880
03:04:41,066 --> 03:04:44,000
on how many effects
each of those video clips have.
2881
03:04:44,566 --> 03:04:48,166
Additionally, that render will also have
a higher quality.
2882
03:04:48,166 --> 03:04:52,566
So regardless of whether our computer
is powerful or not, if we want to see what
2883
03:04:52,566 --> 03:04:56,700
we have edited with the higher quality,
we must do that render.
2884
03:04:57,300 --> 03:04:58,433
Now look the line.
2885
03:04:58,433 --> 03:05:01,800
It's now green, indicating
that the render is finished
2886
03:05:15,933 --> 03:05:47,000
after.
2887
03:05:47,000 --> 03:05:50,366
This is very important
when it comes to editing music videos
2888
03:05:50,366 --> 03:05:54,833
because we are supposed to the video
with the music it to perfection.
2889
03:05:55,433 --> 03:05:58,700
So let's start in
with the first button on the toolbar.
2890
03:05:59,200 --> 03:06:01,633
This arrow over here.
2891
03:06:01,633 --> 03:06:05,166
So these are all is
like the most general tool that allows me
2892
03:06:05,166 --> 03:06:09,666
to select anything in the Adobe premiere
and especially in the timeline.
2893
03:06:09,933 --> 03:06:13,166
And of course, move
what want as a nanny software.
2894
03:06:13,566 --> 03:06:15,966
It's the default selection
tool of the software.
2895
03:06:16,666 --> 03:06:19,266
So there's no minor thing to be confused
with.
2896
03:06:19,566 --> 03:06:23,733
This is simply the programs, two settings
to move the mouse in the software
2897
03:06:23,733 --> 03:06:27,600
and use all the functions
right below the arrow tool.
2898
03:06:27,600 --> 03:06:30,166
We will find the track select
for word tool.
2899
03:06:30,633 --> 03:06:34,500
This allows me to select all video clips
that are in front
2900
03:06:34,533 --> 03:06:37,733
or behind the position
where I am with the mouse.
2901
03:06:38,266 --> 03:06:42,300
So basically it allows me to select
several clips at the same time
2902
03:06:42,366 --> 03:06:45,866
when necessary, thereby
making it easier for us to work.
2903
03:06:46,400 --> 03:06:50,066
So if we press the old key
on the keyboard, we can change
2904
03:06:50,066 --> 03:06:51,600
the direction of the selection.
2905
03:06:51,600 --> 03:06:54,700
That is,
if we want it to be forward backward.
2906
03:06:55,533 --> 03:06:56,733
I'm going to give you an example.
2907
03:06:56,733 --> 03:07:00,633
I'm going to add a portion of the video
from the short film
2908
03:07:01,000 --> 03:07:03,366
in order to overlap the clips.
2909
03:07:03,966 --> 03:07:06,166
I'm going to drag the video along
2910
03:07:06,600 --> 03:07:09,333
and I'm going to drop the video
just over here.
2911
03:07:10,066 --> 03:07:13,133
So going to bring the track, select
forward button,
2912
03:07:13,300 --> 03:07:17,966
making sure it's in the right direction,
which would be forward.
2913
03:07:18,333 --> 03:07:21,000
So when I have this tool
activated and click
2914
03:07:21,000 --> 03:07:24,933
on the timeline, it will select
all the clips that are to the right.
2915
03:07:24,933 --> 03:07:27,233
That is those that are forward.
2916
03:07:27,400 --> 03:07:31,100
It doesn't matter how many they are,
they will all be selected.
2917
03:07:31,566 --> 03:07:35,833
So I'm going to do it again
and notice that it's even going to select
2918
03:07:35,900 --> 03:07:40,766
the respective audio clips
that are connected to those video clips.
2919
03:07:40,766 --> 03:07:42,633
Now I'm going to press the old key
2920
03:07:42,633 --> 03:07:45,500
on the keyboard
to flip the direction of the tool.
2921
03:07:45,866 --> 03:07:50,033
I mean, select everything that is behind
that mouse cursor.
2922
03:07:50,033 --> 03:07:51,566
Try to notice the difference.
2923
03:07:51,566 --> 03:07:55,000
Pay attention
that when it's activated, select backwards
2924
03:07:55,400 --> 03:07:58,500
in a click on the timeline over here,
as there is not clear
2925
03:07:58,500 --> 03:08:02,066
behind the mouse cursor,
it will not select anything
2926
03:08:02,666 --> 03:08:06,133
because there is nothing to the left
that is backwards.
2927
03:08:06,766 --> 03:08:09,966
But conversely,
if I click to the right of the clips,
2928
03:08:09,966 --> 03:08:12,033
the clips will be on the left,
2929
03:08:12,033 --> 03:08:15,800
so the tool will select them
because they are in the back.
2930
03:08:16,600 --> 03:08:20,166
So the tool is very simple,
simply with the old key on the keyboard.
2931
03:08:20,166 --> 03:08:24,400
We changed the direction of the selection
when it comes to selecting many clips
2932
03:08:24,400 --> 03:08:26,033
at the same time.
2933
03:08:26,033 --> 03:08:28,166
So let's go now with the third button
2934
03:08:28,166 --> 03:08:32,700
of the timeline toolbar,
which is a bit more complicated,
2935
03:08:33,466 --> 03:08:35,700
but there is an important detail
to highlight
2936
03:08:35,700 --> 03:08:38,700
before moving on to the third tool,
which is that, well,
2937
03:08:38,700 --> 03:08:43,000
the Arrow tool is selected,
we can stretch in a squeeze, two clips.
2938
03:08:43,366 --> 03:08:47,200
I mean to travel in all extension
of the original video file.
2939
03:08:47,600 --> 03:08:50,800
For instance,
although we had this of the short film,
2940
03:08:51,300 --> 03:08:53,733
if we stretch the video clip backwards,
2941
03:08:53,966 --> 03:08:56,400
we will travel backwards in the short
film.
2942
03:08:56,433 --> 03:08:58,400
Adding more of the short film.
2943
03:08:58,400 --> 03:09:02,533
Obviously, and explained these because
the third button has to do with this.
2944
03:09:02,533 --> 03:09:07,400
The first button is the replay tool,
but actually press an old on the keyboard.
2945
03:09:07,400 --> 03:09:08,600
We have rolling.
2946
03:09:08,600 --> 03:09:11,033
Edit in red Stretch tool.
2947
03:09:11,300 --> 03:09:14,500
So what is the first one for the rebuilt
added tool?
2948
03:09:14,500 --> 03:09:18,000
This function allows me to move
the transition between two clips
2949
03:09:18,266 --> 03:09:20,266
that are next to each other.
2950
03:09:20,266 --> 03:09:23,600
For example, here
we have two video clips that are together
2951
03:09:24,066 --> 03:09:26,300
and they have this function activated.
2952
03:09:26,600 --> 03:09:30,200
This allows me that whenever
you stretch the video clip or exquisite,
2953
03:09:30,666 --> 03:09:34,500
the next video clip will not change
its beginning or its exit.
2954
03:09:34,700 --> 03:09:37,200
It's like pushing
or pulling the next clip.
2955
03:09:37,800 --> 03:09:41,766
Pay attention that, the clip stretching
and right and the character's face.
2956
03:09:42,233 --> 03:09:44,966
And immediately
the next clip starts when the character
2957
03:09:44,966 --> 03:09:47,400
is on the raft with his back visible.
2958
03:09:48,000 --> 03:09:50,700
So The replay tool allows me
to stretch this clip
2959
03:09:50,700 --> 03:09:54,300
by pushing the next one without changing
the beginning of the next one.
2960
03:09:54,666 --> 03:09:58,933
It's a very useful tool for not changing
the beginning of the next.
2961
03:09:58,933 --> 03:10:02,300
The next function in this same
third button is the rolling
2962
03:10:02,300 --> 03:10:05,300
edit tool,
which we can switch to by pressing old.
2963
03:10:05,600 --> 03:10:10,233
So the rolling tool function allows me
to the clip as well, but this time
2964
03:10:10,233 --> 03:10:14,833
it will not push the next one,
but it will advance its extension.
2965
03:10:15,200 --> 03:10:19,500
It's as if it were inviting
the next pay attention to the fact
2966
03:10:19,500 --> 03:10:23,600
that the part where the character's back
is seen no longer appears,
2967
03:10:23,800 --> 03:10:27,066
but rather
the clip advanced to farther forward.
2968
03:10:27,066 --> 03:10:30,300
So it's as if I had to move
the transition forward,
2969
03:10:30,600 --> 03:10:33,600
as if I had made a cut in the clips
by the forward.
2970
03:10:34,100 --> 03:10:37,900
So you already know the difference
between the first and second function.
2971
03:10:38,100 --> 03:10:41,933
The first one to rebuild the tool
allows me to stretch
2972
03:10:41,933 --> 03:10:44,900
a clip by pushing the next one.
2973
03:10:45,466 --> 03:10:47,800
I mean, without changing its beginning
2974
03:10:48,633 --> 03:10:52,166
in the second option
to which we change in old on
2975
03:10:52,166 --> 03:10:56,433
the keyboard allows me to stretch clip,
but this time I do.
2976
03:10:56,433 --> 03:11:01,300
By the next clip, I mean, the beginning of
the next clip is not preserved.
2977
03:11:02,300 --> 03:11:03,366
So the third
2978
03:11:03,366 --> 03:11:07,566
option of this third button is to rate
stretch tool.
2979
03:11:07,833 --> 03:11:11,366
This option is related to the speed
the video clip will have,
2980
03:11:11,666 --> 03:11:14,000
which is something
that we are going to see later on.
2981
03:11:14,300 --> 03:11:17,533
But basically this tool allows to stretch
with squeeze
2982
03:11:17,533 --> 03:11:20,400
the video clip, altering its speed.
2983
03:11:20,700 --> 03:11:23,600
In other words, when I get stretch it,
I make it to slower.
2984
03:11:23,900 --> 03:11:26,866
And when you squeeze it, I it faster.
2985
03:11:27,233 --> 03:11:29,366
Look how I stretch the clip.
2986
03:11:29,366 --> 03:11:37,200
And now the video looks slower.
2987
03:11:37,200 --> 03:11:41,100
So when I use stretch the video,
obviously the frames separate
2988
03:11:41,500 --> 03:11:44,100
and run at a slower speed, thereby
2989
03:11:44,200 --> 03:11:46,866
slowing down the movement of the video.
2990
03:11:47,333 --> 03:11:51,233
That is a function
of that great stretch tool.
2991
03:11:52,166 --> 03:11:55,666
So I'm going to press on to reset,
which is on the two,
2992
03:11:55,666 --> 03:11:59,600
particularly back like before,
and keep moving forward in the tools.
2993
03:12:00,133 --> 03:12:03,600
So the next tool is the racer tool.
2994
03:12:03,600 --> 03:12:07,000
So the racer tool is the tool
that we are going to use the most.
2995
03:12:07,366 --> 03:12:12,733
It allows me to cut the clips as I want
in, where I want using this tool,
2996
03:12:12,733 --> 03:12:16,400
I will be able to cut
a portion of the video from any clip
2997
03:12:16,400 --> 03:12:19,933
on the timeline
to be able to move it to where I want.
2998
03:12:20,000 --> 03:12:23,466
Remember that you must cut the beginning
and end to be able
2999
03:12:23,466 --> 03:12:26,700
to separate it from the clip
as if it were a cake.
3000
03:12:27,066 --> 03:12:30,900
I mean, to cut a piece of cake,
you must make two cuts.
3001
03:12:31,333 --> 03:12:35,466
So as I told you, the tool that we are
going to use the most in the editing
3002
03:12:35,933 --> 03:12:39,933
and it's not too complicated,
we simply selected and got where I want.
3003
03:12:40,166 --> 03:12:45,633
Of course, once we cut to move that
that we cut, we must be in the Arrow tool.
3004
03:12:46,066 --> 03:12:49,700
Obviously you can also use the racer tool
in the audio clips.
3005
03:12:50,333 --> 03:12:54,100
Now we go to the fourth button,
the fourth tool.
3006
03:12:54,133 --> 03:12:55,366
This tool is very useful.
3007
03:12:55,366 --> 03:12:59,400
In fact, it has two options
that we can change with the old key
3008
03:12:59,400 --> 03:13:03,300
on the keyboard slip tool and slide tool.
3009
03:13:03,666 --> 03:13:05,633
Let's review the first option.
3010
03:13:05,633 --> 03:13:10,266
This tool allows me to modify
the input output of one.
3011
03:13:10,266 --> 03:13:13,500
Be the clip
that is between two other clips.
3012
03:13:13,966 --> 03:13:17,133
For example, when
clicking on this small portion of video,
3013
03:13:17,533 --> 03:13:20,333
these four screens will appear
on the programs.
3014
03:13:20,333 --> 03:13:24,566
Monitor the image above, and to the left
belongs to the end of the clip
3015
03:13:24,566 --> 03:13:28,500
that is before it in the image
to the right and above belongs
3016
03:13:28,500 --> 03:13:29,866
to the beginning of the clip.
3017
03:13:29,866 --> 03:13:34,000
That is after each the two images
below belong to the beginning
3018
03:13:34,000 --> 03:13:36,466
and the end of the clip
that we have selected.
3019
03:13:37,200 --> 03:13:40,766
So this sleep tool
allows me to change the entrance
3020
03:13:40,766 --> 03:13:46,033
and exit of the clip they have selected
without altering the position of the clip.
3021
03:13:46,133 --> 03:13:51,166
With respect to the other two clips
that are before and after respectively.
3022
03:13:51,833 --> 03:13:54,300
So holding down the left mouse button
3023
03:13:54,633 --> 03:13:57,700
and at the same time
moving to the right or left.
3024
03:13:57,700 --> 03:14:00,466
A change to start in the end of that clip.
3025
03:14:00,766 --> 03:14:03,166
Moving in the short film.
3026
03:14:03,166 --> 03:14:08,000
So it allows me to move where I want
that little clip to start in the end
3027
03:14:08,233 --> 03:14:11,833
without having to go
to the reference monitor and separately
3028
03:14:12,133 --> 03:14:15,400
edit the clip and then put it right there.
3029
03:14:16,200 --> 03:14:19,966
I mean, it's useful because sometimes
we want to change little things,
3030
03:14:19,966 --> 03:14:25,066
but it's tricky to get the clip out to
where it is and put it back in its place.
3031
03:14:25,666 --> 03:14:29,766
The truth is that I didn't use that
too much, but it's important to know
3032
03:14:29,766 --> 03:14:34,600
that this tool exists so that IT workflow
is as pleasant as possible.
3033
03:14:35,500 --> 03:14:40,866
The second option, which would be slide
tool, works differently.
3034
03:14:40,866 --> 03:14:44,100
This tool allows me to move
for the position that the clip will have.
3035
03:14:44,100 --> 03:14:48,100
With respect to the other two clips,
I mean, the one that is after
3036
03:14:48,100 --> 03:14:51,400
and the one that is before,
but without altering beginning
3037
03:14:51,400 --> 03:14:56,200
and the end of that clip that I have
selected, be attention to the timeline.
3038
03:14:56,200 --> 03:15:01,033
Notice that I am moving the clip in now
its position is moved.
3039
03:15:01,100 --> 03:15:05,433
With respect to the other two clips,
look how I am moving
3040
03:15:05,433 --> 03:15:07,633
the clip to the place where I want.
3041
03:15:08,466 --> 03:15:12,000
So now in the program monitor
the small images are both
3042
03:15:12,433 --> 03:15:15,033
now belong to the beginning
and the end of the clip
3043
03:15:15,033 --> 03:15:19,233
that I have selected, and both the images
below belong to the clips
3044
03:15:19,400 --> 03:15:22,500
that are before and after respectively.
3045
03:15:23,233 --> 03:15:27,166
So it's a very useful tool
because it allows me to edit clips
3046
03:15:27,300 --> 03:15:31,200
without having to separate them
in another part, the timeline,
3047
03:15:31,600 --> 03:15:34,466
which would be more work for us.
3048
03:15:34,466 --> 03:15:36,633
So let's move on to the next button
3049
03:15:36,766 --> 03:15:39,266
on the toolbar, which would be the pan
3050
03:15:39,800 --> 03:15:44,100
depend tool allows me to modify
the automation line on the clips
3051
03:15:44,433 --> 03:15:48,266
that by default are volume
for audio incapacity for video.
3052
03:15:48,600 --> 03:15:53,533
By making this points called Keyframes,
we construct software to change
3053
03:15:53,533 --> 03:15:58,433
both volume and opacity
automatically as the timeline progresses.
3054
03:15:58,633 --> 03:16:02,300
But I do not want to go into this
right now because there's going to be
3055
03:16:02,300 --> 03:16:06,666
a separate lesson regarding editing, audio
and also editing opacity
3056
03:16:07,100 --> 03:16:10,600
as well as a lesson where we are
going to explain what a keyframe is.
3057
03:16:10,933 --> 03:16:14,700
The important thing for now
is that you know that the pencil allows me
3058
03:16:14,700 --> 03:16:18,900
to alter these automations
simply by making points
3059
03:16:18,900 --> 03:16:23,733
on those horizontal lines
that have both the audio and video clips.
3060
03:16:24,566 --> 03:16:28,833
And the last button on the timeline
toolbar is the text tool,
3061
03:16:29,200 --> 03:16:31,833
which of course we will also see in detail
3062
03:16:31,833 --> 03:16:34,133
in a specific lesson for that,
3063
03:16:34,833 --> 03:16:38,400
because obviously
I have to explain the parameters in detail
3064
03:16:38,666 --> 03:16:42,266
in how you're going to be able
to use the letters in place
3065
03:16:42,533 --> 03:16:45,000
and move them on the video for now.
3066
03:16:45,000 --> 03:16:47,833
The important thing to know
is that when this option is selected,
3067
03:16:47,900 --> 03:16:50,500
we simply click anywhere on the program
monitor
3068
03:16:50,966 --> 03:16:54,000
and immediately
the option to write opens in.
3069
03:16:54,000 --> 03:16:58,100
At the same time,
a graphic clip is created on the timeline
3070
03:16:58,466 --> 03:17:00,000
and I will be able to modify
3071
03:17:00,000 --> 03:17:03,633
that clip as I want,
as if it were one more video clip.
3072
03:17:03,733 --> 03:17:07,666
I mean, I can change
how long it will last and move it exactly
3073
03:17:07,666 --> 03:17:09,833
the same as if it were a video clip.
3074
03:17:09,833 --> 03:17:12,300
If I can show you a little bit at once,
3075
03:17:12,800 --> 03:17:17,266
simply when I have selected
that graphic clip, the effects control
3076
03:17:17,266 --> 03:17:21,533
will open all the parameters to move that,
as I told you, as if it were.
3077
03:17:21,533 --> 03:17:23,400
One more video clip here.
3078
03:17:23,400 --> 03:17:25,166
We are going to be able to obviously
3079
03:17:25,166 --> 03:17:29,233
move the characteristics
of the typography as well.
3080
03:17:29,233 --> 03:17:33,100
There are quite a few features,
but since they want to go step by step,
3081
03:17:33,500 --> 03:17:37,100
I need to first explain
what defects control is like
3082
03:17:37,533 --> 03:17:40,933
before tackling
how to the text in the premiere.
3083
03:17:42,000 --> 03:17:42,800
So this would
3084
03:17:42,800 --> 03:17:46,166
be all about the time line
toolbar buttons.
3085
03:17:46,600 --> 03:17:48,800
You already have a general notion of those
3086
03:17:49,633 --> 03:17:53,633
that are going to be very useful for you
from now on.
3087
03:17:53,933 --> 03:17:56,433
Try to review all the content again
3088
03:17:56,766 --> 03:18:29,100
and I see you in the next lesson.
3089
03:18:29,100 --> 03:18:29,900
Hello people.
3090
03:18:29,900 --> 03:18:32,700
In this module
we are going to work on color correction.
3091
03:18:33,300 --> 03:18:36,133
First,
we're going to learn how to make masks
3092
03:18:36,533 --> 03:18:40,666
because in fact masks are the tool
that will allow us not only to do
3093
03:18:40,666 --> 03:18:44,800
color correction,
but also to apply an effect to an image.
3094
03:18:45,000 --> 03:18:46,333
So try to be patient.
3095
03:18:46,333 --> 03:18:50,000
I mean, there are several lessons
and I explain everything
3096
03:18:50,000 --> 03:18:53,266
in step by step
so that you can do it yourself.
3097
03:18:53,900 --> 03:18:58,600
There is something important to take
into account in terms of dynamic range.
3098
03:18:59,233 --> 03:19:01,800
The dynamic range of colors in an image is
3099
03:19:01,800 --> 03:19:04,566
the number of color tones
and gradients in an image.
3100
03:19:05,133 --> 03:19:09,166
As I mentioned in a previous lesson,
an image with a higher resolution
3101
03:19:09,400 --> 03:19:12,133
will have a greater amount
of dynamic range.
3102
03:19:12,333 --> 03:19:17,766
But remember, that resolution doesn't
necessarily mean a larger image size,
3103
03:19:17,766 --> 03:19:21,133
but a greater amount of information
for each pixel.
3104
03:19:21,733 --> 03:19:25,133
There are now strategies
to make the viewer feel that the image
3105
03:19:25,366 --> 03:19:28,933
they are watching on
the screen has more dynamic range.
3106
03:19:29,400 --> 03:19:31,966
For example,
if in an image we change the color
3107
03:19:31,966 --> 03:19:36,300
of certain objects within the frame,
we're going to create a look
3108
03:19:36,300 --> 03:19:40,300
or a sensation that the camera was able
to detect those colors,
3109
03:19:40,633 --> 03:19:42,966
those colors, variations, thereby
3110
03:19:42,966 --> 03:19:46,400
improving the prurience of our video
substantially.
3111
03:19:46,500 --> 03:19:50,900
But this will not only make the image
look better in terms of dynamic range,
3112
03:19:51,366 --> 03:19:53,866
but also in terms of cinematography.
3113
03:19:54,200 --> 03:19:57,900
I mean, the static quality
of any image itself.
3114
03:19:57,900 --> 03:20:02,333
So take a look at this example,
which in my opinion is excellent.
3115
03:20:02,333 --> 03:20:04,633
In fact, I highly recommend this film.
3116
03:20:05,233 --> 03:20:09,500
Is this kind of films seen in photography
seems magnificent to me.
3117
03:20:10,000 --> 03:20:12,900
As you can see these
the scene was shot in a beach,
3118
03:20:13,166 --> 03:20:16,866
which is one of the main factors
that makes the image look good
3119
03:20:17,400 --> 03:20:20,633
because this scene was shot
at the best time of day.
3120
03:20:21,566 --> 03:20:24,066
But it happens that even in perfect
conditions,
3121
03:20:24,400 --> 03:20:27,466
the gap to record is never too.
3122
03:20:27,466 --> 03:20:31,033
Therefore, the production team
will prioritize the scenes
3123
03:20:31,033 --> 03:20:33,966
that need the presence
of their direct sunset flight.
3124
03:20:34,833 --> 03:20:37,133
But what about the other?
3125
03:20:37,133 --> 03:20:39,600
Those that are necessary for the scene
3126
03:20:39,933 --> 03:20:43,366
but in which the sky is not directly
visible?
3127
03:20:43,900 --> 03:20:45,066
Look at this example.
3128
03:20:45,066 --> 03:20:49,033
This shot vigorously clean,
being a kind of hill near the beach.
3129
03:20:49,433 --> 03:20:53,400
But even when the sky is not there,
we must give information
3130
03:20:53,400 --> 03:20:56,566
in the shot
that the place is close to that beach
3131
03:20:56,966 --> 03:21:01,100
and that the action is taking place
at the very moment of the sunset.
3132
03:21:01,800 --> 03:21:05,333
So how we can do it,
We attention to the bottom rocks.
3133
03:21:05,766 --> 03:21:08,366
You can see the bottom's rocks are pink
3134
03:21:08,833 --> 03:21:11,800
as if the evening light
is projected on them.
3135
03:21:12,500 --> 03:21:15,833
But the truth is that in the original
the shot, surely the pink color
3136
03:21:15,833 --> 03:21:16,666
was not there.
3137
03:21:17,733 --> 03:21:19,200
Okay, You may think, well,
3138
03:21:19,200 --> 03:21:23,300
maybe it's a big red lamp
that is illuminating the rocks,
3139
03:21:23,700 --> 03:21:27,333
but it would be much more expensive
to do that today.
3140
03:21:27,333 --> 03:21:30,533
In this age that is no longer necessary.
3141
03:21:30,966 --> 03:21:34,866
That direct the color of the rocks
can perfectly be done in color.
3142
03:21:34,866 --> 03:21:38,233
Correction, in reality
is much easier than you think.
3143
03:21:38,900 --> 03:21:43,500
If the movie was recorded it in high
resolution, much easier still.
3144
03:21:43,766 --> 03:21:46,866
Obviously, in the case of a film
like is, it's evident
3145
03:21:46,866 --> 03:21:50,133
that everything was recorded
in a maximum resolution.
3146
03:21:50,766 --> 03:21:54,266
Now the most difficult thing
is not to change the color of the rocks
3147
03:21:54,766 --> 03:21:58,200
the most difficult thing is to know
when it's necessary
3148
03:21:58,200 --> 03:22:01,800
to change the color of the rocks
to match the sunset.
3149
03:22:02,233 --> 03:22:06,233
Now, to be able to know these,
you must have a great visual culture.
3150
03:22:06,566 --> 03:22:11,133
You must feel the visual need to add
something to an image to make it complete.
3151
03:22:11,633 --> 03:22:13,966
I tell you these I tell you all of these
3152
03:22:14,133 --> 03:22:16,933
because today's has multiple jobs.
3153
03:22:17,200 --> 03:22:19,000
Many of you take many courses
3154
03:22:19,000 --> 03:22:21,800
because you want to learn
how to do everything yourself.
3155
03:22:22,333 --> 03:22:25,533
But where do I want
to go with this example?
3156
03:22:26,000 --> 03:22:27,300
If you are giving it out to
3157
03:22:27,300 --> 03:22:32,100
I mean, the video files of a scene
recorded on a beach like these
3158
03:22:32,100 --> 03:22:35,200
and in the data
there are, for example, paint shots,
3159
03:22:35,666 --> 03:22:39,233
but only three of them show
the afternoon light.
3160
03:22:39,466 --> 03:22:42,833
You should be capable of modifying
elements, you name it,
3161
03:22:42,833 --> 03:22:46,766
to suggest that all the shots
was recorded at the same time.
3162
03:22:47,033 --> 03:22:48,500
That is your job.
3163
03:22:48,500 --> 03:22:51,966
So even if you are just someone
who does color correction,
3164
03:22:52,366 --> 03:22:55,300
you should be prepared
not only to get the image corrected
3165
03:22:55,500 --> 03:22:58,333
but to know
when the image needs to be corrected.
3166
03:22:58,500 --> 03:23:00,633
So I always insist on this.
3167
03:23:00,633 --> 03:23:03,000
Try to watch good movies
so that you can have
3168
03:23:03,000 --> 03:23:06,766
good reference sources
when it comes to doing color correction.
3169
03:23:07,100 --> 03:23:08,000
Let's start in
3170
03:23:39,066 --> 03:23:40,266
perfect who you are here.
3171
03:23:40,266 --> 03:23:45,000
In the first lesson about quarter
regrading or correction,
3172
03:23:46,066 --> 03:23:48,566
what is the first thing you must know
3173
03:23:48,566 --> 03:23:53,100
to have a powerful inside
of color correction in color grading?
3174
03:23:53,100 --> 03:23:56,800
The first thing is that what I'm going
to teach you in this lesson,
3175
03:23:57,200 --> 03:23:59,700
in this module, in the following lessons.
3176
03:24:00,233 --> 03:24:03,266
It's my point of view of this past
production stage.
3177
03:24:03,733 --> 03:24:06,400
I mean, every single teacher
you're going to find around,
3178
03:24:06,533 --> 03:24:07,900
they will have their own
3179
03:24:07,900 --> 03:24:11,000
point of view of how to color
grading and color correction,
3180
03:24:11,266 --> 03:24:16,100
because actually that point of view
is the byproduct of their experiences.
3181
03:24:16,500 --> 03:24:19,800
So I would say
that is like painting or drawing.
3182
03:24:20,133 --> 03:24:23,366
Everyone is able to develop his style.
3183
03:24:23,700 --> 03:24:25,700
And why I am telling you this
3184
03:24:25,700 --> 03:24:29,033
because I'm focused on
creating art to create in his stories.
3185
03:24:29,366 --> 03:24:30,600
I am an artist.
3186
03:24:30,600 --> 03:24:31,900
It's what I love to do.
3187
03:24:31,900 --> 03:24:34,233
It's what dedicate myself to.
3188
03:24:34,766 --> 03:24:37,966
And so from my point of view,
there are certain technical elements
3189
03:24:37,966 --> 03:24:42,400
that we should not follow completely,
or we can have the respect for complete.
3190
03:24:42,400 --> 03:24:44,733
In other words,
we must be able to break the rules
3191
03:24:44,733 --> 03:24:47,566
a little or bend
the arm of the rules a little.
3192
03:24:48,233 --> 03:24:50,766
And I'm going to start this
by differentiating
3193
03:24:51,100 --> 03:24:53,766
between color correction
important gradient.
3194
03:24:54,066 --> 03:24:55,600
What is the difference?
3195
03:24:55,600 --> 03:24:58,966
So from a technical point of view,
color correction is to fix
3196
03:24:59,400 --> 03:25:03,000
the various colors of the image colors,
to make the image match.
3197
03:25:03,000 --> 03:25:06,766
And the original idea that
the cinematographer had in the shooting,
3198
03:25:07,233 --> 03:25:10,200
I mean, the director of photography
or cinematographer
3199
03:25:10,466 --> 03:25:14,266
was carrying out that job in the shooting
and he had a purpose.
3200
03:25:14,500 --> 03:25:17,733
I mean, he had an objective,
a kind of objective
3201
03:25:17,733 --> 03:25:21,800
in terms of color
and illumination lighting.
3202
03:25:21,800 --> 03:25:25,966
So when you are shooting,
you are supposed to look over the images
3203
03:25:26,366 --> 03:25:30,000
in the monitor
and that monitors provides information
3204
03:25:30,000 --> 03:25:33,000
about what is passing
through the camera sensor.
3205
03:25:33,300 --> 03:25:37,833
So it's possible that in the day
of the shooting, you as a cinematographer
3206
03:25:37,833 --> 03:25:42,633
or film director or videographer,
you are pretty confident about.
3207
03:25:42,633 --> 03:25:44,800
You are watching on the camera monitor.
3208
03:25:45,200 --> 03:25:48,900
But it happens that by the time
you will be reviewing the footage,
3209
03:25:49,166 --> 03:25:54,100
you realize that the footage done match
what you were watching on the monitor.
3210
03:25:54,666 --> 03:25:59,233
And so, for example, in this in this image
about this gear on the pool,
3211
03:25:59,466 --> 03:26:04,333
you can notice there is a kind of seal
a white veil upon the image.
3212
03:26:04,600 --> 03:26:09,700
But it happens that that veil that you can
notice is a kind of rough configuration
3213
03:26:09,700 --> 03:26:14,100
that the veil has in order
to be modified in terms of color.
3214
03:26:14,800 --> 03:26:17,433
So it's a kind of forward configuration.
3215
03:26:17,800 --> 03:26:22,500
So going back to knowing what is color
correction, color correction
3216
03:26:22,500 --> 03:26:27,133
would be to return that image to that
look to that appearance
3217
03:26:27,466 --> 03:26:30,233
that the cinematographer was watching on
3218
03:26:30,233 --> 03:26:33,766
the camera monitor or the external monitor
in the date of the shooting.
3219
03:26:34,266 --> 03:26:36,966
But just at this point,
conclusions come out
3220
03:26:37,166 --> 03:26:40,500
because maybe the initial idea
of the original idea
3221
03:26:40,500 --> 03:26:44,900
that the cinematographer had was to modify
the color of the image,
3222
03:26:45,366 --> 03:26:48,300
the color of the video
in the post-production stage.
3223
03:26:48,466 --> 03:26:50,933
So in this sense, when you talking about
3224
03:26:51,300 --> 03:26:53,800
distorting the original colors
of the image
3225
03:26:54,000 --> 03:26:58,566
in order to enhance its appearance,
you are talking about color grading.
3226
03:26:58,766 --> 03:27:03,766
And so sometimes these borders
between color correction and go to end
3227
03:27:04,200 --> 03:27:07,200
are very closed, are caused and mixed.
3228
03:27:07,800 --> 03:27:12,666
So for me, everything all the time is
a quarter of grading because your purpose,
3229
03:27:12,700 --> 03:27:16,900
your objective is to enhance
the image as well as possible.
3230
03:27:17,166 --> 03:27:18,700
So let's start it.
3231
03:27:18,700 --> 03:27:22,033
The first thing we must do
is to change to quarter percent.
3232
03:27:22,633 --> 03:27:25,833
I personally always use the editing preset
3233
03:27:26,100 --> 03:27:30,566
that only because is the more efficient,
but also because is the better
3234
03:27:30,566 --> 03:27:34,266
in terms of performance
and computer resources.
3235
03:27:34,633 --> 03:27:36,866
But this time
you are going to need to research them.
3236
03:27:36,900 --> 03:27:42,033
You made three scopes
in this color presets and what is this?
3237
03:27:42,033 --> 03:27:44,566
You made three scopes to the naked eye.
3238
03:27:44,700 --> 03:27:48,633
It seems very complicated
because you are watching a kind of
3239
03:27:49,200 --> 03:27:53,966
strange waves, but they really tell you
that it's not that complicated at all.
3240
03:27:54,300 --> 03:27:57,766
So the lemaitre scopes is a tool to ensure
that your image
3241
03:27:57,766 --> 03:28:00,433
is filling
the entire spectrum of color Gamuts.
3242
03:28:00,900 --> 03:28:05,400
So you can notice that in this panel
in the left side of this panel,
3243
03:28:05,900 --> 03:28:11,066
there is a ruler or a now of a matter
that goes from 0 to 100.
3244
03:28:11,100 --> 03:28:14,000
And you can notice
also this wave of three colors
3245
03:28:14,133 --> 03:28:18,000
that is located in a specific section
of this panel.
3246
03:28:18,566 --> 03:28:21,300
For example,
we attention to this blue stripe.
3247
03:28:21,633 --> 03:28:22,766
White is blue.
3248
03:28:22,766 --> 03:28:26,066
This stripe is about
it happens that the 100 value
3249
03:28:26,366 --> 03:28:29,766
represents
the maximum amount of light in the image.
3250
03:28:29,866 --> 03:28:34,000
You know, the other hand is zero
represents the minimum amount of light.
3251
03:28:34,500 --> 03:28:36,600
So pay attention to the program monitor.
3252
03:28:37,233 --> 03:28:41,400
You can notice that the blue color
extends out because the pool is blue
3253
03:28:41,666 --> 03:28:44,233
in the water
has the maximum amount of light
3254
03:28:44,500 --> 03:28:47,433
and the on the other hand,
the skin has less amount of light.
3255
03:28:47,733 --> 03:28:49,866
And you can notice
in the center of the pale
3256
03:28:50,066 --> 03:28:53,000
that there is a kind of fall
in terms of light in the center
3257
03:28:53,000 --> 03:28:56,300
of the image in that fall is represents
in the hair.
3258
03:28:56,433 --> 03:29:00,300
For example, in the girls swimsuit
that is black, actually.
3259
03:29:00,900 --> 03:29:03,066
But the problem is that at this moment,
3260
03:29:03,400 --> 03:29:07,066
this wave that you're watching in
the panel is just filling
3261
03:29:07,100 --> 03:29:11,966
a small section of the spectrum, a section
closer to the light than to the shadow.
3262
03:29:12,266 --> 03:29:15,900
So we are supposed to expand and stretch
that color
3263
03:29:15,900 --> 03:29:20,433
range of the image to fill
as much as possible DC spectrum of colors.
3264
03:29:20,833 --> 03:29:23,566
But pay attention to this
because I don't mean to say that
3265
03:29:23,566 --> 03:29:27,600
it is imperative
to fill the entire spectrum of colors
3266
03:29:27,600 --> 03:29:30,966
because maybe your artistic purpose
is not to do that
3267
03:29:31,500 --> 03:29:34,000
in entirely these,
because maybe your objective
3268
03:29:34,000 --> 03:29:38,133
is to to reach a kind of vintage
look in the video.
3269
03:29:38,133 --> 03:29:40,033
And that look is inspired by it.
3270
03:29:40,033 --> 03:29:44,700
By a time where there were not
that sophisticated TVs or cameras,
3271
03:29:45,100 --> 03:29:47,733
I mean, there were cameras,
there were not able
3272
03:29:48,333 --> 03:29:51,800
portrayed
a great deal of colors and gamuts.
3273
03:29:52,133 --> 03:29:57,966
So if it's the case that you want
to match that, look, maybe that appearance
3274
03:29:57,966 --> 03:30:01,233
that you are watching at this moment
is the most suitable for you.
3275
03:30:01,600 --> 03:30:03,600
But let's suppose
that this is not the case.
3276
03:30:03,600 --> 03:30:07,166
But suppose that you want to
to a kind of equalize
3277
03:30:07,166 --> 03:30:11,166
in the colors of this video, to come out
this video as quick as possible.
3278
03:30:11,500 --> 03:30:14,966
So you're going to need to add
some video effects in terms of color.
3279
03:30:15,200 --> 03:30:17,666
So we need to go to the effect.
3280
03:30:18,166 --> 03:30:20,366
It's important to stress that
3281
03:30:20,366 --> 03:30:23,633
that there are a great deal of tools
in terms of color.
3282
03:30:23,733 --> 03:30:27,000
But I'm going to show you
those that I used the most.
3283
03:30:27,000 --> 03:30:31,400
So we go to the effects folder,
we go to video effects,
3284
03:30:31,466 --> 03:30:34,100
and this time we are going to add levels.
3285
03:30:34,400 --> 03:30:38,800
Also, we're going to add you may
three color and also a color balance.
3286
03:30:38,800 --> 03:30:43,700
RGV I have already added these effects,
but they are all activated.
3287
03:30:43,700 --> 03:30:45,533
I'm going to do it from scratch.
3288
03:30:45,533 --> 03:30:48,900
So the levels effect is located
in the adjust folder,
3289
03:30:49,566 --> 03:30:52,666
so the direct effect to the effect
control panel.
3290
03:30:53,200 --> 03:30:56,433
And then we go to the color
correction folder
3291
03:30:57,000 --> 03:30:58,966
and we pick the illuminated color effect.
3292
03:31:00,666 --> 03:31:03,000
And lastly, the color balance.
3293
03:31:03,000 --> 03:31:05,866
We are going to find it
in the image control
3294
03:31:09,600 --> 03:31:10,900
over here.
3295
03:31:11,700 --> 03:31:14,300
So what is the level effects used for?
3296
03:31:14,800 --> 03:31:18,600
I usually use this effect
to stress the black tones in the image.
3297
03:31:18,900 --> 03:31:22,266
I mean, for me is the first step
in order to banish
3298
03:31:22,733 --> 03:31:25,033
that the forge revealed in the footage.
3299
03:31:25,400 --> 03:31:29,400
So in levels, parameters, you are going
to find several color correctors
3300
03:31:29,666 --> 03:31:34,800
that are focus and adding more light
or remove light from the image, either
3301
03:31:34,800 --> 03:31:40,100
modifying the whole range of colors
or a specific range of color in the image.
3302
03:31:40,466 --> 03:31:45,000
And that is the reason why you can see
different tracks in terms of range
3303
03:31:45,533 --> 03:31:50,400
black input or white input,
and not only in terms of RGV,
3304
03:31:50,400 --> 03:31:54,633
but also for the red or green
or blue separately.
3305
03:31:55,133 --> 03:31:57,800
But as I told you, I use this level effect
3306
03:31:58,033 --> 03:32:01,833
to enhance and strengthen
the black tones in the image.
3307
03:32:02,200 --> 03:32:05,533
So by moving this first track,
you can enhance the black tones.
3308
03:32:06,300 --> 03:32:08,700
So I'm going to move this parameter
to the right
3309
03:32:09,000 --> 03:32:11,933
and you're going to notice the difference
in the program monitor
3310
03:32:12,400 --> 03:32:15,733
So you can notice a difference
and you can notice how the image
3311
03:32:16,066 --> 03:32:18,566
is going to the original state.
3312
03:32:19,066 --> 03:32:21,733
So now you're going to going back to the
you made three scopes
3313
03:32:21,900 --> 03:32:26,300
to review the spectrum,
so you can notice how the color wave is
3314
03:32:27,100 --> 03:32:29,200
to the downside of the spectrum.
3315
03:32:29,566 --> 03:32:32,533
I'm going to deactivate effect
so you can notice the difference.
3316
03:32:33,000 --> 03:32:35,633
Pay attention
where are located, the red tones.
3317
03:32:35,866 --> 03:32:40,500
I'm going activate it again
and pay attention to the new major scopes.
3318
03:32:41,066 --> 03:32:45,366
So by moving this first parameter,
this first track, adding
3319
03:32:45,366 --> 03:32:49,966
almost points in terms of black tones
to the entire image,
3320
03:32:50,100 --> 03:32:53,400
thereby increasing
dramatically its range of colors.
3321
03:32:53,700 --> 03:32:58,133
And pay attention that scene as tigers
swimsuit is reaching the black tones
3322
03:32:58,133 --> 03:32:59,500
completely in the hair.
3323
03:32:59,500 --> 03:33:02,600
Also,
you can notice in the center of the panel
3324
03:33:02,666 --> 03:33:06,133
that the color wave
is reaching zero in the spectrum.
3325
03:33:06,133 --> 03:33:09,766
And you know, that zero represents
the minimum amount of light.
3326
03:33:10,500 --> 03:33:13,900
But you can also modify
I know there are tracks of the levels.
3327
03:33:14,366 --> 03:33:18,100
I mean in order to fix the tones
and return the appearance
3328
03:33:18,100 --> 03:33:20,100
to the original state.
3329
03:33:20,100 --> 03:33:22,333
I mean you can add, for example, light
3330
03:33:22,500 --> 03:33:28,033
to the whites that sometimes are necessary
because maybe the video lacks of light
3331
03:33:28,266 --> 03:33:32,033
and you can fix that problem
by moving that parameter, that track.
3332
03:33:32,233 --> 03:33:33,500
But pay attention to that you made there.
3333
03:33:33,500 --> 03:33:36,466
SCOPES In this time,
since they move white input
3334
03:33:36,700 --> 03:33:39,766
the color wave that
which is the maximum amount of light.
3335
03:33:40,433 --> 03:33:45,400
But some reason I use this effect
and this little effect to equalize
3336
03:33:45,633 --> 03:33:49,900
the tones is the first step in terms
of color correction in color grading.
3337
03:33:50,366 --> 03:33:52,433
But let's move on to the following effect,
3338
03:33:52,433 --> 03:33:54,500
and that is that you may add three color.
3339
03:33:54,500 --> 03:33:58,500
And here going to add some contrast
to the entire image
3340
03:33:58,666 --> 03:34:02,600
in another very important thing,
saturation, the first iris
3341
03:34:02,600 --> 03:34:07,266
and an in saturation
is because the image is called
3342
03:34:07,700 --> 03:34:11,066
I mean, even though you can notice
the sunlight reflected on the pool,
3343
03:34:11,300 --> 03:34:13,500
I mean is an outdoor shooting.
3344
03:34:13,500 --> 03:34:16,933
There were a of clouds in the sky in
the clouds
3345
03:34:16,966 --> 03:34:20,800
were preventing
the light reaches the objects directly.
3346
03:34:21,033 --> 03:34:23,300
I mean, light is filtered by clouds.
3347
03:34:23,300 --> 03:34:27,100
So when it happens,
everything around loses color immediately.
3348
03:34:27,300 --> 03:34:29,966
But I'm going to modify a little bit
the highlights
3349
03:34:30,666 --> 03:34:34,433
in order
to decrease the amount of highlight of it.
3350
03:34:34,833 --> 03:34:37,233
And I'm going to level
the highlights with the whites
3351
03:34:38,566 --> 03:34:41,433
to this point just right here.
3352
03:34:41,933 --> 03:34:46,200
Now you're going to go back to the
numerator scopes to review the spectrum.
3353
03:34:46,600 --> 03:34:50,333
Now you can notice
how the red stripe in the color wave
3354
03:34:50,466 --> 03:34:53,866
is reaching almost 30 in the spectrum.
3355
03:34:53,866 --> 03:34:56,033
But pay close attention to this.
You don't need that.
3356
03:34:56,033 --> 03:35:00,366
The color wave reaches the zero 100 level.
3357
03:35:00,400 --> 03:35:04,766
Actually, that is not good, just like
it is is well enough to come out of video.
3358
03:35:04,833 --> 03:35:07,933
But it also depends on what you want
or your style.
3359
03:35:08,333 --> 03:35:10,700
But additionally,
we can add another effect
3360
03:35:11,366 --> 03:35:14,200
these color balance effect, color balance.
3361
03:35:14,200 --> 03:35:18,700
RGV And this effect allows you
to add a kind of extra
3362
03:35:18,700 --> 03:35:23,366
veil of color that covers
the entire image, not altering.
3363
03:35:23,366 --> 03:35:27,466
So nature, I mean, its nature
in terms of light in tones.
3364
03:35:28,100 --> 03:35:32,100
So you can notice that
in enhancing the blue tones and removing
3365
03:35:32,100 --> 03:35:36,666
also the red tones in the image in
actually it looks very nice.
3366
03:35:36,966 --> 03:35:40,633
It looks like
the shooting was in an indoor pool
3367
03:35:40,933 --> 03:35:44,066
that had some windows
where the light is coming through.
3368
03:35:44,633 --> 03:35:46,300
And pay attention to this.
3369
03:35:46,300 --> 03:35:50,566
I'm turning the image blue
and you can notice that blue veil.
3370
03:35:51,000 --> 03:35:53,700
But let's go back to the lumen scopes.
3371
03:35:54,000 --> 03:35:57,566
Now you can notice
how powerful was this color correction?
3372
03:35:57,566 --> 03:36:01,300
I mean, the color wave is filling
almost the entire spectrum.
3373
03:36:01,300 --> 03:36:03,033
But in this case, we shoot the low.
3374
03:36:03,033 --> 03:36:05,200
The blue reached the 100 level,
3375
03:36:05,500 --> 03:36:08,566
so we must try to level
the red tones and blue tones.
3376
03:36:08,933 --> 03:36:10,933
No reaching the limits.
3377
03:36:10,933 --> 03:36:15,366
So reaching the limits means that you are
saturating the image in terms of color.
3378
03:36:15,966 --> 03:36:18,633
So I'm going to move the blue track
a little bit.
3379
03:36:19,100 --> 03:36:23,866
And the red track also now pertains
to how the limiter scopes behaves.
3380
03:36:24,200 --> 03:36:29,633
You can notice now how the blue stripe
is next to 100, but it's not reaching 100.
3381
03:36:29,966 --> 03:36:32,700
And that means that it's not saturate
often.
3382
03:36:33,100 --> 03:36:36,533
Well, that would be what I usually do
in terms of color.
3383
03:36:36,533 --> 03:36:38,900
Correction the first steps.
3384
03:36:38,900 --> 03:36:42,266
But pay attention, which in the limits
doesn't mean that the image is
3385
03:36:43,166 --> 03:36:47,500
maybe your creative purpose is to do that
you're esthetic purposes.
3386
03:36:47,966 --> 03:36:52,533
So feel free to experiment and to play
with these parameters and tools.
3387
03:36:52,833 --> 03:36:55,266
So I'm going to leave you
this shot for the screen
3388
03:36:55,766 --> 03:37:33,900
and I see you in the next lesson.
3389
03:37:33,900 --> 03:37:35,266
Perfect to be here. Here again.
3390
03:37:35,266 --> 03:37:37,600
This time you're going to use this
another example.
3391
03:37:38,066 --> 03:37:40,866
It's the same film
setting with the same actress,
3392
03:37:41,100 --> 03:37:44,666
but this time you can notice
that the sunlight is not filtered.
3393
03:37:44,733 --> 03:37:47,633
And this is a perfect example to make
you understand that
3394
03:37:47,666 --> 03:37:50,866
even under the same conditions
in terms of production
3395
03:37:51,233 --> 03:37:54,600
and film setting,
just the fact that the sunlight is filter
3396
03:37:54,600 --> 03:38:00,500
by clouds brings about another different
look in that features in the hair.
3397
03:38:00,500 --> 03:38:03,233
For example,
you can notice that the highlights
3398
03:38:03,266 --> 03:38:06,300
reveals the brown tones
in the hair, for example.
3399
03:38:06,700 --> 03:38:10,066
So this time I'm not using the levels I'm
3400
03:38:10,066 --> 03:38:13,233
using only the new metric color
and the color balance.
3401
03:38:13,266 --> 03:38:16,433
RGV But additionally amusing,
another effect
3402
03:38:16,433 --> 03:38:19,933
called sharpen to add definition to image.
3403
03:38:20,566 --> 03:38:23,533
So we are going to go to the folders
to look for those effects
3404
03:38:23,900 --> 03:38:26,066
to do this from scratch.
3405
03:38:26,066 --> 03:38:29,300
Of course, we are going to continue
analyzing that you made through
3406
03:38:30,300 --> 03:38:31,266
while doing
3407
03:38:31,266 --> 03:38:45,266
these color correction.
3408
03:38:45,266 --> 03:38:50,833
So let's go to the new miter scopes
to analyze the spectrum.
3409
03:38:50,833 --> 03:38:54,366
So here you can notice that the color wave
looks differently,
3410
03:38:55,200 --> 03:38:57,900
I mean, differently
than the previous lesson.
3411
03:38:58,433 --> 03:39:01,366
And the first you can notice in
the illuminator scopes is said
3412
03:39:01,366 --> 03:39:05,433
there is a kind of white color
covering the color wave.
3413
03:39:05,866 --> 03:39:07,700
And what does it mean?
3414
03:39:07,700 --> 03:39:10,800
That means that the image is
3415
03:39:10,800 --> 03:39:12,900
I mean, the footage is burned.
3416
03:39:12,900 --> 03:39:17,500
I mean that the camera settings were not
more suitable for those light conditions.
3417
03:39:17,700 --> 03:39:21,000
And the reason why that it happened
was due to the weather
3418
03:39:21,000 --> 03:39:24,266
conditions,
I mean, clouds were moving quickly.
3419
03:39:24,366 --> 03:39:28,333
I mean, the camera was set to work
with the light filter by the clouds,
3420
03:39:28,633 --> 03:39:31,366
but that weather conditions
were not as stable.
3421
03:39:31,600 --> 03:39:35,700
But even though the video is a little bit
burned, it's not exposed at all.
3422
03:39:36,133 --> 03:39:39,900
But we must try to adapt
the color correction to this conditions.
3423
03:39:40,500 --> 03:39:43,833
So since the sunlight is reaching
the objects directly,
3424
03:39:44,100 --> 03:39:47,266
we must try to create that effect
of the afternoon light.
3425
03:39:47,700 --> 03:39:50,633
So I'm moving the temperature,
the warm tones
3426
03:39:51,000 --> 03:39:54,800
and at the same time
adding some contrast to the video.
3427
03:39:55,033 --> 03:39:58,800
So in this case we must try to focus
on the black tones in the shadows
3428
03:39:59,233 --> 03:40:02,266
to compensate that overexposure of light
3429
03:40:02,833 --> 03:40:05,800
by attention that you can notice
that these blacks track
3430
03:40:06,133 --> 03:40:10,333
is almost exactly the same,
that the first track in the levels effect.
3431
03:40:10,500 --> 03:40:11,566
I mean, remember that
3432
03:40:11,566 --> 03:40:15,000
the first track in the label,
this effect was two black inputs.
3433
03:40:15,400 --> 03:40:19,500
So you are supposed to make
the black tones of the image to reach
3434
03:40:19,500 --> 03:40:25,166
completely the black level, most of all
in the tones of the girls swimsuit.
3435
03:40:25,666 --> 03:40:30,233
On the other hand,
you must differentiate between in whites
3436
03:40:30,933 --> 03:40:33,166
or between shadows in black.
3437
03:40:33,533 --> 03:40:37,800
When you are modifying the highlights,
you are modifying in the highest levels
3438
03:40:37,800 --> 03:40:41,933
in terms of light
but not torching the whites in the lowest
3439
03:40:42,000 --> 03:40:43,200
level of light.
3440
03:40:43,200 --> 03:40:46,366
I mean, you can modify some objects
that are illuminated
3441
03:40:46,600 --> 03:40:48,166
but are not white at all.
3442
03:40:48,166 --> 03:40:52,500
But when you modifying the white,
you are going to modify the whites
3443
03:40:52,666 --> 03:40:55,366
whole range of tones in terms of light.
3444
03:40:55,800 --> 03:40:59,266
So for shadows in black,
it works the same.
3445
03:40:59,700 --> 03:41:01,100
Pay attention that since I'm
3446
03:41:01,100 --> 03:41:04,933
moving the black track,
only the black swimsuit is changing.
3447
03:41:05,266 --> 03:41:06,900
But if you modify the shadows,
3448
03:41:06,900 --> 03:41:10,333
you're going to modify
the whole of shades in the image.
3449
03:41:10,700 --> 03:41:12,933
So once you make this first step,
3450
03:41:13,433 --> 03:41:15,466
you're ready
to move on to the color balance.
3451
03:41:16,033 --> 03:41:20,033
And what we are going to do,
it's supposed that the sunlight
3452
03:41:20,033 --> 03:41:24,300
is reaching the objects directly,
I mean, like they're after in the light.
3453
03:41:24,500 --> 03:41:26,800
So I'm going to decrease the blue tones.
3454
03:41:27,133 --> 03:41:30,433
But additionally,
you must know that the sunlight produces
3455
03:41:30,666 --> 03:41:35,200
more saturation in the image
and enhancing the color of the objects.
3456
03:41:35,600 --> 03:41:39,833
So we are supposed to increase the color
saturation in the luminance reflect.
3457
03:41:40,300 --> 03:41:44,700
So we go back to the limited color
and we look for the last parameter
3458
03:41:44,700 --> 03:41:49,900
in the basic correction is the saturation
and we increase the values.
3459
03:41:50,100 --> 03:41:57,600
Pay attention to the leap's color
and also to the hair color,
3460
03:41:57,600 --> 03:42:02,500
so we can go back to the caller balance
and try to level the amount of blue
3461
03:42:03,000 --> 03:42:07,600
and removing blue actually, thereby
increasing the red tones.
3462
03:42:08,100 --> 03:42:10,500
You can add more or less as you want.
3463
03:42:10,833 --> 03:42:14,233
Remember that it depends tones
your creativity also.
3464
03:42:14,666 --> 03:42:19,500
And now we are going to go back to
the illuminator scopes to review the image
3465
03:42:20,033 --> 03:42:24,300
for pay attention that the color wave
is filling the entire spectrum.
3466
03:42:24,633 --> 03:42:28,233
But additionally
you can notice that every single color
3467
03:42:28,233 --> 03:42:32,200
a strap is located
in a specific section of the spectrum.
3468
03:42:32,466 --> 03:42:34,800
But you can continue modifying the color
3469
03:42:34,800 --> 03:42:38,333
parameters,
I mean, in order not to reach limits.
3470
03:42:38,600 --> 03:42:41,600
But even though
you are reaching the limits, but you like
3471
03:42:41,600 --> 03:42:45,700
what you are watching and the program
monitor, try to be confident with that.
3472
03:42:45,700 --> 03:42:49,466
And additionally, in this specific case,
I already told you
3473
03:42:49,466 --> 03:42:51,366
that the video was burned.
3474
03:42:51,366 --> 03:42:56,466
I mean, in terms of light in any way,
even though you can notice that the image
3475
03:42:56,466 --> 03:43:01,633
look very well, the color look very well,
you can increase the reds, for example.
3476
03:43:01,866 --> 03:43:06,900
I'm increasing the reds by removing blue
and for me, the video looks better.
3477
03:43:07,633 --> 03:43:11,233
And you can notice also
that even adding more red to the image,
3478
03:43:11,666 --> 03:43:15,566
the color wave is filling
more of that spectrum.
3479
03:43:15,566 --> 03:43:20,966
Now we are going to move on to the next
effect of this lesson that is sharpen.
3480
03:43:21,533 --> 03:43:26,133
The sharpen is used for adding
more definition to the image.
3481
03:43:26,500 --> 03:43:29,300
You can add as much sharpening
as you want.
3482
03:43:29,366 --> 03:43:31,033
The reason why I use this
3483
03:43:31,033 --> 03:43:35,633
is because most of the blades from
the users are going to your video.
3484
03:43:35,733 --> 03:43:39,433
The coming user is going to use the less
amount of resolution in the player.
3485
03:43:39,500 --> 03:43:44,766
So by adding this sharpen effect, we can
create that effect of more resolution.
3486
03:43:44,766 --> 03:43:49,500
Even though the video is displayed
in a player with a low resolution setting.
3487
03:43:49,700 --> 03:43:54,333
So is a trick very useful for YouTube
and those kind of platforms.
3488
03:43:54,600 --> 03:43:58,466
But you must pay close attention
that when you are working with high
3489
03:43:58,500 --> 03:44:03,166
end cameras, you will be able to add
a graded amount of sharpen to the
3490
03:44:03,800 --> 03:44:06,900
I mean, the video is going to reach
more image quality.
3491
03:44:06,933 --> 03:44:09,966
It's exponentially actually,
and it's related
3492
03:44:09,966 --> 03:44:13,066
also to the amount of information
per pixel.
3493
03:44:13,066 --> 03:44:17,233
But on the other hand,
if it's the case of a DSL or camera,
3494
03:44:17,400 --> 03:44:19,433
you cannot play with this in that way
3495
03:44:19,433 --> 03:44:23,233
because it will be noticeable
that you are forcing in sharpen.
3496
03:44:23,466 --> 03:44:25,466
Perfect. This lesson is up to here.
3497
03:44:25,466 --> 03:44:30,966
Remember to review all the counters,
to digest all the information better.
3498
03:44:31,166 --> 03:45:10,833
I see you in the next lesson.
3499
03:45:10,833 --> 03:45:12,766
Perfect. We are here again.
3500
03:45:12,766 --> 03:45:15,266
We're going to work with this
to last takes.
3501
03:45:15,633 --> 03:45:18,033
On the one hand,
if are going to work on this take
3502
03:45:18,566 --> 03:45:21,233
that is it is horse galloping.
3503
03:45:22,133 --> 03:45:24,300
Let me stress that this footage belong
3504
03:45:24,933 --> 03:45:27,466
to one of my music videos.
3505
03:45:27,466 --> 03:45:30,366
So on the other hand,
we are going to work on this other take,
3506
03:45:30,866 --> 03:45:33,333
which is the same actress
getting out of the car.
3507
03:45:33,733 --> 03:45:38,033
So are we going to do we are going
to start with this first, taking the horse
3508
03:45:38,733 --> 03:45:41,933
in this case, we are going to change
the color of the horse.
3509
03:45:42,266 --> 03:45:45,133
We are able to change the color
of some objects,
3510
03:45:45,133 --> 03:45:48,933
but not using After Effects or DaVinci,
for example.
3511
03:45:49,633 --> 03:45:53,100
I mean, it's not necessary
always to use those software
3512
03:45:53,600 --> 03:45:56,600
to change the color of objects,
but additionally,
3513
03:45:56,600 --> 03:45:58,766
we are going to use all their effects
also.
3514
03:45:59,100 --> 03:46:02,600
So we go to the VFX
folder to look for those effects.
3515
03:46:02,600 --> 03:46:03,600
We need to change.
3516
03:46:03,600 --> 03:46:05,233
The color effect is located
3517
03:46:05,233 --> 03:46:08,700
in the color correction
folder and also brightness and contrast.
3518
03:46:09,100 --> 03:46:11,666
But we are going to use
also the illuminated color.
3519
03:46:12,600 --> 03:46:16,466
So can check the limit for scopes
to review the image,
3520
03:46:17,000 --> 03:46:19,266
to review the color weight.
3521
03:46:19,266 --> 03:46:21,466
And you can notice that in this case
3522
03:46:22,200 --> 03:46:26,200
the wave located
in the middle section of the spectrum.
3523
03:46:26,600 --> 03:46:29,266
But the color with is a still too small.
3524
03:46:29,700 --> 03:46:33,933
I mean, we still need to stretch
the color wave to the whole spectrum,
3525
03:46:33,933 --> 03:46:36,900
but we are going to the red spheres
to change, to color effect.
3526
03:46:37,800 --> 03:46:39,433
So we opened effect.
3527
03:46:39,433 --> 03:46:42,700
We must go where it reads from.
3528
03:46:42,700 --> 03:46:46,333
So we must click on the dropper
and we are going to select on the screen
3529
03:46:46,666 --> 03:46:50,066
the exact color we want to change
and we are going to select a color
3530
03:46:50,066 --> 03:46:54,166
that is not visible in a greater
of sections in the horse here.
3531
03:46:54,433 --> 03:46:57,466
Then over here into
we are going to click on the dropper
3532
03:46:57,766 --> 03:47:00,233
and we are going to select the color
we want.
3533
03:47:00,633 --> 03:47:04,866
So you can notice automatically
the color has changed immediately,
3534
03:47:05,300 --> 03:47:09,233
but we must try to level
that by modifying this parameter hue.
3535
03:47:09,666 --> 03:47:10,533
I mean, to do right
3536
03:47:10,533 --> 03:47:15,033
is a more deal of color
and to the left is to decrease the level.
3537
03:47:15,033 --> 03:47:18,500
I'm going to change the specific tone
in the frame parameter.
3538
03:47:19,100 --> 03:47:22,966
I mean, we are supposed to select
the specific tone with precision.
3539
03:47:23,300 --> 03:47:26,933
And additionally,
I'm going to set the other color more red.
3540
03:47:27,266 --> 03:47:29,866
I mean, so that the change is noticeable
3541
03:47:30,433 --> 03:47:32,666
so we can increase the hue as we want,
3542
03:47:33,233 --> 03:47:36,366
But I'm going to increase it a little more
just right here.
3543
03:47:36,966 --> 03:47:41,066
Then we move on to the brightness
and contrast.
3544
03:47:41,066 --> 03:47:52,300
And here we are going to lower
the brightness a little bit.
3545
03:47:52,300 --> 03:47:54,666
The following effect is the Lumiere true
color.
3546
03:47:55,233 --> 03:47:57,600
We must go to the basic color correction
3547
03:47:58,533 --> 03:48:01,533
and then we go to the saturation
parameter.
3548
03:48:01,533 --> 03:48:04,666
If we are going to increase
the amount of color dramatically,
3549
03:48:05,400 --> 03:48:09,600
we can move the temperature
parameter to the warmer color,
3550
03:48:10,000 --> 03:48:13,500
but also you can move to contrast to level
3551
03:48:13,500 --> 03:48:19,200
the amount of black tones in the image.
3552
03:48:19,200 --> 03:48:24,333
We can modify also the black track
a little bit to bring out
3553
03:48:24,366 --> 03:48:26,966
all those black tones
3554
03:48:26,966 --> 03:48:30,866
and you can notice
how the horse hair color looks like this.
3555
03:48:31,133 --> 03:48:36,066
It's completely red and you can notice the
difference by deactivating those effects
3556
03:48:36,600 --> 03:48:39,300
that is the original
Take the original look
3557
03:48:40,100 --> 03:48:42,300
so we can go back to the Lumen
3558
03:48:42,300 --> 03:48:44,633
through scopes to review the spectrum.
3559
03:48:45,566 --> 03:48:48,866
And you can notice that color wave
is stretched to the spectrum.
3560
03:48:49,033 --> 03:48:51,933
But in the case of this video of Tears
take,
3561
03:48:52,500 --> 03:48:57,733
we cannot reach the highest amount
of light because this steak is also burnt.
3562
03:48:58,200 --> 03:49:00,000
I mean, a little bit burned.
3563
03:49:00,000 --> 03:49:03,500
And that is the reason why the better
the direction of photography,
3564
03:49:03,500 --> 03:49:05,633
the better quality of the image.
3565
03:49:05,633 --> 03:49:07,633
Because if the image is burnt.
3566
03:49:07,633 --> 03:49:10,500
It doesn't matter how much resolution
the camera has.
3567
03:49:11,000 --> 03:49:14,666
The sensor is not detecting
all the full colors of the spectrum,
3568
03:49:15,033 --> 03:49:18,800
so you won't be able expand
the color wave throughout the spectrum.
3569
03:49:19,200 --> 03:49:23,633
So in this case, I'm going to try to find
a specific setting to try
3570
03:49:23,633 --> 03:49:28,566
to fill the spectrum as much as possible
so we now add a color balance effect.
3571
03:49:29,100 --> 03:49:38,133
I'm going to decrease the blue range,
thereby increasing the order to ranges.
3572
03:49:38,133 --> 03:49:44,800
And you can notice
now that the color wave is more expanded.
3573
03:49:44,800 --> 03:49:49,500
But will that would be to change the color
of some objects in the image.
3574
03:49:50,433 --> 03:49:52,100
You can notice the difference.
3575
03:49:52,100 --> 03:49:54,900
The activate in the change,
the color effect,
3576
03:49:56,233 --> 03:49:59,066
and you can notice the change.
3577
03:49:59,066 --> 03:50:03,500
I think it's very nice.
3578
03:50:03,500 --> 03:50:04,666
But let's move on to this.
3579
03:50:04,666 --> 03:50:09,500
Another example, the girl in the car,
which is very interesting shot
3580
03:50:09,566 --> 03:50:12,600
because the image of the girl is filtered
the window.
3581
03:50:12,900 --> 03:50:17,066
So there is not only a veil,
which is the byproduct of the veil
3582
03:50:17,066 --> 03:50:21,766
settings of the camera, but a veil upon
the object in terms of production
3583
03:50:22,100 --> 03:50:25,166
and you can notice that veil in the made
through scopes.
3584
03:50:25,566 --> 03:50:29,200
You can notice that even in the darker
tones of the spectrum,
3585
03:50:29,466 --> 03:50:32,066
there is a wide
stripe across in the panel.
3586
03:50:32,066 --> 03:50:35,133
But that doesn't mean
that the cinematography is run
3587
03:50:35,366 --> 03:50:37,033
actually is quite well.
3588
03:50:37,033 --> 03:50:40,400
I mean, that is the look of a window
and there are those conditions
3589
03:50:40,633 --> 03:50:45,200
of that nature because those are stains
that you can notice on the window
3590
03:50:45,566 --> 03:50:47,833
would be the byproduct of the time.
3591
03:50:48,266 --> 03:50:51,000
And actually
it could be dust, for example,
3592
03:50:51,233 --> 03:50:53,700
or maybe that the window
is not clean at all.
3593
03:50:54,100 --> 03:50:57,233
And I'm telling you, these in order
not to force the camera
3594
03:50:57,666 --> 03:51:00,533
to detect
something that it's not noticeable
3595
03:51:00,600 --> 03:51:04,066
to the naked eye, most of all
to the naked eye for the human sight.
3596
03:51:04,800 --> 03:51:07,100
So for the moment,
I'm going to use a lumens
3597
03:51:07,100 --> 03:51:09,700
recorder to correct this video.
3598
03:51:10,366 --> 03:51:11,433
So we go to the video
3599
03:51:11,433 --> 03:51:15,300
set folder and we go to color correction
in select lumen through color.
3600
03:51:16,300 --> 03:51:17,466
So we go to basic
3601
03:51:17,466 --> 03:51:23,366
correction and we are going to modify
only the black tones, the shadow tones,
3602
03:51:23,666 --> 03:51:26,666
and the contrast
to bring out the girl's face.
3603
03:51:26,666 --> 03:51:31,533
We must try not to exaggerate
the black tones we can have as a reference
3604
03:51:31,533 --> 03:51:36,066
point, the black frame on the window,
I mean the black essence of the car.
3605
03:51:37,000 --> 03:51:41,433
So we can play with these parameters
until we reach the look we like.
3606
03:51:41,733 --> 03:51:45,866
But I highly recommend you to experiment,
to move all the parameters
3607
03:51:45,866 --> 03:51:52,733
with a lot of patience.
3608
03:51:52,733 --> 03:51:57,300
Additionally, you can notice
also that I modified the temperature
3609
03:51:57,366 --> 03:52:01,500
to the cold tones and also the saturation.
3610
03:52:01,800 --> 03:52:04,233
And now we can check the limiter scopes
3611
03:52:04,500 --> 03:52:07,933
and you can notice how the color wave
is more expanded.
3612
03:52:08,366 --> 03:52:11,800
Obviously,
image is not rich in the brighter tones
3613
03:52:12,066 --> 03:52:16,400
because it's caught
and it also has a kind of dark vibe.
3614
03:52:16,866 --> 03:52:20,433
I mean, it's not necessary
to reach the most illuminated
3615
03:52:20,433 --> 03:52:24,133
sections of the spectrum
and we can notice the difference.
3616
03:52:24,433 --> 03:52:26,700
I'm going to deactivate the effects.
3617
03:52:26,700 --> 03:52:28,233
It's completely different.
3618
03:52:28,233 --> 03:52:29,700
It looks more professional.
3619
03:52:31,566 --> 03:52:33,033
So for me, this is color
3620
03:52:33,033 --> 03:52:37,633
grading because even though I'm
not adding an extra color to the image,
3621
03:52:38,233 --> 03:52:42,033
I modify the major color parameters
to reach another look.
3622
03:52:42,500 --> 03:52:45,666
But I highly recommend you to experiment
with your footage
3623
03:52:46,100 --> 03:52:50,833
and with your recordings in order
to have chances to modify the corners.
3624
03:52:51,133 --> 03:52:53,533
I mean, if you have a very cinematography,
3625
03:52:53,933 --> 03:52:57,966
you will have more chances to reach
a more professional color grading.
3626
03:52:58,266 --> 03:53:28,466
So lesson is set here
in until the next one.
3627
03:53:28,466 --> 03:53:30,900
Perfect.
We are here again at the Adobe premiere.
3628
03:53:31,000 --> 03:53:33,000
What we are going to address
in this lesson,
3629
03:53:33,000 --> 03:53:37,066
we are going to learn how to create a mask
for the color correction of color,
3630
03:53:37,066 --> 03:53:41,600
a rating of a moving object,
a mask with motion tracking in.
3631
03:53:41,600 --> 03:53:42,900
What is this work?
3632
03:53:42,900 --> 03:53:46,500
This allows me to correct
the color of an object that is moving
3633
03:53:46,766 --> 03:53:49,733
or that a space
that is around that object.
3634
03:53:50,033 --> 03:53:53,866
I mean, I am able to correct
and the color spell with elements.
3635
03:53:54,000 --> 03:53:55,733
So you're going to use an example.
3636
03:53:55,733 --> 03:53:59,866
These are seen where these categories
moving in this room, the ship cabin.
3637
03:53:59,866 --> 03:54:01,200
What I want is to be able
3638
03:54:01,200 --> 03:54:05,033
to correct the color of the character
without altering the color
3639
03:54:05,133 --> 03:54:09,100
to room, or vice versa, to be able
to correct the color of the room
3640
03:54:09,100 --> 03:54:13,800
without altering the character in
Why do I teach you with a moving object?
3641
03:54:14,233 --> 03:54:18,033
Because once you learn to do it, this way,
it will be easier to master
3642
03:54:18,033 --> 03:54:21,533
a mask of an element
that is a static without moving,
3643
03:54:22,033 --> 03:54:24,133
which is much easier, obviously.
3644
03:54:24,600 --> 03:54:29,433
So I find much more useful
to teach you guys the hard way at once.
3645
03:54:29,866 --> 03:54:32,200
Be attention,
because at first it may seem that way.
3646
03:54:32,200 --> 03:54:35,533
It's tricky, but in reality it's not.
3647
03:54:35,533 --> 03:54:36,566
So let's start.
3648
03:54:36,566 --> 03:54:40,466
We already know that this is our scene
and we must make a mask
3649
03:54:40,466 --> 03:54:43,666
to isolate the character from the point
where he is walking
3650
03:54:43,666 --> 03:54:46,833
until the moment
he opens quarantine on the window.
3651
03:54:47,033 --> 03:54:50,900
So the first thing we are supposed to do
is that we need to add
3652
03:54:50,933 --> 03:54:54,066
a color correction effect
from the premiere effects bank
3653
03:54:54,066 --> 03:54:57,000
to the effects control
corresponding to this clip.
3654
03:54:57,633 --> 03:55:01,300
So we click on this a small tab,
and then we click on Effects,
3655
03:55:01,666 --> 03:55:04,133
and then we must look
for the bead effects folder.
3656
03:55:04,400 --> 03:55:06,600
And then the color correction folder.
3657
03:55:07,166 --> 03:55:11,766
So once there we must click on the color
you made through effect in bullet
3658
03:55:11,833 --> 03:55:15,766
to the effects control panel of the clip
in which we are working.
3659
03:55:15,766 --> 03:55:19,700
So when you add that effect,
it will be as if it were one more effect
3660
03:55:19,700 --> 03:55:22,800
and those that come in the control
panel by default.
3661
03:55:23,133 --> 03:55:27,300
So once we add that effect
we must pay attention to the mask patterns
3662
03:55:27,533 --> 03:55:29,966
that we saw in one of the best lessons,
3663
03:55:30,366 --> 03:55:33,266
if you don't remember it,
I'm going to remind you again,
3664
03:55:34,133 --> 03:55:38,066
remember that there is a circle, a square,
and the result is a feather.
3665
03:55:38,066 --> 03:55:41,766
And this later is used to create
customizable masks.
3666
03:55:42,033 --> 03:55:45,366
So let's check the first one. The Circle.
3667
03:55:45,366 --> 03:55:47,233
Remember that you can modify the nature
3668
03:55:47,233 --> 03:55:50,700
of that circle
to make it more or less oval.
3669
03:55:51,166 --> 03:55:53,800
So all the changes you make in that effect
3670
03:55:53,800 --> 03:55:57,133
will everything that is inside that circle
3671
03:55:57,400 --> 03:56:01,266
or what is outside that circle,
and we will be able to choose that.
3672
03:56:01,533 --> 03:56:04,466
On the other hand,
once we click on the Circle, for example,
3673
03:56:04,466 --> 03:56:07,400
it automatically creates a first mask
3674
03:56:07,766 --> 03:56:10,533
that we are going to see right here
in the effects control panel.
3675
03:56:10,833 --> 03:56:14,833
Notice that if I now click on the square
a second is created
3676
03:56:15,200 --> 03:56:19,200
and this time we can modify the nature of
that square however we want.
3677
03:56:20,333 --> 03:56:21,000
And finally,
3678
03:56:21,000 --> 03:56:24,833
we have the third option
that is customizable here.
3679
03:56:24,833 --> 03:56:28,300
We will be able to create the shape
that we want by joining
3680
03:56:28,333 --> 03:56:30,833
these points as if it were a cancellation.
3681
03:56:31,300 --> 03:56:34,366
And this is a matter that we have to use
to create masks
3682
03:56:34,566 --> 03:56:36,800
for regular, reshaped objects.
3683
03:56:37,566 --> 03:56:40,700
So we simply have to make as many points
as we think
3684
03:56:40,700 --> 03:56:43,833
are necessary
to match the shape of the object.
3685
03:56:43,833 --> 03:56:45,933
We want to isolate it.
3686
03:56:45,966 --> 03:56:48,600
Not only you will be able
to make the shape you want,
3687
03:56:48,600 --> 03:56:52,200
but even rotate the mask
in changing its position.
3688
03:56:52,433 --> 03:56:56,033
So I'm going to delete the three masks
I have created
3689
03:56:56,033 --> 03:56:58,666
so far to make it
the one we need to from scratch.
3690
03:56:59,600 --> 03:57:02,400
So I'm going to try to better defines
a video fragment.
3691
03:57:02,400 --> 03:57:04,433
Sorry one to edit.
3692
03:57:04,433 --> 03:57:08,766
I'm not going to use the whole clip
so I'm going to use from this point
3693
03:57:08,766 --> 03:57:11,800
until the moment
the character reaches the window.
3694
03:57:12,300 --> 03:57:16,033
So I'm going to cut a bit of video
at the beginning to work more.
3695
03:57:16,133 --> 03:57:26,700
Unfortunately.
3696
03:57:26,700 --> 03:57:30,366
So once we have defined the exact clip
in which we are going to work,
3697
03:57:30,800 --> 03:57:34,333
we go back to the control
panel and position the course or
3698
03:57:34,500 --> 03:57:35,766
the beginning of the clip
3699
03:57:36,833 --> 03:57:37,400
and we are going to
3700
03:57:37,400 --> 03:57:42,100
select the customizable mask called free
draw base here.
3701
03:57:42,866 --> 03:57:46,200
So automatically
I click on that little feather.
3702
03:57:46,200 --> 03:57:48,300
The mask is created as we are ready.
3703
03:57:48,400 --> 03:57:52,033
So there's something very important
to take into account before
3704
03:57:52,100 --> 03:57:55,900
start to create a mask,
and that is that we must assume out of it
3705
03:57:56,000 --> 03:57:59,400
the program's monitor
to allow us to make the points freely.
3706
03:57:59,566 --> 03:58:01,166
I mean, that is far enough away
3707
03:58:01,166 --> 03:58:04,700
so that we can either
make points outside the Monitor's frame.
3708
03:58:04,700 --> 03:58:09,666
So I'm using the monitor at 25%
and I'm going to start making points.
3709
03:58:09,733 --> 03:58:11,666
Don't worry that it's perfect.
3710
03:58:11,666 --> 03:58:15,800
It's just an approximation
and that you can get out of the frame
3711
03:58:15,833 --> 03:58:16,866
of the monitor.
3712
03:58:16,866 --> 03:58:19,500
I mean, the mask can be outside
the screen as well.
3713
03:58:20,066 --> 03:58:21,833
Obviously, when you had to draw points
3714
03:58:21,833 --> 03:58:25,366
in the smaller areas,
you can zoom in to try to be more precise.
3715
03:58:25,633 --> 03:58:29,366
But remember that no matter
how precise you are, an approximation
3716
03:58:29,366 --> 03:58:36,500
is more than enough for the mask to work.
3717
03:58:36,500 --> 03:58:40,233
So we are supposed to create
the necessary points to create a mask.
3718
03:58:40,233 --> 03:58:42,000
That mask be closed.
3719
03:58:42,000 --> 03:58:45,400
I mean, the shape
we create mass enclose a space.
3720
03:58:45,666 --> 03:58:48,066
It doesn't matter if it's regular or not.
3721
03:58:48,300 --> 03:58:50,766
We must close this shape.
3722
03:58:50,766 --> 03:58:54,000
So after finishing close in mask shape,
3723
03:58:54,300 --> 03:58:59,133
we must go to this perimeter that is here,
which is the mask bath.
3724
03:58:59,533 --> 03:59:02,966
So here we are going to activate
the mask automation
3725
03:59:03,600 --> 03:59:06,066
we need click on this little cloud.
3726
03:59:06,066 --> 03:59:08,666
It automatically creates a new friend
3727
03:59:08,666 --> 03:59:12,100
corresponding to the mask
in that specific frame.
3728
03:59:12,333 --> 03:59:16,600
So from now on, what we have to do is
to move the mask as the shot progresses.
3729
03:59:16,833 --> 03:59:20,533
Obviously, the mask belongs
to the character shape, but the character
3730
03:59:20,533 --> 03:59:23,566
is going to get out of the mask
as the shot progresses.
3731
03:59:23,833 --> 03:59:28,566
So we are supposed to change the shape
and position of the mask every few seconds
3732
03:59:28,900 --> 03:59:32,000
so that it matches the character
as the shot progresses.
3733
03:59:32,400 --> 03:59:35,100
But Let me mention that this process
for many people,
3734
03:59:35,100 --> 03:59:38,933
coaches and society fear
they think it's very complicated.
3735
03:59:38,933 --> 03:59:42,700
But the truth is that
it's not the only thing I can tell you
3736
03:59:42,700 --> 03:59:46,666
is that depending on the shot,
it may take more or less time,
3737
03:59:46,900 --> 03:59:51,666
but actually try to think how long a take
can be for this to be really impossible.
3738
03:59:51,933 --> 03:59:54,433
Shots always last seconds.
3739
03:59:55,300 --> 03:59:59,166
So approximately every half seconds
you're going to change the mask
3740
03:59:59,166 --> 04:00:00,466
to match the character.
3741
04:00:00,466 --> 04:00:02,533
You must do point by point.
3742
04:00:02,533 --> 04:00:05,000
Do not get stuck in too many details.
3743
04:00:05,000 --> 04:00:07,800
Remember that
the mask is always an approximation,
3744
04:00:08,266 --> 04:00:12,166
so the mask will follow
a path of changes, a type of
3745
04:00:13,133 --> 04:00:15,900
where it
will adapt from one keyframe to another.
3746
04:00:16,200 --> 04:00:20,233
But to find that gap between one
keyframe in another, The recent moment
3747
04:00:20,233 --> 04:00:23,866
to wear the mask loses
too much of the character's shape.
3748
04:00:24,233 --> 04:00:26,600
We must set an intermediate keyframe
3749
04:00:26,600 --> 04:00:29,800
so that we make the mask continue
to match the character.
3750
04:00:30,500 --> 04:00:33,100
For example, here,
due to the movement of the arm,
3751
04:00:33,266 --> 04:00:36,900
there are some frames were the mask loses
the shape of the character
3752
04:00:37,100 --> 04:00:39,200
leaving that extra space.
3753
04:00:39,200 --> 04:00:41,000
Those moments must be corrected
3754
04:00:41,000 --> 04:00:44,766
because they will be noticeable
when we do the color correction.
3755
04:00:45,033 --> 04:00:48,300
So we positioned the line
between the two key frames and correct
3756
04:00:48,300 --> 04:00:52,866
the mask in automatically
and other keyframe will be created.
3757
04:00:52,866 --> 04:00:58,066
So we should continue like this, I would
say, adding a change every half a second.
3758
04:00:58,333 --> 04:01:00,966
Actually,
I think it's less than half a second.
3759
04:01:01,300 --> 04:01:03,366
But creating necessary keyframe
3760
04:01:03,400 --> 04:01:07,100
so that the mask follows
the character as well as possible.
3761
04:01:07,500 --> 04:01:11,666
You should take into account that you have
the possibility of creating more points
3762
04:01:12,033 --> 04:01:15,166
as many as you want,
especially for those parts
3763
04:01:15,200 --> 04:01:18,966
where there are curves
and very irregular shapes.
3764
04:01:19,166 --> 04:01:22,800
On the other hand, remember that
it doesn't matter if the mask goes
3765
04:01:22,800 --> 04:01:26,933
out of the screen frame,
that will not affect the image.
3766
04:01:27,433 --> 04:01:30,166
But additionally, this mask bath parameter
3767
04:01:30,166 --> 04:01:33,100
gives us the possibility
of tracking movement.
3768
04:01:33,533 --> 04:01:38,300
I mean, by using artificial intelligence,
the software will create a mask
3769
04:01:38,300 --> 04:01:42,433
approximately adapted to the shape
we create in each the frames.
3770
04:01:42,666 --> 04:01:46,766
But the problem is that
this is never exact, so sometimes
3771
04:01:46,766 --> 04:01:48,666
it causes problems.
3772
04:01:48,666 --> 04:01:51,900
So what I recommend is to use this tool
partially.
3773
04:01:51,900 --> 04:01:55,100
In other words,
we press play in the tracking tool
3774
04:01:55,400 --> 04:01:58,766
and immediately that mirror
of the creation process will appear.
3775
04:01:59,066 --> 04:02:02,266
So we shouldn't let the process finish.
3776
04:02:02,266 --> 04:02:05,733
But as soon as we see
the blue stripe starts to advance,
3777
04:02:06,100 --> 04:02:09,833
we stop it because the whole process
belongs to the whole clip.
3778
04:02:10,066 --> 04:02:13,900
But what we need is that some moments
it does the tracking,
3779
04:02:14,366 --> 04:02:16,633
but not in the whole clip.
3780
04:02:16,633 --> 04:02:21,266
So as you can see, the software
created a keyframe for each frame.
3781
04:02:21,266 --> 04:02:23,366
But as you can see,
the mask is not perfect,
3782
04:02:23,900 --> 04:02:25,433
so we have to correct it anyway.
3783
04:02:25,433 --> 04:02:29,366
So I recommend using it,
but deleting all those key frames
3784
04:02:29,600 --> 04:02:31,933
where the mask doesn't match.
3785
04:02:31,933 --> 04:02:36,600
So this is the reason why I don't use
it too much because it's a lot of work.
3786
04:02:37,066 --> 04:02:40,733
I mean, I had to delete the key frames
that are not correct.
3787
04:02:40,733 --> 04:02:45,366
So I would say that this tool is useful
when the shape of the mask is regular.
3788
04:02:45,800 --> 04:02:49,333
I mean when throughout the whole clip,
the shape of the mask
3789
04:02:49,333 --> 04:02:51,666
is not going to change much.
3790
04:02:51,666 --> 04:02:54,866
But anyway,
I think that combining the two tools,
3791
04:02:54,900 --> 04:03:00,066
I mean, tracking and doing it
manually would be a good option.
3792
04:03:00,066 --> 04:03:02,033
So I'm going to leave this lesson here.
3793
04:03:02,033 --> 04:03:05,866
I'm going to finish the mask
until the character reaches the window.
3794
04:03:06,333 --> 04:03:08,100
And we continue in the next lesson.
3795
04:03:08,100 --> 04:03:40,800
To start with,
the color correction correction,
3796
04:03:40,800 --> 04:03:43,533
we are going to continue
knowing the mask parameters.
3797
04:03:43,900 --> 04:03:46,400
One of the most important
parameters is Tibetan.
3798
04:03:46,400 --> 04:03:49,833
That allows us to merge
the selection made by the mask
3799
04:03:50,233 --> 04:03:54,300
I mean, if we want the fact to change
what is inside the mask
3800
04:03:54,500 --> 04:03:59,566
or what is outside, by default,
the mask will affect what is inside.
3801
04:03:59,566 --> 04:04:04,500
But if you check this box where it's
rich inverted, you can change that.
3802
04:04:04,800 --> 04:04:08,066
And now the mask will affect everything
that is not inside.
3803
04:04:08,066 --> 04:04:09,533
The mask.
3804
04:04:09,533 --> 04:04:12,166
Before we continue,
let me remind you again
3805
04:04:12,166 --> 04:04:16,033
that you can create a mask
for any premiere effect, a meaning,
3806
04:04:16,033 --> 04:04:20,400
any of the effects that are down here in
the folders can add masks.
3807
04:04:20,900 --> 04:04:25,266
For example,
if I choose to brightness and contrast,
3808
04:04:25,666 --> 04:04:29,700
notice
how I can also create a mask that effect.
3809
04:04:30,300 --> 04:04:34,500
It's important to know these because
obviously there are hundreds of effects.
3810
04:04:35,000 --> 04:04:39,900
So knowing that you can create a mask on
any of them is important.
3811
04:04:40,466 --> 04:04:43,200
So let's continue
with the new made through color effect.
3812
04:04:43,566 --> 04:04:46,166
We had activated the selection inversion.
3813
04:04:46,533 --> 04:04:50,733
So when we do these in change example,
the exposure of the image
3814
04:04:51,100 --> 04:04:53,700
be attention to what happens.
3815
04:04:53,700 --> 04:04:57,633
I'm going to hide the mask
so that the blue guide is not noticeable
3816
04:04:57,800 --> 04:05:00,433
and we see the changing lighting
more clearly.
3817
04:05:01,033 --> 04:05:04,166
Now you realize how important the mask is.
3818
04:05:04,600 --> 04:05:08,433
Look how the light in the room changed
without affecting character.
3819
04:05:08,733 --> 04:05:13,200
Then you can imagine everything you could
do in change with this procedure.
3820
04:05:13,766 --> 04:05:16,766
In this case, I'm modifying the exposure
which allows me
3821
04:05:16,766 --> 04:05:20,200
to change the range of the light
in a more general way.
3822
04:05:20,466 --> 04:05:24,266
The exposure is a parameter
that mixes the brightness and contrast.
3823
04:05:24,266 --> 04:05:28,800
At the same time, we attention to the fact
that the is not perfect
3824
04:05:29,133 --> 04:05:32,666
and errors are noticeable
and we mask correct him of course,
3825
04:05:33,233 --> 04:05:36,533
but in general
what we should do after creating the mask
3826
04:05:36,533 --> 04:05:41,633
is to try to blur the edges of the mask
so the effects look convincing.
3827
04:05:42,000 --> 04:05:45,233
That is crucial
when it comes to creating masks.
3828
04:05:45,500 --> 04:05:47,566
So once we create the mask,
3829
04:05:47,566 --> 04:05:51,566
we must modify that important parameter
that is the feather.
3830
04:05:52,500 --> 04:05:56,400
That parameter
allows you to soften the edges of the mask
3831
04:05:56,400 --> 04:06:00,766
so that the mask is not noticeable
and blends more with the background.
3832
04:06:01,366 --> 04:06:02,100
Pay attention.
3833
04:06:02,100 --> 04:06:07,000
I'm going to hide the blue
guide of the mask so you can see better.
3834
04:06:07,000 --> 04:06:08,033
It works.
3835
04:06:08,033 --> 04:06:11,700
Pay attention that at the edges
it expands an extra guide
3836
04:06:11,866 --> 04:06:16,466
that widens the edges of the mask
that is the blue area.
3837
04:06:16,466 --> 04:06:19,100
So we are carrying out the sharpening
the edges,
3838
04:06:19,333 --> 04:06:22,666
and that is the reason
why we don't need the mask to be perfect,
3839
04:06:22,900 --> 04:06:27,366
because when we bluer edges,
it softens the hole, the shape of the mask
3840
04:06:27,633 --> 04:06:29,833
thereby blends in better
with the background.
3841
04:06:31,233 --> 04:06:34,700
No, the edges are going to be
a lot less noticeable.
3842
04:06:35,166 --> 04:06:39,033
I'm going to hide the Blue Guide again
and I'm going to modify the exposure.
3843
04:06:39,700 --> 04:06:41,833
Look how much better it looks.
3844
04:06:42,600 --> 04:06:45,000
It's also important not to exaggerate.
3845
04:06:45,000 --> 04:06:49,333
I mean that we must develop a sensitivity
to light and we cannot modify
3846
04:06:49,333 --> 04:06:52,300
the background lighting in a way
that is not convincing.
3847
04:06:52,766 --> 04:06:57,133
We must be subtitled in is static,
so we must right above all that
3848
04:06:57,133 --> 04:07:00,900
the modifications in the lighting
are convincing during the whole shot
3849
04:07:01,366 --> 04:07:03,833
from the beginning to the end.
3850
04:07:03,833 --> 04:07:08,200
So the next parameter can modify in
the mask is to it.
3851
04:07:08,833 --> 04:07:12,866
I mean, it's as if we were activating
the mask or deactivating it.
3852
04:07:12,866 --> 04:07:15,933
But with transparency, actually, there's
3853
04:07:15,933 --> 04:07:18,500
nothing complicated about that parameter.
3854
04:07:19,066 --> 04:07:23,300
The next parameter is expansion,
which is similar to the feather.
3855
04:07:23,300 --> 04:07:28,066
This parameter closest enlarge the mask
and also make it smarter.
3856
04:07:28,566 --> 04:07:30,533
It's not very complicated either.
3857
04:07:30,533 --> 04:07:34,966
It's simply help us to better land
the mask with the background.
3858
04:07:34,966 --> 04:07:38,600
Now you can see more of the difference
in terms of lighting in the room
3859
04:07:38,600 --> 04:07:39,900
using the mask.
3860
04:07:39,900 --> 04:07:42,933
This tool is really useful
for refining the image.
3861
04:07:43,433 --> 04:07:47,166
So another very important feature
when it comes to creating masks
3862
04:07:47,566 --> 04:07:52,800
is that we can copy and paste the same
mask and use it in all other effects.
3863
04:07:53,100 --> 04:07:56,933
For example, I can add another limited
three effect to the clip.
3864
04:07:57,400 --> 04:08:00,133
Then I select a mask of the first limit
3865
04:08:00,133 --> 04:08:03,566
three color,
and then we press on the key word control.
3866
04:08:03,566 --> 04:08:05,533
See, come and see.
3867
04:08:05,533 --> 04:08:10,133
And then we go to the other Lumi
three color in breast control Z
3868
04:08:10,500 --> 04:08:14,366
and then we will have in this new effect
the same mask above.
3869
04:08:14,733 --> 04:08:18,100
But for example, in this case
we could select the box
3870
04:08:18,200 --> 04:08:20,533
for inverting this election.
3871
04:08:20,533 --> 04:08:23,200
So by doing this, we can now correct
3872
04:08:23,200 --> 04:08:26,100
only the color in light of the character,
3873
04:08:26,700 --> 04:08:29,200
so we can modify,
for example, the saturation,
3874
04:08:29,200 --> 04:08:33,633
so you can see more or less
how the colors change in the character.
3875
04:08:33,633 --> 04:08:37,033
The saturation is to strengthen colors
in an image.
3876
04:08:37,633 --> 04:08:40,800
So pay attention
to how the color of the skin changes.
3877
04:08:40,800 --> 04:08:44,200
For example,
it looks more tanned with, more color.
3878
04:08:44,966 --> 04:08:48,200
So whenever you make a change,
you can check how it looks
3879
04:08:48,200 --> 04:08:53,200
with respect to the original video
by turning the effect of art on you
3880
04:08:53,200 --> 04:09:00,633
only had to click on that effect symbol.
3881
04:09:00,633 --> 04:09:02,100
I'm going to modify the color
3882
04:09:02,100 --> 04:09:06,000
temperature of the character
to notice the difference much more
3883
04:09:17,266 --> 04:09:17,900
so in the
3884
04:09:17,900 --> 04:09:21,200
same way that we are able
to change the color of the character
3885
04:09:21,633 --> 04:09:24,666
and and the background
and we could also modify
3886
04:09:24,666 --> 04:09:27,466
the color of that window that is there.
3887
04:09:28,233 --> 04:09:32,366
So all we have to do is add
another unitard color or to the clip
3888
04:09:32,700 --> 04:09:35,800
and this time, since the window
is at the end of the clip,
3889
04:09:36,100 --> 04:09:39,966
we go to the last frame of the clip
and we are going to create a mask
3890
04:09:39,966 --> 04:09:41,266
for the window.
3891
04:09:41,266 --> 04:09:45,800
But whose automation is going
to be created in the opposite direction.
3892
04:09:46,300 --> 04:09:47,733
So we draw the mask.
3893
04:09:47,733 --> 04:09:52,966
This time it's easier because the window
is a much more regular object than others.
3894
04:09:53,400 --> 04:09:55,466
It's a static, it doesn't move.
3895
04:09:56,100 --> 04:10:00,866
So once created, we activate
the automation in the path of parameter.
3896
04:10:01,500 --> 04:10:05,266
Then we go to the timeline of the effects
control panel
3897
04:10:05,700 --> 04:10:10,033
and we are going to create the automation,
but this time backwards.
3898
04:10:10,533 --> 04:10:13,233
So I'm going to hide the Blue Guide so
3899
04:10:13,233 --> 04:10:17,100
it can be seen.
3900
04:10:17,100 --> 04:10:19,333
So pay attention. That is much easier.
3901
04:10:19,333 --> 04:10:24,666
Or simply as we go backwards, we must make
the mask always stay in the window
3902
04:10:24,766 --> 04:10:28,966
and remember that doesn't matter
if the mask leaves the screen frame
3903
04:10:29,300 --> 04:10:31,600
because the window also leaves the frame,
3904
04:10:32,033 --> 04:10:40,266
then the mask must also do it.
3905
04:10:40,266 --> 04:10:44,933
So we are ready to modify
the corner of the window as we want and.
3906
04:10:44,933 --> 04:10:48,100
Then we return to the parameters
of the LUMI tricolor.
3907
04:10:48,366 --> 04:10:51,933
It's important to highlight
that we don't need to bird disinfection
3908
04:10:51,933 --> 04:10:55,133
because
we want to modify the window along.
3909
04:10:55,133 --> 04:11:00,300
So we go to the basic correction and then
we go, for example, to temperature.
3910
04:11:00,666 --> 04:11:04,166
And for example,
we can make the light color, for example,
3911
04:11:04,166 --> 04:11:09,866
if we want the light outside the shape to
be morning or to have a cold environment.
3912
04:11:10,966 --> 04:11:14,033
So here
we already have the window with cold light
3913
04:11:14,066 --> 04:11:17,300
and we can compare it
with the original color of the image.
3914
04:11:17,500 --> 04:11:21,900
It's important to always make
that comparison to see the difference.
3915
04:11:22,866 --> 04:11:27,000
But to the extent that we can modify
and colors at the start of the window,
3916
04:11:27,300 --> 04:11:30,566
we must be aware that this light
with that temperature
3917
04:11:30,766 --> 04:11:33,400
should affect the objects
that are inside the room.
3918
04:11:33,400 --> 04:11:35,266
In this case the character.
3919
04:11:35,266 --> 04:11:38,233
So we are supposed to go
to the character's mask
3920
04:11:38,466 --> 04:11:41,700
and modify its color and even the contrast
3921
04:11:41,700 --> 04:11:46,266
so that it would also be embellished
with cold colors in one.
3922
04:11:46,266 --> 04:11:49,566
So with the type of contrast
that matches all the lighting
3923
04:11:49,566 --> 04:12:06,100
that is in the place, we attention
3924
04:12:06,100 --> 04:12:09,700
that since the colors are colder
and we had darkened the entire room,
3925
04:12:10,000 --> 04:12:12,666
the contrast suits the character
very well.
3926
04:12:13,200 --> 04:12:15,333
We can make the comparison again.
3927
04:12:15,333 --> 04:12:19,200
We deactivate all the limit to reflect
and we activate them
3928
04:12:19,200 --> 04:12:21,900
one by one so you can see the difference.
3929
04:12:22,733 --> 04:12:25,200
Look at the first limit
three for the background.
3930
04:12:25,200 --> 04:12:27,266
Look at the difference.
3931
04:12:27,266 --> 04:12:29,666
The whole room is darkened the cabin.
3932
04:12:30,000 --> 04:12:31,400
Now look at the second limit.
3933
04:12:31,400 --> 04:12:33,433
Three
that of the character. It's very good.
3934
04:12:33,633 --> 04:12:36,533
It Makes it blend
very well with the garden lighting.
3935
04:12:36,933 --> 04:12:39,500
And finally
that gloomy tree of the window.
3936
04:12:39,633 --> 04:12:42,966
We can even exaggerate in the cold
light from the window
3937
04:12:43,266 --> 04:12:52,633
so that much more noticeable.
3938
04:12:52,633 --> 04:12:57,000
It's very important to see good movies
and paintings with good lighting
3939
04:12:57,000 --> 04:13:00,900
to inspire us in three
to do this work in more detail.
3940
04:13:01,100 --> 04:13:04,100
Notice that in fact
it seems that inside the cabin
3941
04:13:04,100 --> 04:13:06,800
there is some kind of artificial warm
light
3942
04:13:07,166 --> 04:13:10,566
and the cool light of the morning enters
through the window.
3943
04:13:10,866 --> 04:13:13,000
So try to practice creative masks
3944
04:13:13,300 --> 04:13:17,100
and we will continue to delve
into color correction in the next lesson I
3945
04:13:47,200 --> 04:13:47,866
perfect.
3946
04:13:47,866 --> 04:13:52,266
Now we go with a
more detailed process of color grading H.
3947
04:13:52,266 --> 04:13:54,466
S l color correction.
3948
04:13:54,466 --> 04:13:58,300
This tool allows you to modify the color
in a much more precise
3949
04:13:58,333 --> 04:14:00,833
way within the same mask.
3950
04:14:01,300 --> 04:14:03,833
I mean that the changes that we make to
the colors
3951
04:14:03,833 --> 04:14:09,033
will not only happen in the mask,
but within a specific range of colors
3952
04:14:09,033 --> 04:14:14,033
within the mask, that would be a more
professional step of this same process.
3953
04:14:14,300 --> 04:14:17,433
For example, here
you see the mask selects the character.
3954
04:14:17,733 --> 04:14:22,033
And what we are going to do now is correct
the colors or light of specific areas
3955
04:14:22,033 --> 04:14:23,166
within the mask.
3956
04:14:23,166 --> 04:14:25,300
So the result is much more professional.
3957
04:14:25,500 --> 04:14:26,833
It's one more step in
3958
04:14:26,833 --> 04:14:30,666
everything we had been doing up to now
in terms of color grading.
3959
04:14:31,000 --> 04:14:35,066
So in the previous lessons
we had created some mask to correct
3960
04:14:35,166 --> 04:14:37,000
different parts of the image.
3961
04:14:37,000 --> 04:14:41,233
But this time we are going to focus
on the mask that selects the character
3962
04:14:41,633 --> 04:14:43,133
because what we are going to correct
3963
04:14:43,133 --> 04:14:46,833
is the skin and the illuminated areas
of the character only.
3964
04:14:47,300 --> 04:14:48,533
So I have received
3965
04:14:48,533 --> 04:14:52,466
everything we changed in terms of color
in light to use this method.
3966
04:14:52,933 --> 04:14:54,433
So let's start then.
3967
04:14:54,433 --> 04:14:58,133
Once we have created our mask
in the new meet to reflect,
3968
04:14:58,433 --> 04:15:02,733
we must go to the following parameter
h s l secondary.
3969
04:15:03,000 --> 04:15:07,700
So this parameter is located
a little below the basic parameter.
3970
04:15:08,300 --> 04:15:10,766
So at first sight it looks complex,
3971
04:15:10,800 --> 04:15:14,833
but in reality it's not because in fact
we didn't have to use all the buttons.
3972
04:15:15,233 --> 04:15:18,033
So I'm going to hide the Blue Guide before
continuing.
3973
04:15:18,466 --> 04:15:22,000
So once we are attach parameter,
we are going to try to find
3974
04:15:22,000 --> 04:15:25,933
a neutral point
in the video clip to correct the screen.
3975
04:15:25,933 --> 04:15:27,733
I mean, you are supposed to find a moment
3976
04:15:27,733 --> 04:15:32,066
in the clipped where the character's skin
is known as well enough to correct it.
3977
04:15:32,066 --> 04:15:35,166
So once this is done,
we go to where it reads set
3978
04:15:35,166 --> 04:15:38,733
color, and we click on that little dropper
that is there.
3979
04:15:39,000 --> 04:15:40,033
And in this case, I'm
3980
04:15:40,033 --> 04:15:43,500
going to click on the cheek,
which is the area I want to correct,
3981
04:15:44,100 --> 04:15:48,300
then automatically defect, select
the color ranges of the cheek
3982
04:15:48,600 --> 04:15:52,000
and in order to check it,
if we go down here in this a small tab
3983
04:15:52,233 --> 04:15:55,500
and we must select white black,
and then you're
3984
04:15:55,500 --> 04:15:58,533
going to check the little box
that the reads show mask.
3985
04:15:58,833 --> 04:16:03,166
So as you can see, the software is only
selecting the area that looks white.
3986
04:16:03,566 --> 04:16:07,033
But in turn, this election
parameter only take into account
3987
04:16:07,033 --> 04:16:10,833
everything that is inside that mask
we did previously.
3988
04:16:11,000 --> 04:16:14,233
So since we can automate
all the parameters in the premiere,
3989
04:16:14,666 --> 04:16:19,866
we could also automate the selection
ranges using these three selection lines
3990
04:16:20,266 --> 04:16:23,800
that belong to the light saturation
and color range.
3991
04:16:24,000 --> 04:16:27,800
For example, remember that
the light changes as the character works.
3992
04:16:28,100 --> 04:16:31,466
So the selection could also change
if we automate it.
3993
04:16:31,900 --> 04:16:34,000
For example,
pay attention to the of light.
3994
04:16:34,100 --> 04:16:35,400
The light in light.
3995
04:16:35,400 --> 04:16:37,166
Look at how the selection changes
3996
04:16:37,166 --> 04:16:41,266
in the character selecting the illuminated
areas of the face in the shirt.
3997
04:16:41,633 --> 04:16:43,800
So this is interesting for two reasons.
3998
04:16:44,000 --> 04:16:47,733
On the one hand we're realized
that both the sheer and the face have
3999
04:16:47,733 --> 04:16:52,000
similar colors, even though
it doesn't seem that way to the naked eye.
4000
04:16:52,000 --> 04:16:56,333
And on the other hand, it's interesting
because in the end it's that same light
4001
04:16:56,333 --> 04:17:00,700
that enters through the window
that is illuminating the entire character.
4002
04:17:00,933 --> 04:17:03,166
And these are the kind of things
you should learn
4003
04:17:03,166 --> 04:17:07,033
in terms of lighting by your own,
knowing how to use the software or not.
4004
04:17:07,166 --> 04:17:08,866
So once we have made the selection,
4005
04:17:08,866 --> 04:17:12,066
it mean that we are sure
that the selection we had made is correct.
4006
04:17:12,733 --> 04:17:16,866
We uncheck the show mask box
and we go a little farther down
4007
04:17:16,866 --> 04:17:19,933
where we are going to find the doors
to make it The color grading.
4008
04:17:20,400 --> 04:17:24,000
We are going to find, for example,
the same parameters of the basic color
4009
04:17:24,000 --> 04:17:28,266
correction, such as temperature,
contrast, saturation, etc.
4010
04:17:28,500 --> 04:17:32,400
But there's also this wheel here,
which is very useful because by moving
4011
04:17:32,400 --> 04:17:36,033
the center point to either
side, the software will change the color
4012
04:17:36,033 --> 04:17:40,533
of those selected areas to worst
with those colors that are on the wheel.
4013
04:17:40,966 --> 04:17:45,000
And of course we can combine
the parameters to achieve a result.
4014
04:17:45,266 --> 04:17:47,366
For example,
I'm going to move the temperature,
4015
04:17:47,500 --> 04:17:50,500
I'm going to increase it
enough for you to notice the difference.
4016
04:17:51,100 --> 04:17:55,533
So look at how the light that illuminates
the character has a warm color.
4017
04:17:55,800 --> 04:18:00,733
And in fact, if we go back in the clip,
we realize that as the character advances,
4018
04:18:00,733 --> 04:18:06,900
the light becomes warmer.
4019
04:18:06,900 --> 04:18:08,300
So, for example,
4020
04:18:08,300 --> 04:18:12,033
we combined this technique
with what we saw in the previous lessons.
4021
04:18:12,300 --> 04:18:13,866
The result is much better.
4022
04:18:13,866 --> 04:18:16,966
For example, we could change
the temperature of that light
4023
04:18:17,000 --> 04:18:20,133
in the window to match
what we just did in the character.
4024
04:18:21,666 --> 04:18:22,233
So by
4025
04:18:22,233 --> 04:18:25,266
doing the color correction in this way
it looks much better
4026
04:18:25,266 --> 04:18:28,633
because notice that it really seems
that the light from the window
4027
04:18:28,966 --> 04:18:33,333
is illuminating the character
because we are doing gradient gradient.
4028
04:18:34,500 --> 04:18:37,600
But as I told you, it's
not enough to learn to use the software.
4029
04:18:37,900 --> 04:18:40,500
We had to be aware
of the behavior of light
4030
04:18:40,966 --> 04:18:44,566
and we will only achieve
by consuming quality art.
4031
04:18:44,833 --> 04:18:48,000
I mean, you are supposed
to go to galleries to see good paintings,
4032
04:18:48,300 --> 04:18:50,966
good photographs, qualified exhibitions.
4033
04:18:51,233 --> 04:18:53,233
Of course go to movies.
4034
04:18:53,233 --> 04:18:57,500
So I'm going to deactivate the effects
so that we can make the comparison
4035
04:18:57,733 --> 04:19:00,933
and we can see the difference
from what we have done so far.
4036
04:19:00,966 --> 04:19:03,200
So this is what the original image
looks like.
4037
04:19:03,433 --> 04:19:06,600
Then we darken the background,
then the characters color layer
4038
04:19:06,866 --> 04:19:08,466
and then the window layer.
4039
04:19:08,466 --> 04:19:11,700
So from here
we can add one more effect layer.
4040
04:19:11,700 --> 04:19:12,500
I mean another.
4041
04:19:12,500 --> 04:19:15,566
You meet the recorder
and in this last effect we can add
4042
04:19:15,566 --> 04:19:18,600
that contrast that affects
the entire combination of layers
4043
04:19:18,633 --> 04:19:27,566
to combine them much more
and make them look better integrated.
4044
04:19:27,566 --> 04:19:29,566
So this contrast is perfect
4045
04:19:29,666 --> 04:19:34,000
because it even reinforces the shadows
that are projected on the wall.
4046
04:19:34,000 --> 04:19:38,166
And it really seems that the light
that is coming through the window is real.
4047
04:19:38,900 --> 04:19:41,766
So we can do one last comparison
to see the difference.
4048
04:19:42,133 --> 04:19:44,700
I'm going to turn off all the effect
layers again.
4049
04:19:45,233 --> 04:19:48,500
So we attention to the nature
of the original image.
4050
04:19:49,433 --> 04:19:53,700
I would say that there is a much
more constant range of colors.
4051
04:19:53,700 --> 04:19:56,933
So now I'm going to activate
all the layers again
4052
04:19:57,033 --> 04:20:00,300
one by one.
4053
04:20:00,300 --> 04:20:02,400
I think the difference is amazing.
4054
04:20:02,400 --> 04:20:06,066
And since the video is of high quality
because it's a good camera,
4055
04:20:06,066 --> 04:20:10,766
actually we have the chance
that these will turn out very.
4056
04:20:10,766 --> 04:20:13,100
On the other hand,
we must pay attention to correct.
4057
04:20:13,100 --> 04:20:17,400
And those are small frames where the
general mask doesn't match the character.
4058
04:20:17,733 --> 04:20:21,133
Because remember that
the age as the mask works
4059
04:20:21,133 --> 04:20:40,400
inside that blue mask.
4060
04:20:40,400 --> 04:20:45,066
So this is a possible color grading,
but this could be totally different
4061
04:20:45,333 --> 04:20:48,333
as it was in the original color
grading of the project.
4062
04:20:48,866 --> 04:20:52,200
But you should always take into account
that the better the resolution
4063
04:20:52,200 --> 04:20:56,366
of the camera, the more possibilities
there are to correct the lighting
4064
04:20:56,400 --> 04:21:01,400
and the colors of the image.
4065
04:21:01,400 --> 04:21:05,500
So let's move on to this another example
of how the color graded was done
4066
04:21:05,500 --> 04:21:25,333
in the following a scene of this short
film.
4067
04:21:25,333 --> 04:21:29,433
So pay attention
that mainly a mask was used to illuminate
4068
04:21:29,500 --> 04:21:32,800
the character in the same way
as we did in the previous exercises.
4069
04:21:33,633 --> 04:21:37,200
So if the camera has a good resolution
in dynamic range,
4070
04:21:37,500 --> 04:21:40,866
this will be possible to do without my
your problem.
4071
04:21:40,866 --> 04:21:45,000
But pay attention to this other layer
that is almost imperceptible.
4072
04:21:45,433 --> 04:21:49,166
This mask is adding a warm
morning color to the shield.
4073
04:21:49,733 --> 04:21:53,100
Remember, the quality of the color
grading is the byproduct
4074
04:21:53,100 --> 04:21:57,566
of a set of small details that in turn
make the image look better.
4075
04:21:57,800 --> 04:22:01,733
In this case, the morning light is warm,
so the shield should adapt
4076
04:22:01,733 --> 04:22:03,266
as much as possible to that.
4077
04:22:04,633 --> 04:22:07,633
So here we can see the difference
of how it looks
4078
04:22:07,633 --> 04:22:18,400
with the mask and without the masks.
4079
04:22:18,400 --> 04:22:22,333
Another important detail of this shot
was the lighting in the place,
4080
04:22:22,833 --> 04:22:27,700
and this detail is quite similar to that
of the movie Portrait of a Lady on Fire.
4081
04:22:28,133 --> 04:22:32,800
I mean, the color of a specific part of
the image had to be modified
4082
04:22:32,833 --> 04:22:36,800
so the whole image would match
with a previously seen shot.
4083
04:22:36,966 --> 04:22:37,800
In this case,
4084
04:22:37,800 --> 04:22:40,866
they are those parts that you are looking
at where you can see the ball
4085
04:22:40,966 --> 04:22:43,400
in the background,
peeking through the trees
4086
04:22:43,400 --> 04:22:46,466
in those parts
where a lead to match up with these shots
4087
04:22:46,733 --> 04:22:50,100
in that previous take was these
these are being shot.
4088
04:22:50,166 --> 04:22:53,100
That tells us that the actions
are happening in the morning
4089
04:22:54,300 --> 04:22:54,633
here.
4090
04:22:54,633 --> 04:22:57,566
You can see how I deactivate
and activate the mask
4091
04:22:58,200 --> 04:23:02,166
so you can see how it looked for it,
how it looks with the effect.
4092
04:23:02,600 --> 04:23:06,100
These was all these in the exact same
grading that we saw
4093
04:23:06,100 --> 04:23:10,666
with the character in the cabin.
4094
04:23:10,666 --> 04:23:13,200
Take a look at this other shot here.
4095
04:23:13,200 --> 04:23:17,700
We had to do more or less the same thing
that selected part of the sky.
4096
04:23:17,700 --> 04:23:19,733
That part that peeks out the trees.
4097
04:23:20,000 --> 04:23:21,500
We had to change the color
4098
04:23:21,500 --> 04:23:24,733
so that somehow it seems
that the sun was speaking out there.
4099
04:23:25,366 --> 04:23:29,033
So we made the mask
and then we selected just illuminated
4100
04:23:29,033 --> 04:23:31,500
area with the secondary edge as well.
4101
04:23:32,100 --> 04:23:37,300
And then we added the red color so that
the color would look warm or not cold.
4102
04:23:38,100 --> 04:23:40,900
And here you can
the difference between the original shot
4103
04:23:40,900 --> 04:23:54,733
and with the mask.
4104
04:23:54,733 --> 04:23:58,666
But pay attention to these
other more advanced examples here.
4105
04:23:58,666 --> 04:24:01,533
As you can see
in the different shots of the forest,
4106
04:24:01,933 --> 04:24:05,900
the sunlight manages to pass
through the trees and reach the ground.
4107
04:24:06,166 --> 04:24:09,300
Like in this shot, for example,
The problem was
4108
04:24:09,466 --> 04:24:12,766
since the sky conditions
are never perfect, it is stable.
4109
04:24:13,200 --> 04:24:15,400
That lasts for a very short time.
4110
04:24:16,066 --> 04:24:19,466
So in one take
it was necessary to directly create
4111
04:24:19,466 --> 04:24:23,400
the light on the ground because at that
precise moment of the shooting,
4112
04:24:23,566 --> 04:24:26,133
the light in the ground
had almost disappeared.
4113
04:24:26,866 --> 04:24:29,700
So we created a mask
of the little trail of light
4114
04:24:29,700 --> 04:24:34,733
that was barely visible in the shot,
and we increased the light from that part.
4115
04:24:35,300 --> 04:24:38,633
This example is excellent
because precisely gazes like
4116
04:24:38,700 --> 04:24:41,300
is visual culture is necessary.
4117
04:24:41,700 --> 04:24:42,233
I mean that
4118
04:24:42,233 --> 04:24:46,566
you know about painting, for example,
we attention to this important detail.
4119
04:24:46,866 --> 04:24:48,866
The mask doesn't change.
4120
04:24:48,866 --> 04:24:50,800
Even the camera moves forward
4121
04:24:50,800 --> 04:24:55,033
because the camera traveling has nothing
to do with the sunlight, the light.
4122
04:24:55,033 --> 04:24:57,100
It's supposed to be in the same place.
4123
04:24:57,333 --> 04:25:01,533
So we automated the mask
to stay in the same place on the ground,
4124
04:25:01,800 --> 04:25:09,233
taking 80 parts of the ground
as a reference point.
4125
04:25:09,233 --> 04:25:11,833
Here you can see what the image looked
like before
4126
04:25:12,466 --> 04:25:14,933
the original image
without the light on the ground.
4127
04:25:15,566 --> 04:25:17,700
I think difference is fantastic.
4128
04:25:17,866 --> 04:25:32,500
It's a proof of how far you can go
using this technique.
4129
04:25:32,500 --> 04:25:36,266
In this other example,
you can see how we can use exactly this
4130
04:25:36,300 --> 04:25:39,800
same technique to enhance
the color of something in the image,
4131
04:25:40,433 --> 04:25:44,300
the blood that the character
has on his arm during shooting.
4132
04:25:44,333 --> 04:25:47,000
The blood on the arm
was not completely perfect.
4133
04:25:47,433 --> 04:25:49,500
I mean, it was not red enough.
4134
04:25:49,866 --> 04:25:52,500
So this had to be corrected
with color grading.
4135
04:25:52,766 --> 04:25:55,833
So we created a mask that selects
just a red
4136
04:25:55,833 --> 04:25:59,100
color
that was barely visible on the shirt.
4137
04:25:59,300 --> 04:26:01,533
And then when has that red color
4138
04:26:04,800 --> 04:26:09,033
here you can see what it looked
like before.
4139
04:26:09,033 --> 04:26:11,166
Here you can see it in more detail.
4140
04:26:11,700 --> 04:26:15,633
Look at how the color changes
as I move the color on the garment will.
4141
04:26:16,400 --> 04:26:18,866
But you must pay close attention
that the changes
4142
04:26:18,900 --> 04:26:24,833
must be subtle.
4143
04:26:24,833 --> 04:26:28,633
So all these are examples
of everything you can do using the color
4144
04:26:28,633 --> 04:26:32,033
gradient technique
that I teach you in this lessons.
4145
04:26:32,400 --> 04:26:34,400
But as I told you, you must practice.
4146
04:26:34,433 --> 04:26:36,766
You have good references to achieve it
4147
04:26:37,500 --> 04:27:09,900
until the next lesson.
4148
04:27:09,900 --> 04:27:10,500
Hello people.
4149
04:27:10,500 --> 04:27:13,233
In this lesson we are going to talk
about performance and cameras,
4150
04:27:13,700 --> 04:27:16,500
but above all going to show you
on the screen videos
4151
04:27:16,500 --> 04:27:20,933
recorded with different cameras
and different lenses so you can learn
4152
04:27:20,933 --> 04:27:25,666
to recognize the difference when it comes
to seeing the quality of an image.
4153
04:27:25,733 --> 04:27:26,566
On the other hand,
4154
04:27:26,566 --> 04:27:29,966
although in this lesson
I'm going to talk about technical aspects,
4155
04:27:30,366 --> 04:27:34,466
I highly recommend you to consume movies
with a good cinematography
4156
04:27:35,100 --> 04:27:38,266
so that you can recognize
when one image is better than another
4157
04:27:38,266 --> 04:27:41,066
in terms of lighting or cinematography.
4158
04:27:41,366 --> 04:27:45,300
And I tell you these because it's our task
to improve image quality
4159
04:27:45,600 --> 04:27:48,433
and we must know
what are the weaknesses of an image
4160
04:27:48,666 --> 04:27:52,333
in order to correct them
and to improve the appearance of a video.
4161
04:27:52,633 --> 04:27:53,533
This is start in
4162
04:27:54,700 --> 04:27:56,833
this is the Sony NEX five.
4163
04:27:56,833 --> 04:28:01,666
This is a medium low quality DSLR
with awesome medium quality lenses.
4164
04:28:02,300 --> 04:28:05,366
The image looks good
because the cinematography was good.
4165
04:28:05,800 --> 04:28:09,000
I mean,
it was recorded at the best time of day.
4166
04:28:09,333 --> 04:28:13,400
However, if we freeze the image,
we can realize the weaknesses of.
4167
04:28:13,400 --> 04:28:18,300
This format, first of all, everything is
synthesized in general, shapes and colors.
4168
04:28:18,900 --> 04:28:21,366
Maybe you don't realize it
with the naked eye,
4169
04:28:21,533 --> 04:28:25,900
but when you see a high quality later
on, you will see the difference.
4170
04:28:26,300 --> 04:28:28,800
This synthesis has to do with both
4171
04:28:28,933 --> 04:28:33,000
the dynamic range of the sensor
and the resolution of the camera.
4172
04:28:33,000 --> 04:28:34,466
And in addition to the fact
4173
04:28:34,466 --> 04:28:38,700
that the lens doesn't allow a large number
of light points to reach the sensor,
4174
04:28:38,966 --> 04:28:43,366
we can notice this in the small details
and especially in the dark areas
4175
04:28:43,366 --> 04:28:47,433
that lack information because they are
completely compressed by default.
4176
04:28:48,066 --> 04:28:51,700
This is the typical image in which
the technique of modifying the colors
4177
04:28:51,700 --> 04:28:55,166
of some objects
or elements like the sky, for example,
4178
04:28:55,533 --> 04:28:58,333
is one of the best ways
to improve experience
4179
04:28:58,333 --> 04:29:02,100
and quality.
4180
04:29:02,100 --> 04:29:04,600
This next example is a little better here.
4181
04:29:04,600 --> 04:29:05,266
A Canon five.
4182
04:29:05,266 --> 04:29:08,566
The camera with AIL
series lenses was used.
4183
04:29:08,933 --> 04:29:13,233
Additionally, the real footage
belonged to a Phantom four drone.
4184
04:29:13,566 --> 04:29:16,900
However, from my point of view,
although it looks better than the
4185
04:29:16,900 --> 04:29:20,700
previous video,
we can still notice signs of compression.
4186
04:29:20,700 --> 04:29:24,000
The image like the compression
we can notice in the hair
4187
04:29:24,000 --> 04:29:27,266
details.
4188
04:29:27,266 --> 04:29:30,800
In the case of the drone images
there is flickering
4189
04:29:30,800 --> 04:29:33,866
in the water areas
that have complex reflections.
4190
04:29:34,366 --> 04:29:37,900
This flickering can often be cleaned up
using this tool
4191
04:29:37,900 --> 04:29:39,933
in the effects control panel.
4192
04:29:39,933 --> 04:29:43,566
But the problem is that it doesn't
usually remove the flicker completely.
4193
04:29:43,933 --> 04:29:48,366
In the case of the Canon five D, it does
exactly the same as the previous camera.
4194
04:29:48,733 --> 04:29:52,033
I mean, it compresses
two colors that are apparently flat.
4195
04:29:52,566 --> 04:29:55,566
Additionally, you can notice
on the edge of the mountains
4196
04:29:55,566 --> 04:29:59,266
the lack detail captured by both
the camera and the lens.
4197
04:29:59,566 --> 04:30:03,166
So my take is for a video
to look really good with a5d camera.
4198
04:30:03,166 --> 04:30:06,066
It's necessary to use very high end lenses
4199
04:30:06,300 --> 04:30:09,966
to compensate
for the lack of dynamics in the sensor in.
4200
04:30:09,966 --> 04:30:13,500
Finally, in the same way,
changing the color of some elements
4201
04:30:13,500 --> 04:30:20,100
in the image or improving
them will help the quality of the image.
4202
04:30:20,100 --> 04:30:23,433
Now we are going to move on
to the following example A Black Magic
4203
04:30:23,433 --> 04:30:25,966
four key with Canon L series lenses.
4204
04:30:26,500 --> 04:30:29,500
Here, the appearance begins
to look more professional.
4205
04:30:29,500 --> 04:30:33,233
I don't mean to say that the previous
works did not look professional.
4206
04:30:33,233 --> 04:30:36,133
I mean that
the raw image looks more professional.
4207
04:30:36,400 --> 04:30:39,400
Pay attention to the gear's hair, looks.
4208
04:30:39,400 --> 04:30:41,900
Each strand of hair is noticeable
on the screen.
4209
04:30:42,400 --> 04:30:44,666
However, even under these conditions,
4210
04:30:45,000 --> 04:30:47,066
I mean that
the black magic sensor is better.
4211
04:30:47,400 --> 04:30:50,833
The kind of lens blur in the background,
Not the best of all
4212
04:30:51,166 --> 04:30:53,333
because it seemed that this is too much
4213
04:30:54,600 --> 04:30:54,900
in the
4214
04:30:54,900 --> 04:30:57,666
following example, which is in fact
in the same work
4215
04:30:57,900 --> 04:31:01,766
we used a rare two Scarlett with a Canon
L series lenses.
4216
04:31:02,100 --> 04:31:05,366
The most noticeable difference
is the dynamic range.
4217
04:31:05,700 --> 04:31:07,333
It's better than the black magic.
4218
04:31:07,333 --> 04:31:09,500
Pay attention to the rough color.
4219
04:31:09,500 --> 04:31:12,433
The neck arrangement
is a kind of pearly white
4220
04:31:12,733 --> 04:31:15,466
that you can only notice
with a good sensor like that.
4221
04:31:15,866 --> 04:31:17,600
Obviously there is a great light
4222
04:31:17,600 --> 04:31:20,933
in the place as well,
but even under this conditions,
4223
04:31:20,933 --> 04:31:24,933
the red helps to improve that blurred
background, to look really professional.
4224
04:31:25,733 --> 04:31:28,800
This is another example
with the black magic, but with all other
4225
04:31:29,733 --> 04:31:32,433
rocking and lenses that I personally don't
4226
04:31:32,433 --> 04:31:35,100
like so much
because they are not very bright.
4227
04:31:35,433 --> 04:31:39,333
But even though it looks professional
because of the lighting and the color
4228
04:31:39,333 --> 04:31:44,033
correction, for example, that green color
you see in the grass in the branches
4229
04:31:44,033 --> 04:31:48,866
below was modified in the color correction
to make it look greener than normal.
4230
04:31:48,866 --> 04:31:53,100
So in this way it appears that
the image has a higher dynamic range.
4231
04:31:53,400 --> 04:31:56,366
The same with those fainter
blue lights in the background.
4232
04:31:56,700 --> 04:31:59,566
They weren't originally like that,
but where it turned
4233
04:31:59,566 --> 04:32:01,433
blue in the color correction.
4234
04:32:01,433 --> 04:32:04,966
Not to mention that the color of the skies
was also modified to make
4235
04:32:04,966 --> 04:32:06,200
them look like these.
4236
04:32:07,466 --> 04:32:09,200
Look at this other example here.
4237
04:32:09,200 --> 04:32:12,400
The quality of the image
becomes completely professional,
4238
04:32:12,700 --> 04:32:15,166
but it's not because
of the quality of the camera
4239
04:32:15,533 --> 04:32:19,366
that because the lenses that were used
where a completely professional
4240
04:32:19,600 --> 04:32:23,866
Carl Zeiss lenses look at the way
the background is out of focus,
4241
04:32:24,166 --> 04:32:27,300
you get the distance
in which those horses are in.
4242
04:32:27,300 --> 04:32:28,800
It's even out of focus.
4243
04:32:28,800 --> 04:32:31,533
At that distance
you can see that they are horses.
4244
04:32:32,400 --> 04:32:35,733
And not only that, but you can notice
the strengths of the horses hair.
4245
04:32:36,233 --> 04:32:39,600
Additionally, pay attention
to the outlines of all the shapes.
4246
04:32:39,866 --> 04:32:42,800
They don't look like that
outline of the mountains
4247
04:32:43,066 --> 04:32:47,300
in the first example with the kind of five
to pay attention to this frame.
4248
04:32:47,400 --> 04:32:49,966
Look the drops of water on the grass AMI
4249
04:32:50,400 --> 04:32:53,100
and look how good
the blurred background looks
4250
04:33:08,233 --> 04:33:10,900
in this last example is the work
we are going to use
4251
04:33:10,900 --> 04:33:14,800
in the color correction lessons,
and that every camera was used here,
4252
04:33:14,866 --> 04:33:19,500
which has the best dynamic range
of all the ones I had shown you so far.
4253
04:33:19,900 --> 04:33:23,833
But nevertheless,
the lenses used here are not half as good
4254
04:33:23,933 --> 04:33:26,266
as they once in the previous music video.
4255
04:33:26,266 --> 04:33:29,400
However, will use this video
because it's the camera with the best
4256
04:33:29,466 --> 04:33:38,700
dynamic range.
4257
04:33:38,700 --> 04:33:40,933
There is something important
to take into account
4258
04:33:40,933 --> 04:33:43,800
when trying to discover
how a scene was shot
4259
04:33:44,333 --> 04:33:49,500
or what was the format to use in a short
film or a movie or a music video.
4260
04:33:49,900 --> 04:33:52,100
Take a look at the next example.
4261
04:33:52,100 --> 04:33:54,366
This To a layperson, we sit with you.
4262
04:33:54,366 --> 04:33:57,633
If you pay attention, you can notice that
since the videos is shot
4263
04:33:57,633 --> 04:34:00,666
in France, in Paris and in France,
4264
04:34:00,800 --> 04:34:04,533
there is an obsession, a kind of obsession
with the independent look.
4265
04:34:05,033 --> 04:34:08,000
I mean, that independent movie type look.
4266
04:34:08,000 --> 04:34:10,800
So the video of Dua
LIPA is inspired by that.
4267
04:34:11,200 --> 04:34:15,066
So those images of Dua
LIPA sharing tonight with another girl
4268
04:34:15,066 --> 04:34:18,266
or another singer
as if she where her friend,
4269
04:34:18,500 --> 04:34:21,766
it seems that
they are totally spontaneous, random,
4270
04:34:22,133 --> 04:34:25,700
as if it were a simple camera
and they are recording random moments
4271
04:34:25,700 --> 04:34:27,033
on one single night.
4272
04:34:27,033 --> 04:34:31,266
But it turns out that despite the fact
that the music video is representing
4273
04:34:31,266 --> 04:34:34,800
almost a kind of documentary project
of that night,
4274
04:34:35,266 --> 04:34:38,933
the camera they are using not as cheap
as most of believe.
4275
04:34:39,466 --> 04:34:42,533
In fact, suffice it
to say that there are shooting at night
4276
04:34:42,800 --> 04:34:47,633
and the lenses are so good that they
capture details of the blurred background.
4277
04:34:47,633 --> 04:34:50,100
And it tells you this
because there are naive filmmakers
4278
04:34:50,100 --> 04:34:53,733
in naive videographers
who think they can take any camera
4279
04:34:54,066 --> 04:34:57,266
and record the same video
and it will look at the same.
4280
04:34:57,266 --> 04:34:59,100
And it doesn't work like that.
4281
04:34:59,100 --> 04:35:03,866
And in the same way, there are also video
editors who think there is a plugin
4282
04:35:04,066 --> 04:35:07,833
or a filter that can replace a car
sized lens, for example,
4283
04:35:08,633 --> 04:35:10,800
and they tell you this
not to discourage you,
4284
04:35:11,200 --> 04:35:14,333
but because one of the most
important things in terms of film
4285
04:35:14,333 --> 04:35:17,900
production is to note and recognize
the nature of a film production,
4286
04:35:18,466 --> 04:35:23,233
this is necessary to be sure of how far
the color correction can go to have
4287
04:35:23,233 --> 04:35:28,100
a quality resort that the client requires
an advertisement, for example.
4288
04:35:28,366 --> 04:35:33,300
So independent films in Europe
are very expensive, not as expensive
4289
04:35:33,300 --> 04:35:38,433
as Hollywood ones, obviously not, but
they are more expensive than most believe.
4290
04:35:38,733 --> 04:35:41,633
Believe me, what I tell you,
I studied cinema here
4291
04:35:41,633 --> 04:35:44,166
and I tell you with certainty
you get noted
4292
04:35:45,066 --> 04:35:49,966
was a clip in French custom.
4293
04:35:49,966 --> 04:35:52,033
The same things happens
when in a production
4294
04:35:52,300 --> 04:35:56,900
we use a cheap camera, but with a super
expensive, very high down lenses.
4295
04:35:57,400 --> 04:35:59,500
For example, this video 30 seconds
4296
04:36:10,266 --> 04:36:12,466
desperate and
4297
04:36:12,466 --> 04:36:15,900
broken, the
4298
04:36:15,900 --> 04:36:20,100
sound of many people will be shocked
4299
04:36:20,266 --> 04:36:24,333
to realize that many of the shots
were recorded with a can of five.
4300
04:36:24,333 --> 04:36:26,933
The the use of our camera.
4301
04:36:26,933 --> 04:36:30,266
But what is the reason
why the image looks so good?
4302
04:36:30,600 --> 04:36:33,866
Because it's evident
that they used a high down lens
4303
04:36:34,400 --> 04:36:37,466
which goes to thousands
and thousands of dollars
4304
04:36:37,766 --> 04:36:41,900
no matter how it all the camera
is, the image coming through the lens.
4305
04:36:41,966 --> 04:36:43,966
Sensors will be beautiful.
4306
04:36:43,966 --> 04:36:47,333
So try to be aware of all of this
and have a world and get fooled
4307
04:36:47,700 --> 04:36:51,233
by supposed plug ins
that are supposed to give your videos
4308
04:36:51,466 --> 04:36:53,500
a completely cinematic look.
4309
04:36:53,500 --> 04:36:55,100
That is impossible.
4310
04:36:55,100 --> 04:36:56,733
So. Well, thank you very much.
4311
04:36:56,733 --> 04:36:59,033
And until the next lesson
4312
04:37:10,100 --> 04:37:28,133
or hello people.
4313
04:37:28,500 --> 04:37:31,900
In a previous lesson, I was talking about
the blurred backgrounds
4314
04:37:32,333 --> 04:37:36,100
and scenes that feature related
to the quality of the lenses.
4315
04:37:36,100 --> 04:37:40,733
Obviously the ideal scenario
would be to work with the best lenses,
4316
04:37:41,166 --> 04:37:44,733
but if this is not the case,
we must be able improve this feature
4317
04:37:44,733 --> 04:37:48,800
on the videos when it comes to improving
the visual quality of the project.
4318
04:37:49,066 --> 04:37:51,966
So let's start in perfect
4319
04:37:52,000 --> 04:37:56,100
because here again in the premiere,
what are we going to do this time?
4320
04:37:57,333 --> 04:37:59,600
First
of all, I want you to see a comparison
4321
04:37:59,600 --> 04:38:04,233
between a shot recorded with an iPhone
and one with a cinema camera.
4322
04:38:04,233 --> 04:38:06,900
Obviously,
they are shots of the same object.
4323
04:38:07,133 --> 04:38:08,766
There are the same conditions.
4324
04:38:08,766 --> 04:38:10,333
It's an exercise.
4325
04:38:10,333 --> 04:38:13,000
So the objective of showing you this
4326
04:38:13,333 --> 04:38:17,466
and the goal of this lesson is that by
using the premier camera real effect,
4327
04:38:17,700 --> 04:38:21,533
we can try to approximate the cinematic
look of a movie camera.
4328
04:38:21,666 --> 04:38:27,566
So I'm going to start by showing you
the shot of recorded with the iPhone.
4329
04:38:27,566 --> 04:38:30,600
So here we have this shot of this bust
4330
04:38:31,133 --> 04:38:36,033
recorded with an iPhone 14
that I would say that using a DSLR
4331
04:38:36,033 --> 04:38:40,200
camera would average lenses,
I mean, normal lenses would look more
4332
04:38:40,200 --> 04:38:41,500
or less the same.
4333
04:38:41,500 --> 04:38:45,200
Of course, the exception will be
that we were using scene lenses
4334
04:38:45,433 --> 04:38:48,200
with a D SLR, but this is not the case.
4335
04:38:48,900 --> 04:38:53,766
So an average DSLR looks more
or less like a last generation iPhone.
4336
04:38:54,233 --> 04:38:57,766
But anyway, in this shot
you can relevant details
4337
04:38:58,366 --> 04:39:02,066
like, for example, that there is a slight
blurring of the background.
4338
04:39:02,566 --> 04:39:05,966
But pay attention now
to an image recorded with a movie camera
4339
04:39:06,233 --> 04:39:09,300
of the same object
with more or less the same conditions.
4340
04:39:09,933 --> 04:39:13,800
Okay, obviously it looks much better,
especially for the dynamic range.
4341
04:39:14,266 --> 04:39:17,200
I mean, the amount of tones,
the whites and grays.
4342
04:39:17,600 --> 04:39:20,366
But look at the nature of the blur
in the background
4343
04:39:20,700 --> 04:39:24,666
as they get closer to background changes
in a more cinematic way.
4344
04:39:25,100 --> 04:39:28,300
Obviously more to focus
than in the previous image
4345
04:39:28,733 --> 04:39:32,466
because the lenses allow more light
to enter the camera sensor.
4346
04:39:33,066 --> 04:39:35,766
And this is one of the reasons
why I have always said
4347
04:39:36,000 --> 04:39:38,766
it's very difficult
to try to imitate this quality
4348
04:39:39,100 --> 04:39:42,966
with a plug in effect
because it will never look the same.
4349
04:39:43,833 --> 04:39:46,100
But nevertheless we can get closer,
4350
04:39:46,333 --> 04:39:48,400
we can get closer to that look
4351
04:39:49,300 --> 04:39:51,566
and we are going to do it using the blur
4352
04:39:52,266 --> 04:39:53,466
because that parameter,
4353
04:39:53,466 --> 04:39:56,466
that characteristic tells us
about the depth of field
4354
04:39:56,466 --> 04:40:00,166
in the lenses as well as the sensitivity
they have to light.
4355
04:40:01,233 --> 04:40:03,966
So we are going to click on our clip
4356
04:40:04,766 --> 04:40:07,300
and we are going to look
for the V defect folder.
4357
04:40:07,800 --> 04:40:10,600
And in that folder
we are going to look for the blur
4358
04:40:10,600 --> 04:40:17,300
and sharpen.
4359
04:40:17,300 --> 04:40:19,500
And here we are
going to choose the camera blur.
4360
04:40:20,233 --> 04:40:25,133
So this effect allows me to imitate
that look of a cinema lens.
4361
04:40:25,500 --> 04:40:28,333
Pay attention that it
not only blurs image, but
4362
04:40:28,333 --> 04:40:31,000
also stretches the image
slightly to the sides.
4363
04:40:31,966 --> 04:40:35,766
So we must to the effect parameters
and we are going to decrease to
4364
04:40:36,366 --> 04:40:40,100
and the percentage
in the percent of layer parameter.
4365
04:40:40,733 --> 04:40:43,366
Now we are going to look
for a midpoint of the clip,
4366
04:40:43,600 --> 04:40:47,900
I mean, not at the beginning
or at the end, more or less in the middle.
4367
04:40:48,633 --> 04:40:54,033
So now we must create a mask to select
a region that should be more out focus in.
4368
04:40:54,033 --> 04:40:55,833
What would the region be?
4369
04:40:55,833 --> 04:40:58,666
Well, the entire area of the canvas
in the background
4370
04:40:59,000 --> 04:41:01,400
and everything that is at that distance.
4371
04:41:01,666 --> 04:41:06,266
So we the option to create
customizable mask and we create a mask
4372
04:41:06,566 --> 04:41:10,333
that selects all of that
with the great care and patience.
4373
04:41:10,333 --> 04:41:13,500
It's always so point by point we created.
4374
04:41:13,500 --> 04:41:17,200
Remember that the mask can get out of the
frame and nothing happens.
4375
04:41:18,200 --> 04:41:20,700
You can
zoom in or out the program monitor.
4376
04:41:21,166 --> 04:41:22,666
I see. Once
4377
04:41:42,366 --> 04:41:42,933
perfect.
4378
04:41:42,933 --> 04:41:44,966
We already have our mask ready.
4379
04:41:45,266 --> 04:41:48,533
Now we have to do
is activate the automation of the mask
4380
04:41:48,933 --> 04:41:51,433
so that the first keyframe is created.
4381
04:41:52,000 --> 04:41:55,233
Then we complete the mask
in the other parts of the clip.
4382
04:41:55,633 --> 04:41:58,000
It's not necessary
to make mannequin frames
4383
04:41:59,700 --> 04:42:01,700
as the forward movement of the shot.
4384
04:42:01,700 --> 04:42:03,333
It's not very strong.
4385
04:42:03,333 --> 04:42:06,466
The mask will not get too
out of the shape of the bust.
4386
04:42:06,766 --> 04:42:08,333
Therefore, we just have to adapt.
4387
04:42:08,333 --> 04:42:26,566
What has changed, especially in the past,
in the candle on the right.
4388
04:42:26,566 --> 04:42:28,966
So we are going to try
to make some more keyframes,
4389
04:42:28,966 --> 04:42:32,433
but it's not necessary to make too many,
as they told you.
4390
04:42:33,033 --> 04:42:37,233
Just do a few throughout the entire clip
paying attention, above
4391
04:42:37,233 --> 04:42:56,766
all to the main objects.
4392
04:42:56,766 --> 04:42:57,266
Perfect.
4393
04:42:57,266 --> 04:43:00,633
We already have
our mask made throughout the entire clip.
4394
04:43:01,166 --> 04:43:03,500
Now we simply have to to the blur effect.
4395
04:43:03,866 --> 04:43:08,300
We must determine which is the appropriate
torch for each part of the clip.
4396
04:43:08,700 --> 04:43:12,666
Because at the beginning of the clip,
the background should be less blurred.
4397
04:43:12,666 --> 04:43:15,933
So pay attention
that only raising three points in the Blur
4398
04:43:15,933 --> 04:43:18,566
parameter
is more than enough to improve the Blur
4399
04:43:18,933 --> 04:43:23,933
and make it more cinematic right
At this point, at this moment in the clip
4400
04:43:25,200 --> 04:43:25,666
so we
4401
04:43:25,666 --> 04:43:28,433
can see how it looks with effect
and without the effect.
4402
04:43:28,800 --> 04:43:31,033
Here at eight,
you can notice the difference.
4403
04:43:31,433 --> 04:43:33,000
Now it's not activated.
4404
04:43:33,000 --> 04:43:36,100
I'm going to activate it again
and look at the difference.
4405
04:43:36,900 --> 04:43:39,900
So since the clip continues
a little farther forward,
4406
04:43:40,166 --> 04:43:43,800
we must be aware that 18
it must be more out of focus.
4407
04:43:44,433 --> 04:43:48,100
So I think that the race in three
more points would be good.
4408
04:43:48,333 --> 04:43:49,900
Reaching six.
4409
04:43:49,900 --> 04:43:53,200
It's important to note
that when comes to improving the flowers,
4410
04:43:53,200 --> 04:43:55,466
we must be very delicate, precise.
4411
04:43:56,166 --> 04:43:59,933
I mean, not exaggerate with the blur
because it looks unreal.
4412
04:44:00,466 --> 04:44:03,033
I mean, a slight changes are perfect.
4413
04:44:03,500 --> 04:44:06,300
You should also remember
to bring the feather up a bit
4414
04:44:06,300 --> 04:44:09,966
to soften the edges of the mask
4415
04:44:12,600 --> 04:44:14,900
so we can automate the lower percentage.
4416
04:44:14,900 --> 04:44:18,700
Now, if we already know
what the final point of maximum blur
4417
04:44:18,700 --> 04:44:23,633
is, we add the first one at the beginning,
which should be less blurred
4418
04:44:23,633 --> 04:44:35,400
and that's it.
4419
04:44:35,400 --> 04:44:38,766
So with the crease of LA Beat,
yes, right here.
4420
04:44:39,500 --> 04:44:42,666
And that is enough.
4421
04:44:42,666 --> 04:44:50,966
Now, we rendered the clip
to see it more fluently.
4422
04:44:50,966 --> 04:44:53,400
And here we have our shot.
4423
04:44:53,400 --> 04:44:54,766
With the blurred background,
4424
04:44:55,766 --> 04:44:57,700
it looks more
4425
04:44:57,700 --> 04:45:01,833
because as the shot advances,
the background becomes more blurred.
4426
04:45:02,133 --> 04:45:07,600
You can notice it in the edges
of that canvas and that kind of canvas.
4427
04:45:07,600 --> 04:45:09,766
Obviously, this shot is just an example.
4428
04:45:09,766 --> 04:45:13,400
If you were working on a similar one
with a person in the middle,
4429
04:45:13,766 --> 04:45:17,366
the closer you get to the person,
the more blurred the background will be.
4430
04:45:17,966 --> 04:45:21,300
Obviously we cannot tolerate
like in the example with the movie camera,
4431
04:45:21,566 --> 04:45:24,466
because although they are different lenses
in terms of quality,
4432
04:45:24,466 --> 04:45:28,800
they are also different
in terms of millimeters depth of field.
4433
04:45:29,233 --> 04:45:31,966
So you have to take that into account.
4434
04:45:31,966 --> 04:45:34,033
Now pay attention,
this blurred background,
4435
04:45:34,033 --> 04:45:37,733
we can combine it with a slight flaw
in the front part of the chair
4436
04:45:38,100 --> 04:45:41,700
making that slight blur noticeable
when the camera approaches it.
4437
04:45:41,700 --> 04:45:45,600
Here we simply have to add another camera,
4438
04:45:45,600 --> 04:45:48,166
a blur effect to that clip.
4439
04:45:49,100 --> 04:45:51,533
Obviously at the beginning
you must decrease
4440
04:45:51,766 --> 04:45:54,900
the percent blur to zero
4441
04:45:58,100 --> 04:46:00,033
and you are supposed to create a mass
4442
04:46:00,033 --> 04:46:03,233
that only occupies
the front area of the chair.
4443
04:46:03,900 --> 04:46:07,833
But we must find a maximum approach
point of the camera towards the tier
4444
04:46:08,200 --> 04:46:15,266
and we must create the mask
right at that point.
4445
04:46:15,266 --> 04:46:18,633
Now, the mask is supposed to only affect
front parts of the tier
4446
04:46:19,100 --> 04:46:22,500
because that part
is the one closest to the camera.
4447
04:46:22,500 --> 04:46:25,566
So we can make a kind of polygon
that only focuses
4448
04:46:25,566 --> 04:46:38,933
on that part of the chair.
4449
04:46:38,933 --> 04:46:41,966
So we must raise the feather
4450
04:46:41,966 --> 04:46:45,233
to soften the edges,
4451
04:46:45,233 --> 04:46:47,966
and then we add the lower
4452
04:46:49,633 --> 04:46:52,233
we can use expansion if we want. It's
4453
04:46:53,400 --> 04:46:56,400
always trying to not overuse the fact,
4454
04:46:57,066 --> 04:47:20,133
try to make it real.
4455
04:47:20,133 --> 04:47:23,866
So from now on we can create the keyframe.
4456
04:47:24,466 --> 04:47:27,666
I mean,
to activate the outer lines in The Blur,
4457
04:47:28,233 --> 04:47:30,600
we already have the last Keyframe.
4458
04:47:31,300 --> 04:47:34,166
You only had to create the first keyframe,
4459
04:47:34,800 --> 04:47:36,900
and you must know that defining
4460
04:47:37,500 --> 04:47:40,300
the blah shouldn't be noticeable.
4461
04:47:40,300 --> 04:47:41,200
And they would say that
4462
04:47:41,200 --> 04:47:44,833
before the beginning is simply
when the chair moves away from the camera.
4463
04:47:45,166 --> 04:48:00,000
You should no be out of focus.
4464
04:48:00,000 --> 04:48:11,966
So I'm going to render it again.
4465
04:48:11,966 --> 04:48:16,033
So you're really have the image
with more blur, both
4466
04:48:16,033 --> 04:48:19,900
in the back room
and in the front part of the chair.
4467
04:48:19,900 --> 04:48:22,400
All the it doesn't look like a film lens.
4468
04:48:22,400 --> 04:48:24,066
It looks more professional.
4469
04:48:24,066 --> 04:48:26,233
In addition, additionally,
if we were working
4470
04:48:26,233 --> 04:48:29,766
with two cameras, for example,
a film camera in a D SLR
4471
04:48:30,166 --> 04:48:33,566
or a film camera in a knife,
and we could combine
4472
04:48:33,566 --> 04:48:37,000
the two formats in the same work
and he would look pretty good.
4473
04:48:37,733 --> 04:48:42,266
But obviously the idea to also be aware
of the differences between the formats
4474
04:48:42,833 --> 04:48:43,500
to understand
4475
04:48:43,500 --> 04:48:45,700
why one format
looks better than the other,
4476
04:48:45,966 --> 04:48:47,033
especially when it comes
4477
04:48:47,033 --> 04:48:50,300
to working with lenses
that are slightly better than others.
4478
04:48:51,033 --> 04:48:54,600
And I think that this is the most
difficult thing to be aware of that
4479
04:48:55,100 --> 04:48:58,066
of course, in this example,
I don't think the difference
4480
04:48:58,166 --> 04:49:00,566
is difficult know which is evidence.
4481
04:49:01,133 --> 04:49:03,466
Well, you know how to blur the backgrounds
4482
04:49:04,133 --> 04:49:38,233
and let's move on to the next lesson.
4483
04:49:38,800 --> 04:49:40,200
Hello, everyone.
4484
04:49:40,200 --> 04:49:42,200
What we're going to do in this lesson.
4485
04:49:42,200 --> 04:49:46,866
In this lesson, we are going to learn
how to create a shot out of another shot
4486
04:49:47,366 --> 04:49:52,500
because eventually you're going to have
to reframe a shot in order to fix it.
4487
04:49:52,800 --> 04:49:55,066
I mean, in terms of cinematography
4488
04:49:55,500 --> 04:50:00,600
and the byproduct of that process brings
about the creation of another shot.
4489
04:50:01,033 --> 04:50:02,233
And this is going to happen to you
4490
04:50:02,233 --> 04:50:05,200
when you didn't have enough footage
for your editing.
4491
04:50:05,566 --> 04:50:08,000
For me,
it's a very common thing in terms of
4492
04:50:08,933 --> 04:50:12,166
so we are going to use this
take of this camera.
4493
04:50:13,033 --> 04:50:17,066
You can notice that it has a color
correction, a kind of color correction.
4494
04:50:17,500 --> 04:50:19,666
Let's a quick review.
4495
04:50:19,666 --> 04:50:24,100
There is a little effect
limit recorder and also sharpen.
4496
04:50:24,700 --> 04:50:27,733
But before addressing the creation
of another shot,
4497
04:50:27,733 --> 04:50:29,833
we are going to talk about something
first.
4498
04:50:30,300 --> 04:50:34,200
When you are an editor, you're supposed
to become sensitive with the changes.
4499
04:50:34,500 --> 04:50:38,233
And those changes could be in terms
of color, violence, etc..
4500
04:50:38,500 --> 04:50:43,066
For example, in this shot and there is
a kind of wickedness in terms of balance.
4501
04:50:43,433 --> 04:50:46,900
I mean, you can notice
that when the cars approach the camera,
4502
04:50:46,900 --> 04:50:51,133
there is more space in that gap between
the car and the frame in the right side,
4503
04:50:51,300 --> 04:50:54,733
and we must try to fix that to level
that so we can.
4504
04:50:54,733 --> 04:50:59,933
Sumi in the image modifying the scale and
then move the take slightly to the right.
4505
04:51:00,066 --> 04:51:03,000
So when I was talking
about being sensitive,
4506
04:51:03,133 --> 04:51:06,466
I mean, to be aware that the take needs
to be fixed
4507
04:51:06,700 --> 04:51:10,033
in other words,
you're supposed to detect that in balance.
4508
04:51:10,500 --> 04:51:14,033
You must also be aware
that that imbalance could be related
4509
04:51:14,033 --> 04:51:18,333
to a specific point
of to take moving to take it.
4510
04:51:18,366 --> 04:51:20,600
There is a kind of traveling
in a movement.
4511
04:51:21,133 --> 04:51:26,266
For example, here there is a tilt up,
but once the shot reveals the windshield,
4512
04:51:26,266 --> 04:51:29,100
the take seems to be moving
too much to the left.
4513
04:51:29,333 --> 04:51:31,033
So in order to solve that,
4514
04:51:31,033 --> 04:51:35,933
we can create a kind of automation
in the position to fix that movement.
4515
04:51:35,933 --> 04:51:38,066
The take in this example seems to be
4516
04:51:38,066 --> 04:51:41,700
not that complicated
because the camera is in a tripod.
4517
04:51:41,900 --> 04:51:44,933
So just by automating
the movement in the position
4518
04:51:44,933 --> 04:51:47,500
parameter is enough to fix that problem.
4519
04:51:48,300 --> 04:51:52,400
But anyway, as I told you,
you must have a great deal of references
4520
04:51:52,400 --> 04:51:55,566
in order to know
if a shot is violence or not.
4521
04:51:55,566 --> 04:51:57,933
But let's move on into the creation
of the other shot.
4522
04:51:58,533 --> 04:52:02,833
First of all, we misled a photographic
moment into take in, for example.
4523
04:52:02,833 --> 04:52:07,333
That moment could be when the car stops
once we have selected that moment,
4524
04:52:07,333 --> 04:52:11,133
we are ready to focus on one single object
in the picture.
4525
04:52:11,400 --> 04:52:15,300
I'm going to tell you these changes
here in the automation for example,
4526
04:52:15,600 --> 04:52:19,466
this headlight on the right,
we are able to zoom in the image,
4527
04:52:19,766 --> 04:52:23,400
move in this scale
in order to find that balance
4528
04:52:23,700 --> 04:52:26,700
taking into account,
that headlight, for example,
4529
04:52:27,166 --> 04:52:30,966
because actually the travel rules
are a kind of constellations.
4530
04:52:31,166 --> 04:52:34,766
But even though this is not a travel
in itself, there is a movement
4531
04:52:35,100 --> 04:52:36,300
the passage of time.
4532
04:52:36,300 --> 04:52:40,666
And that movement has moments
where the picture, the image is balanced.
4533
04:52:40,866 --> 04:52:45,000
I talk about these in a lesson
of my filmmaking course.
4534
04:52:45,000 --> 04:52:46,966
It's called anchor point.
4535
04:52:46,966 --> 04:52:50,266
So you can notice that from the moment
the car stops, I'm
4536
04:52:50,300 --> 04:52:53,966
moving to take to the left,
right to the left headlight
4537
04:52:54,400 --> 04:52:57,800
to create
a kind of artificial movement in the take.
4538
04:52:58,100 --> 04:53:00,666
So I haven't automated the movement yet.
4539
04:53:01,200 --> 04:53:04,900
I'm trying to discover at those moments
those anchor points
4540
04:53:05,100 --> 04:53:07,466
that I can use to create entire movement.
4541
04:53:07,900 --> 04:53:10,800
So let's go back again
to the first anchor point.
4542
04:53:11,100 --> 04:53:15,800
I mean, at the beginning of the shot.
4543
04:53:15,800 --> 04:53:19,966
So once we find that moment, we can create
a keyframe in the position parameter.
4544
04:53:20,066 --> 04:53:22,400
We must create a keyframe
for the scale too.
4545
04:53:23,033 --> 04:53:25,133
But that's just right.
Here comes a problem.
4546
04:53:25,666 --> 04:53:29,700
And it happens that when the car stops
and the camera stops, also,
4547
04:53:29,900 --> 04:53:33,633
that movement created by editing
will be more noticeable.
4548
04:53:33,633 --> 04:53:36,433
So we are supposed to place the keyframe.
4549
04:53:36,600 --> 04:53:40,800
That keyframe related to the position
just before the camera stops.
4550
04:53:40,800 --> 04:53:43,000
I mean, in this way
you will be creating an
4551
04:53:43,500 --> 04:53:47,533
that the camera has a longer movement
because the take will be in motion
4552
04:53:47,533 --> 04:53:52,900
just before the camera stops, thereby
deceiving the viewer a little bit.
4553
04:53:52,900 --> 04:53:54,300
And there you are.
4554
04:53:54,300 --> 04:53:56,966
You have another
take out of the original take.
4555
04:53:57,533 --> 04:54:01,466
And it looks great because it seems that
that movement to the left
4556
04:54:01,500 --> 04:54:12,400
is part of the entire take movement.
4557
04:54:12,400 --> 04:54:15,700
Now I'm going to show you
how you are not supposed to do it.
4558
04:54:15,866 --> 04:54:16,933
Pay attention to these.
4559
04:54:16,933 --> 04:54:19,800
Take a movement.
It begins in just right here.
4560
04:54:19,800 --> 04:54:22,433
The movements created
in the software begins.
4561
04:54:22,600 --> 04:54:26,133
So the audience will notice
that the movement is a strange
4562
04:54:26,600 --> 04:54:34,600
you can notice just right here,
the artificial movement begins.
4563
04:54:34,600 --> 04:54:36,400
So you already know
what is the difference.
4564
04:54:36,400 --> 04:54:38,600
I'm going to show you again the right way.
4565
04:54:38,600 --> 04:54:43,066
You can notice that yes, at this moment
that, movement to the left is softer
4566
04:54:43,266 --> 04:54:46,900
and you are supposed to place
that keyframe related to the position
4567
04:54:47,200 --> 04:54:49,100
just before the camera stops.
4568
04:54:50,266 --> 04:54:51,100
On the other hand,
4569
04:54:51,100 --> 04:54:54,566
wanted to mention
something important related to the scale,
4570
04:54:55,166 --> 04:55:00,066
and that is that when you want to
to create that sensation of interest
4571
04:55:00,066 --> 04:55:03,966
in the audience but in the shot
you are working with is as static,
4572
04:55:04,266 --> 04:55:08,400
you can add a slide zooming in or zoom out
to create that effect.
4573
04:55:08,833 --> 04:55:13,400
But in cinematic terms, this zooming
or zoom out has two functions.
4574
04:55:13,733 --> 04:55:17,633
First of all, when you have a sequence
which has several shots,
4575
04:55:17,833 --> 04:55:21,200
a most of the shots have traveling,
and additionally
4576
04:55:21,200 --> 04:55:24,133
the shots are passing
one after another very quickly.
4577
04:55:24,266 --> 04:55:28,466
So in those cases, they recommend you
to add a little zoom in into the shots
4578
04:55:28,466 --> 04:55:32,333
to match with the rest of the shots
I mean, it's a visual feature,
4579
04:55:32,466 --> 04:55:35,433
so the audience will come for it
while watching the sequence.
4580
04:55:35,766 --> 04:55:37,600
So on the screen you can see an example.
4581
04:55:37,600 --> 04:55:40,800
The unit on shot has a slight zoom in
4582
04:55:41,466 --> 04:55:44,733
and the other function is
when you want to represent the injuries
4583
04:55:44,766 --> 04:55:48,866
that the character is experiencing
about an object or something that he
4584
04:55:48,866 --> 04:55:53,100
is looking at carefully in general terms,
that interest is represented
4585
04:55:53,100 --> 04:55:57,000
by zooming in on the character's face
to represent the thoughts.
4586
04:55:57,400 --> 04:55:57,900
Generally.
4587
04:55:57,900 --> 04:56:01,166
This is done and said,
I mean, with Adaline example.
4588
04:56:01,300 --> 04:56:04,266
But additionally
you also have to add a slight zooming in
4589
04:56:04,266 --> 04:56:08,100
to the object
or theme or landscape that the character
4590
04:56:08,100 --> 04:56:11,633
is looking at here on the screen
you can watch an example.
4591
04:56:12,333 --> 04:56:15,366
The character is looking at that arrow
stick on the tree,
4592
04:56:15,633 --> 04:56:20,366
but there is assuming into the arrow,
but is an artificial zoom in created
4593
04:56:20,566 --> 04:56:25,233
editing in that Sumi is representing
that the character is thinking deeply
4594
04:56:25,233 --> 04:56:29,466
about that I wrote that he is looking at
this is another example.
4595
04:56:29,466 --> 04:56:31,700
There is a slight
zooming into the landscape
4596
04:56:31,966 --> 04:56:35,433
because this scene is a flashback
out of the previous scene.
4597
04:56:35,700 --> 04:56:39,366
And he was remembering when he saw
that family on the farm that day.
4598
04:56:39,800 --> 04:56:44,033
But this also works for dialog scenes
to finish the lesson.
4599
04:56:44,033 --> 04:56:45,800
I'm going to leave you a complete scene
4600
04:56:45,800 --> 04:56:50,233
where two characters are interacting
in dialog and assuming works.
4601
04:56:50,233 --> 04:56:51,900
Get into their thoughts.
4602
04:56:51,900 --> 04:56:56,633
All this up till some eons of thesis scene
were created in editing.
4603
04:56:57,033 --> 04:56:59,766
So I'm going to leave you
this scene and until the next
4604
04:57:07,800 --> 04:57:09,100
to know
4605
04:57:24,600 --> 04:57:25,833
during that point
4606
04:57:26,100 --> 04:57:31,766
when the images it
4607
04:57:49,200 --> 04:57:55,866
it it also
4608
04:57:55,866 --> 04:57:56,700
makes note
4609
04:58:39,066 --> 04:58:39,500
perfect.
4610
04:58:39,500 --> 04:58:40,966
We are here again at the premiere.
4611
04:58:40,966 --> 04:58:42,600
What we are going to do now
4612
04:58:42,600 --> 04:58:46,466
we are going to stabilize
image a shot take in
4613
04:58:46,466 --> 04:58:49,533
this case is a sequence shot
but I'm going to tell you this
4614
04:58:49,533 --> 04:58:54,433
from scratch from the beginning is
stabilization is not that magic at all.
4615
04:58:54,866 --> 04:58:59,533
It stabilization
can help us a lot to fix a shaky image.
4616
04:58:59,933 --> 04:59:01,000
But if the image
4617
04:59:01,000 --> 04:59:05,333
if the sequence is really shaky,
we are not going be able to fix that.
4618
04:59:05,700 --> 04:59:07,366
I mean, if that were possible,
4619
04:59:07,366 --> 04:59:10,733
Steadicam would not continue to be used
today, as simple as that.
4620
04:59:11,100 --> 04:59:14,533
So I think that with this example,
you're going to how to do it
4621
04:59:14,800 --> 04:59:17,433
and get to understand
the stabilization tool.
4622
04:59:17,866 --> 04:59:19,933
So this is a take we are going to fixed.
4623
04:59:20,366 --> 04:59:21,933
It was shot with a Steadicam.
4624
04:59:21,933 --> 04:59:25,200
But due to the nature of the ground
where the assistance where
4625
04:59:25,333 --> 04:59:28,166
it was impossible
for the shot to be completely stable.
4626
04:59:28,266 --> 04:59:32,166
So just at that moment where the camera
slowly approaches the character,
4627
04:59:32,533 --> 04:59:35,000
the camera shakes, spoiling the sequence
4628
04:59:35,500 --> 04:59:38,333
so the destabilization
could be even higher.
4629
04:59:38,366 --> 04:59:40,566
But this example is quite good.
4630
04:59:40,566 --> 04:59:43,466
In fact,
the image shakes during the whole shot.
4631
04:59:44,233 --> 04:59:48,900
So we are going to repair all this
with the tool that the premiere gives us.
4632
04:59:49,500 --> 04:59:52,633
So I'm going to select
a portion of the sequence shot to fix.
4633
04:59:52,633 --> 04:59:54,700
I would say that this part
where the camera
4634
04:59:54,700 --> 04:59:58,600
gets closer to the character is the best
and I'm going to tell you way.
4635
04:59:59,733 --> 05:00:00,633
So I'm going to
4636
05:00:00,633 --> 05:00:03,966
drag the video portions
of the timeline, as always,
4637
05:00:04,833 --> 05:00:07,266
and I'm going to open
the program's monitor.
4638
05:00:08,233 --> 05:00:12,600
So here we already have the take
on the timeline, the shot.
4639
05:00:12,600 --> 05:00:15,633
So the problem is that sometimes we as
editors are going
4640
05:00:15,633 --> 05:00:18,833
to have to grab the frame
to get closer to the character.
4641
05:00:19,533 --> 05:00:24,200
I mean, we are going to have to do this
either by decision of the director
4642
05:00:24,200 --> 05:00:28,966
or by ourselves, because we think that
the cinematography looks better like this.
4643
05:00:29,666 --> 05:00:31,233
But pay attention now.
4644
05:00:31,233 --> 05:00:35,133
How The destabilization in the sequence
is much more noticeable.
4645
05:00:35,700 --> 05:00:39,900
And since many of you are videographers
or filmmakers, I will tell you something.
4646
05:00:40,133 --> 05:00:41,000
This is the reason
4647
05:00:41,000 --> 05:00:45,600
why it's not recommended
to use a lens larger than 50 millimeters
4648
05:00:45,833 --> 05:00:50,466
on a Steadicam, because this kind of lens
is sumi of the image and the camera.
4649
05:00:50,466 --> 05:00:53,500
It still a long away
from what we are capturing.
4650
05:00:53,733 --> 05:00:57,466
Then each millimeters of movement
will be much more noticeable.
4651
05:00:57,900 --> 05:01:00,866
But anyway,
we must go to the video effects folder
4652
05:01:01,400 --> 05:01:03,900
and then we open the store to folder.
4653
05:01:04,300 --> 05:01:07,200
So here
we're going to find RGB stabilizer.
4654
05:01:07,600 --> 05:01:13,433
So we are going to drag this effect
to our clip and it so now the software
4655
05:01:13,433 --> 05:01:16,366
will automatically begin
to analyze this shot
4656
05:01:16,666 --> 05:01:18,833
frame by frame to try to fix it.
4657
05:01:19,500 --> 05:01:24,133
Here we can see in Effects control panel
how the analysis process is displayed.
4658
05:01:25,000 --> 05:01:27,233
So depending on the length of the shot,
4659
05:01:27,400 --> 05:01:30,233
this analysis will take more or less time,
4660
05:01:30,233 --> 05:01:33,200
but the software will do it
automatically in the background.
4661
05:01:33,500 --> 05:01:37,866
And once this is done, the effect will
automatically stabilize this shot.
4662
05:01:38,566 --> 05:01:42,366
But now we must be close attention
to some fundamental parameters
4663
05:01:42,600 --> 05:01:45,300
so as not to fail. Stabilize in the shots.
4664
05:01:45,900 --> 05:01:49,266
First of all, is the smoothness
of the stabilization.
4665
05:01:49,266 --> 05:01:52,133
We will be able to modify it
with dispersant age.
4666
05:01:52,366 --> 05:01:54,733
It can be higher or lower.
4667
05:01:54,733 --> 05:01:58,600
It's important to mention that the effect
will not analyze the image again
4668
05:01:58,800 --> 05:02:03,700
unless we stretch or squeeze the clip
we are working with, but dive right below.
4669
05:02:03,700 --> 05:02:07,400
We are going to have the method parameter,
which is by far
4670
05:02:07,400 --> 05:02:09,900
the most important of all in effect.
4671
05:02:10,666 --> 05:02:14,133
So here we are going to find four methods
position,
4672
05:02:14,133 --> 05:02:18,000
position, a scale and rotation
perspective in the formation.
4673
05:02:18,600 --> 05:02:18,866
There.
4674
05:02:18,866 --> 05:02:21,000
Something you have to know
from the beginning.
4675
05:02:21,133 --> 05:02:25,666
I don't know why these last two exist
perspective in their formation.
4676
05:02:25,666 --> 05:02:27,933
In my opinion, they should not exist.
4677
05:02:27,933 --> 05:02:30,866
They are completely useless
when it comes to stabilize
4678
05:02:30,866 --> 05:02:35,100
in a professional shot for a movie
or a commercial or a short film
4679
05:02:35,400 --> 05:02:37,266
because no one would like to see a shot
4680
05:02:37,266 --> 05:02:40,800
work like a jelly as an option
to stabilize that shot.
4681
05:02:41,100 --> 05:02:44,366
So if it's an Instagram or Tik-Tok reel,
it's fine.
4682
05:02:44,366 --> 05:02:47,133
You could use it, but I wouldn't use it
anyway.
4683
05:02:47,166 --> 05:02:49,133
Even in smartphones nowadays.
4684
05:02:49,133 --> 05:02:53,166
Stabilize the image enough so you didn't
have to use these two options.
4685
05:02:53,600 --> 05:02:58,500
Obviously, these last two options are
often used when the image is too shaken.
4686
05:02:58,500 --> 05:03:01,033
If these were the case,
then the software would leave.
4687
05:03:01,033 --> 05:03:05,133
The character is stabilized,
but the entire background that we see of
4688
05:03:05,133 --> 05:03:09,900
that forest would be deformed like a tele
which is actually terrible.
4689
05:03:10,366 --> 05:03:14,433
So position is scale and rotation
is the best option to stabilize.
4690
05:03:15,033 --> 05:03:20,033
So this option, instead of distorting
the image, will change the rotation.
4691
05:03:20,033 --> 05:03:21,566
It will zoom in and out.
4692
05:03:21,566 --> 05:03:23,400
It will change the position.
4693
05:03:23,400 --> 05:03:28,300
All this automatically until the shot
is stabilized as well as possible.
4694
05:03:28,300 --> 05:03:30,166
So for me, is the best option
4695
05:03:30,166 --> 05:03:33,566
to stabilized
without altering the nature of the shot.
4696
05:03:34,033 --> 05:03:38,400
So pay attention to how it looks like
the most interesting thing
4697
05:03:38,400 --> 05:03:41,633
is that I can even zoom in on the image
much more
4698
05:03:42,200 --> 05:03:45,033
as if it were a median shot
and it will look
4699
05:03:45,033 --> 05:03:48,300
perfect.
4700
05:03:48,300 --> 05:03:49,966
So let's do a comparison.
4701
05:03:49,966 --> 05:03:53,633
I'm going to deactivate the effect
to see the original shot again
4702
05:03:56,533 --> 05:03:57,000
so we
4703
05:03:57,000 --> 05:03:59,833
can notice that it was enough
with radiation
4704
05:04:00,033 --> 05:04:03,933
to spoil the scene.
4705
05:04:03,933 --> 05:04:15,900
So I'm going to activate, in effect, again
and we're going to check the take again.
4706
05:04:15,900 --> 05:04:19,700
So pay attention below
in the parameters of defect.
4707
05:04:19,700 --> 05:04:23,400
We will have the possibility
to make a detailed analysis.
4708
05:04:23,866 --> 05:04:27,100
In other words, instruct
the program to do everything possible to
4709
05:04:27,200 --> 05:04:28,800
stabilize the shot.
4710
05:04:28,800 --> 05:04:31,400
It's spoiling image as little as possible.
4711
05:04:31,866 --> 05:04:34,633
So in this case, it's
not necessary to do it.
4712
05:04:34,866 --> 05:04:36,000
But we can do it.
4713
05:04:36,000 --> 05:04:40,433
The only thing that will happen is that it
will consume more computer resources
4714
05:04:40,833 --> 05:04:44,233
and also in turn,
it will most likely crop the image more.
4715
05:04:44,766 --> 05:04:46,966
So if we check that little box,
4716
05:04:46,966 --> 05:04:50,700
it will start analysis again,
which will take a little longer.
4717
05:04:51,300 --> 05:04:54,900
Just below you will find this parameter
that allows us to choose
4718
05:04:54,900 --> 05:04:57,033
between two options. To the right.
4719
05:04:57,100 --> 05:05:00,700
The image will be more stable, paste
into to the left,
4720
05:05:00,700 --> 05:05:03,966
less stabilized,
but will crop the frame less
4721
05:05:04,666 --> 05:05:07,733
so we can play with that parameter
however we want.
4722
05:05:08,333 --> 05:05:11,233
On the other,
I think that this issue of stabilization
4723
05:05:11,233 --> 05:05:14,433
using
Premiere is a last resort to solve this.
4724
05:05:14,866 --> 05:05:18,833
I mean, as videographers or filmmakers,
we should do everything possible
4725
05:05:19,000 --> 05:05:22,800
as not to need to stabilize
the image in those begins
4726
05:05:22,800 --> 05:05:27,300
by choosing the most appropriate lens
to record with the camera in hand
4727
05:05:27,666 --> 05:05:33,000
and with a Steadicam generally, that lens
cannot be more than 35 millimeters.
4728
05:05:33,300 --> 05:05:38,466
And if we are shooting camera in hand
even less because in fact, even under
4729
05:05:38,466 --> 05:05:41,700
perfect conditions, we are going to need
to stabilize the image.
4730
05:05:42,166 --> 05:05:46,633
I mean, sometimes we are using Adobe,
for example, and for some reason
4731
05:05:46,633 --> 05:05:52,166
at some point the image shakes due
to some small operator error, etc.
4732
05:05:52,466 --> 05:05:55,566
And for those cases,
these are stabilizer issues.
4733
05:05:56,700 --> 05:05:57,766
So pay attention.
4734
05:05:57,766 --> 05:06:00,966
How it took to do
the detailed analysis much more.
4735
05:06:01,433 --> 05:06:05,333
But the result would be the same
because in reality that first analysis
4736
05:06:05,333 --> 05:06:07,733
was more than enough to repair the image
4737
05:06:09,733 --> 05:06:13,000
I'm going to get the monitor bigger,
to see the shot better,
4738
05:06:13,000 --> 05:06:22,566
and I'm going to increase
the resolution of the monitor to.
4739
05:06:22,566 --> 05:06:25,500
So in summary,
you can use these as stabilizer.
4740
05:06:25,500 --> 05:06:27,833
But remember that
if the image cannot fixed
4741
05:06:28,166 --> 05:06:31,066
with the parameters
position of scale and rotation,
4742
05:06:31,500 --> 05:06:35,400
the image doesn't qualify to be stabilized
professionally.
4743
05:06:36,500 --> 05:06:38,600
So take all this into account
4744
05:06:38,600 --> 05:07:12,833
and until the next lesson.
4745
05:07:12,833 --> 05:07:13,566
Hello people.
4746
05:07:13,566 --> 05:07:16,900
In this module, I'm going to show you
the technique that I use to add
4747
05:07:17,333 --> 05:07:19,700
visual effects to my latest works,
4748
05:07:20,166 --> 05:07:24,733
to my stories, effects
like sparks, fire, etc.
4749
05:07:25,200 --> 05:07:29,100
I basically made it by using videos
recorded on green screen.
4750
05:07:29,200 --> 05:07:33,233
These consist of and videos, a studio
or outdoors
4751
05:07:33,566 --> 05:07:38,033
of any elements
such as fire, sparks and fake blog, etc.
4752
05:07:38,533 --> 05:07:41,500
But using green background
that is later removed
4753
05:07:41,766 --> 05:07:44,333
with the Adobe premiere Chroma key tool.
4754
05:07:44,866 --> 05:07:48,733
In this context, there are packs
that are sold on the internet.
4755
05:07:48,966 --> 05:07:53,200
We'd already recorded videos
that include these elements.
4756
05:07:53,566 --> 05:08:01,066
The Action
Essential Pack is a good example.
4757
05:08:01,066 --> 05:08:05,700
So what is the advantage of this box
that they make our work easier
4758
05:08:05,700 --> 05:08:09,766
when it comes to creating a short
or a video for YouTube?
4759
05:08:09,866 --> 05:08:12,800
The downside
is that when it comes to producing
4760
05:08:12,800 --> 05:08:16,100
a movie or school is to be the best movie.
4761
05:08:16,200 --> 05:08:19,600
These facts are going to be good enough
to win you an award
4762
05:08:19,766 --> 05:08:24,233
for special effects, for example,
not because they don't look good enough,
4763
05:08:24,600 --> 05:08:28,400
but because they are going to recognize
that you are using those effects.
4764
05:08:28,766 --> 05:08:32,400
So I'm going to use two very simple videos
to explain how the action
4765
05:08:32,400 --> 05:08:37,500
essentials work so you can use them
in the future in whatever videos you want.
4766
05:08:37,500 --> 05:08:40,833
An example of these was the sparks
which we used
4767
05:08:40,833 --> 05:08:43,500
in the lesson
about how to add the letters.
4768
05:08:44,100 --> 05:08:49,300
The other more professional example
would be how use it in my last short film.
4769
05:08:49,600 --> 05:08:50,933
So pay attention.
4770
05:08:50,933 --> 05:08:54,066
It's not very complex,
but you need to pay close attention
4771
05:08:54,500 --> 05:08:58,433
on the other hand, and going to leave you
some videos of Sparks and Fire
4772
05:08:58,833 --> 05:09:01,133
previously recorded with green screen
4773
05:09:01,533 --> 05:09:04,466
so that you can download them
and use them as you wish.
4774
05:09:04,800 --> 05:09:22,133
Let's start then.
4775
05:09:22,133 --> 05:09:23,666
You know
4776
05:09:40,166 --> 05:09:42,933
perfect what you're going to do now
in the Adobe premiere.
4777
05:09:43,600 --> 05:09:48,300
We are going to learn to use the fire
element by using Action Essentials.
4778
05:09:48,300 --> 05:09:52,300
This is a very useful tool
to make really entertaining various,
4779
05:09:52,766 --> 05:09:55,333
but actually is the same technique I use
4780
05:09:55,333 --> 05:09:58,433
to create visual effects
for my short films.
4781
05:09:58,966 --> 05:10:01,433
So in order to teach you
how to use the fire
4782
05:10:01,466 --> 05:10:04,333
action essential,
we are going to start with this video.
4783
05:10:04,500 --> 05:10:07,533
And in this video
I'm supposed to set my hand and fire.
4784
05:10:07,733 --> 05:10:09,566
So what we are going to do
is add the action
4785
05:10:09,566 --> 05:10:13,166
essential to make it look like a
you actually set fire to the hand.
4786
05:10:13,666 --> 05:10:16,366
So the first thing we are going to do
is look for most
4787
05:10:16,366 --> 05:10:19,433
appropriate fire action essentials video.
4788
05:10:20,033 --> 05:10:24,500
I mean, for this hand, obviously,
one of the factors that affect
4789
05:10:24,500 --> 05:10:28,666
the resort is to the size of the fire
resembles that of the him.
4790
05:10:29,100 --> 05:10:32,266
So here you can see that
there are many types of fire
4791
05:10:32,666 --> 05:10:34,733
and you will be able to use
whatever you want.
4792
05:10:34,833 --> 05:10:39,000
Editing under this same principle that I'm
going to teach you at this moment.
4793
05:10:39,566 --> 05:10:42,866
So pay attention
that there are fires of different sizes
4794
05:10:43,033 --> 05:10:46,666
and even with different winds,
all fires were recorded
4795
05:10:46,666 --> 05:10:49,733
in a type of a studio
with a green screen in the background.
4796
05:10:50,366 --> 05:10:53,800
So I'm going to choose this one
that is like a kind of torch.
4797
05:10:54,433 --> 05:10:57,533
And I would say that is a size
similar to that of the hand.
4798
05:10:58,533 --> 05:11:01,200
But there are many types of fires anyway.
4799
05:11:01,666 --> 05:11:05,700
It also depends on your own creativity
to choose the appropriate.
4800
05:11:06,300 --> 05:11:07,133
I mean, it doesn't
4801
05:11:07,133 --> 05:11:10,633
have to be exactly the way they choose
the one that will look better.
4802
05:11:11,066 --> 05:11:15,000
However, I'm going to choose this
specific one, and I'm going to add
4803
05:11:15,033 --> 05:11:18,900
this video above the video clip
we are working on.
4804
05:11:19,300 --> 05:11:21,766
Pay attention. That is a perforated video.
4805
05:11:21,833 --> 05:11:26,466
It's as if it were opinions filed
only the fire is seen
4806
05:11:26,466 --> 05:11:29,500
because the process of removing
the background was already done.
4807
05:11:29,900 --> 05:11:32,533
I mean, this was recorded
on a green screen
4808
05:11:32,833 --> 05:11:34,900
and the background was removed.
4809
05:11:34,900 --> 05:11:39,533
So the first thing we are supposed to do
is to blaze the fire video
4810
05:11:39,533 --> 05:11:42,166
just when the candle
makes contact with the hand.
4811
05:11:42,600 --> 05:11:44,566
And that would be the first step
4812
05:11:55,533 --> 05:11:55,900
here.
4813
05:11:55,900 --> 05:11:58,133
It seems to me that it's fine.
4814
05:11:58,133 --> 05:12:01,800
So once we had done this,
we must proceed to move the fire
4815
05:12:01,800 --> 05:12:03,900
to the exact point where the hand is.
4816
05:12:04,833 --> 05:12:08,400
And for that we must click on the fire
clip and go to the fact
4817
05:12:08,400 --> 05:12:12,900
control panel and use the position
parameter to move it to the hand.
4818
05:12:12,900 --> 05:12:15,900
So we simply try to put the fire
on the hand
4819
05:12:16,000 --> 05:12:30,033
at the beginning.
4820
05:12:30,033 --> 05:12:33,500
But obviously once
we find the right place, we must adjust
4821
05:12:33,566 --> 05:12:37,566
the size of, the fire to really make
it match with the size of the hand.
4822
05:12:38,033 --> 05:12:41,100
Then we must use a scale
to adjust the size
4823
05:12:41,833 --> 05:12:45,500
and here we can continue
adjust in the exact in which the candle
4824
05:12:45,500 --> 05:13:01,900
makes contact with the hand
so that it looks more convincing.
4825
05:13:01,900 --> 05:13:03,800
But obviously this is not enough
4826
05:13:03,800 --> 05:13:07,066
because the hand will have a movement,
a kind of movement.
4827
05:13:07,066 --> 05:13:11,733
So what we should do is automate
the movement of the fire to make match
4828
05:13:11,733 --> 05:13:15,000
with the movement of the hand
throughout the video clip.
4829
05:13:15,500 --> 05:13:17,100
And this is interesting.
4830
05:13:17,100 --> 05:13:20,533
It's much easier to put a fire in a house
or anywhere.
4831
05:13:21,000 --> 05:13:23,966
It's more complicated
to place it in a blaze that moves
4832
05:13:24,400 --> 05:13:27,833
or a moving object,
and that is way I showed you this way.
4833
05:13:28,066 --> 05:13:31,300
So we are supposed to go back
to the effect control panel.
4834
05:13:31,466 --> 05:13:35,266
We go to the position parameter,
then we go to the beginning of the clip
4835
05:13:35,666 --> 05:13:39,866
and we activate the automation,
by clicking on the a little plug in.
4836
05:13:39,866 --> 05:13:42,466
As you know,
the first keyframe will appear
4837
05:13:42,733 --> 05:13:46,400
and that keyframe belongs
to the at first position.
4838
05:13:46,400 --> 05:13:50,100
But as you may notice, there is a moment
the word to hand begins to move.
4839
05:13:50,800 --> 05:13:54,566
I'm going to zoom in the programs, monitor
a bit perfect.
4840
05:13:54,633 --> 05:13:58,400
And now we are going to look for the exact
moment before the hand begins to move.
4841
05:13:58,733 --> 05:14:00,766
I would say that is right here.
4842
05:14:00,766 --> 05:14:03,133
So I create a new keyframe.
4843
05:14:03,133 --> 05:14:06,333
So as the hand moves to the right,
I will move the horizontal
4844
05:14:06,333 --> 05:14:09,100
value of the position parameter
to follow the hand.
4845
05:14:09,433 --> 05:14:13,566
Obviously, I'm doing this a little later
to create a new keyframe.
4846
05:14:13,566 --> 05:14:18,000
Of course, the attention
I also moved and the vertical position.
4847
05:14:18,966 --> 05:14:22,200
So pay attention to the
fact that in the gap between the two key
4848
05:14:22,200 --> 05:14:25,700
frames, there is a point
where the fire doesn't match.
4849
05:14:25,700 --> 05:14:30,200
Then we must set just that moment to in
another keyframe will be created.
4850
05:14:31,266 --> 05:14:33,900
So with a lot of patience,
we are going to continue
4851
05:14:33,900 --> 05:14:36,633
creating key frames
throughout the entire clip.
4852
05:14:37,066 --> 05:14:40,200
The fire masks
follow all the movements of the hand.
4853
05:14:40,600 --> 05:15:11,666
In all these must be automated.
4854
05:15:11,666 --> 05:15:15,966
So at this point we realize
that the clip is longer than the fire is,
4855
05:15:16,266 --> 05:15:20,733
so we must duplicate the fire clip
so that the fire follows and all the way.
4856
05:15:21,733 --> 05:15:24,466
So we select a clip and we press on our
4857
05:15:24,466 --> 05:15:27,033
keyboard, come and see or control see.
4858
05:15:27,900 --> 05:15:31,166
So here we have the fire clip again,
but we must delete
4859
05:15:31,166 --> 05:15:35,400
all the automation of the new one
because we must create a new automation.
4860
05:15:35,800 --> 05:15:39,000
But we are supposed to leave
only the last keyframe belongs
4861
05:15:39,000 --> 05:15:42,200
to the last position
that the fire had in the previous clip.
4862
05:15:42,900 --> 05:15:46,733
And you're going to move that keyframe
to the beginning of this new clip.
4863
05:15:47,633 --> 05:15:50,133
So from
we are going to continue making the fire
4864
05:15:50,166 --> 05:15:54,600
match the movement of the hand
from keyframe to keyframe.
4865
05:15:54,600 --> 05:16:06,633
Little by little, perfect.
4866
05:16:06,833 --> 05:16:10,133
Despite the fact that the fire follows
the movements of the hand,
4867
05:16:10,466 --> 05:16:12,533
there are still things to fix.
4868
05:16:12,533 --> 05:16:16,800
We must fix the perspective of the fire,
because when they bring the ham
4869
05:16:16,800 --> 05:16:20,100
closer to my body,
the fire must move away a little.
4870
05:16:20,600 --> 05:16:24,333
So there are several moments
where the fire approaches the body,
4871
05:16:24,733 --> 05:16:27,500
so its size must change at those moments.
4872
05:16:28,233 --> 05:16:32,900
Because even though if the fire gets
just a little bit closer to my body,
4873
05:16:32,900 --> 05:16:37,400
those are small details of perspective
that change in perspective are
4874
05:16:37,433 --> 05:16:42,400
what make the visual effect convincing
or at least look good.
4875
05:16:42,400 --> 05:16:45,800
Therefore, we are supposed to go
to the effect control panel again
4876
05:16:46,300 --> 05:16:48,600
and we go to the scale parameter.
4877
05:16:49,266 --> 05:16:53,600
So in that parameter we are supposed to
activate automation line,
4878
05:16:54,000 --> 05:16:56,800
but we must pay close attention
that in those moments
4879
05:16:56,800 --> 05:17:00,433
where we change the scale,
the position will also move a little.
4880
05:17:00,500 --> 05:17:04,566
So we must continue correct
in all those details little by little.
4881
05:17:05,600 --> 05:17:08,700
For example,
here we can activate the automation line
4882
05:17:08,700 --> 05:17:12,600
by adding a keyframe and we can add
another keyframe just before the hand
4883
05:17:12,600 --> 05:17:23,266
starts to approach my body.
4884
05:17:23,266 --> 05:17:26,266
So we can create another keyframe
when the hand is done
4885
05:17:26,266 --> 05:17:29,533
approaching the body,
and then we can move the scale
4886
05:17:29,533 --> 05:17:33,666
in the values of the scale parameter
or directly in the programs.
4887
05:17:33,666 --> 05:17:42,900
Monitor As we have already learned,
4888
05:17:42,900 --> 05:17:47,100
I'm going to hide the Blue Guides
simply when we select the parameter.
4889
05:17:47,100 --> 05:17:49,333
The guide disappear.
4890
05:17:49,333 --> 05:17:52,100
So look at how good
the fire looks like now
4891
05:17:52,266 --> 05:18:01,066
in terms of perspective and movement.
4892
05:18:01,066 --> 05:18:03,766
But since I had moved
the size of the fire,
4893
05:18:03,800 --> 05:18:06,866
the position is always
a bit out of adjustment.
4894
05:18:07,300 --> 05:18:24,033
So we must correct those moments.
4895
05:18:24,033 --> 05:18:27,900
Pay attention that here
the fire moves away from my body again.
4896
05:18:27,900 --> 05:18:31,300
Therefore, it's necessary
to increase its size again a little
4897
05:18:31,666 --> 05:18:45,833
because it's closer to the camera.
4898
05:18:45,833 --> 05:18:49,133
So once we have adjusted the scale
and the position, we can
4899
05:18:49,133 --> 05:18:51,600
then see what we have far.
4900
05:18:52,500 --> 05:18:57,233
So the process of making it look
real is about going forward and forward,
4901
05:18:57,233 --> 05:19:01,200
correcting those small details
with a lot of patience.
4902
05:19:01,200 --> 05:19:04,800
This requires seeing it several
times, many times,
4903
05:19:04,800 --> 05:19:07,800
until we realize
that the movement looks real.
4904
05:19:08,033 --> 05:19:10,800
I mean, if you pay attention,
there are still details
4905
05:19:10,800 --> 05:19:13,200
that need to be corrected
to make it look perfect.
4906
05:19:14,100 --> 05:19:16,966
For example, when the hand goes up,
there are some moments
4907
05:19:16,966 --> 05:19:19,466
where the fire gets out of the hands.
4908
05:19:19,466 --> 05:19:23,400
But I think the biggest problem is
the transition between the two fire clips,
4909
05:19:23,933 --> 05:19:26,466
and that shouldn't be noticeable,
or at least
4910
05:19:26,466 --> 05:19:28,700
we should try to hide as much as possible
4911
05:19:29,600 --> 05:19:33,600
so we can fix transition
by making an automated transition
4912
05:19:33,600 --> 05:19:37,000
between the two clips
by using the capacity parameter.
4913
05:19:37,733 --> 05:19:40,000
So we overlap the fire clips
4914
05:19:40,000 --> 05:19:43,600
to make that transition
as we learned in a previous lesson.
4915
05:19:44,100 --> 05:19:47,833
And then we must adjust
to movement of the fire In the rest
4916
05:19:47,833 --> 05:19:49,266
of the clip that we moved
4917
05:20:00,166 --> 05:20:08,966
or so
4918
05:20:08,966 --> 05:20:12,800
we can delete all the automation
that we have in the clip that we moved in.
4919
05:20:12,833 --> 05:20:41,166
Do it again after overlapping
the clips are perfect.
4920
05:20:41,266 --> 05:20:44,500
So now we do have all our fire counter
units
4921
05:20:44,700 --> 05:20:47,133
terms of position in the scale.
4922
05:20:47,900 --> 05:20:50,966
So we're going to move on
to the next lesson where we are
4923
05:20:50,966 --> 05:20:55,200
going to make the corner of the fire
look like a real fire.
4924
05:20:55,200 --> 05:20:59,133
And in a next lesson or
4925
05:21:29,466 --> 05:21:31,200
perfect, we are here again.
4926
05:21:31,200 --> 05:21:36,033
Now the challenge is to make the fire
in my hand look the candle fire.
4927
05:21:36,500 --> 05:21:38,766
And this has to do
with the color correction.
4928
05:21:39,066 --> 05:21:43,266
I mean, using the candle fire
as a reference, it's clearly the best.
4929
05:21:43,766 --> 05:21:47,333
So the first thing we are going to do
is nest the fire clips
4930
05:21:47,700 --> 05:21:50,466
to join them into one single clip type.
4931
05:21:50,866 --> 05:21:52,666
So we must select all of them.
4932
05:21:52,666 --> 05:21:56,133
We click on the right mouse button
and then we click on Nest.
4933
05:21:56,666 --> 05:22:00,800
We had to type a name over here,
so we press K
4934
05:22:00,900 --> 05:22:04,433
and this kind of clip
will automatically be created,
4935
05:22:04,433 --> 05:22:07,033
which will contain the two fire
clips inside.
4936
05:22:07,600 --> 05:22:10,700
And now these new nest
clip will be clickable
4937
05:22:10,933 --> 05:22:14,600
and we can add effects
just like any other video clip.
4938
05:22:14,600 --> 05:22:18,866
But you had to be careful because if you
guys store will click on the nested clip.
4939
05:22:19,000 --> 05:22:20,666
It's going to take you inside
4940
05:22:20,666 --> 05:22:24,266
where the two clips
that we previously nested will be here.
4941
05:22:24,266 --> 05:22:26,400
We can check them. They are isolated,
4942
05:22:28,433 --> 05:22:30,733
but we
are going to work on the nested clip.
4943
05:22:31,600 --> 05:22:36,033
So we do a single click on this clip
and we are going to add a lumi
4944
05:22:36,033 --> 05:22:39,233
three cutter to that clip
4945
05:22:47,700 --> 05:22:49,266
and this is going to be very easy.
4946
05:22:49,266 --> 05:22:51,566
We're simply going
to the basic correction.
4947
05:22:52,033 --> 05:22:54,166
And if you can notice the candle fire,
4948
05:22:54,200 --> 05:22:57,533
you can realize
that the color is more desaturated.
4949
05:22:58,000 --> 05:23:00,300
I mean, it has less color.
4950
05:23:00,300 --> 05:23:03,600
Then we must modify the saturation
of the fire that is in the hand
4951
05:23:04,066 --> 05:23:11,233
so that it matches the fire of the candle.
4952
05:23:11,233 --> 05:23:14,433
We can also move
the other parameters related to light
4953
05:23:14,733 --> 05:23:18,633
and the amount of white
to get a much closer.
4954
05:23:18,633 --> 05:23:21,733
There is no criteria to move
each of these parameters.
4955
05:23:22,000 --> 05:23:25,500
I mean, what works for one image
may not work for another.
4956
05:23:25,933 --> 05:23:29,566
So if someone tells
that the white parameter must always
4957
05:23:29,566 --> 05:23:33,300
be in only one way, they are wrong,
that is not possible.
4958
05:23:33,533 --> 05:23:37,633
We must develop sensitivity to notice
what is necessary or not.
4959
05:23:37,633 --> 05:23:41,366
So you can already see
how the fire color looks much better.
4960
05:23:41,566 --> 05:23:43,733
It resembles that of the candle.
4961
05:23:44,100 --> 05:23:46,366
I'm going to add a little more saturation.
4962
05:23:46,366 --> 05:23:55,166
I think It's better that way.
4963
05:23:55,166 --> 05:23:57,733
Always tried to take the time to get it
right color.
4964
05:23:58,400 --> 05:23:59,633
But on the other hand, there
4965
05:23:59,633 --> 05:24:03,533
another element that is crucial
to make this fire look real,
4966
05:24:04,266 --> 05:24:06,666
and that is that we must make these fire
4967
05:24:06,700 --> 05:24:09,900
interact in some way with the environment.
4968
05:24:09,900 --> 05:24:12,866
For example,
when they bring the fire close to my face,
4969
05:24:13,033 --> 05:24:16,400
the fire is supposed to light up my face
somehow.
4970
05:24:16,866 --> 05:24:20,233
So this type of detail
takes effect to the next level,
4971
05:24:20,233 --> 05:24:25,066
I mean, it's the same official factors
that gives rise to a good visual effect.
4972
05:24:25,300 --> 05:24:29,366
The light of the fire
has to interact with the face.
4973
05:24:29,366 --> 05:24:34,500
So we must go to the video clip below
and we must create a mask that illuminates
4974
05:24:34,500 --> 05:24:38,866
the face at the specific moment
the fire approaches my body,
4975
05:24:39,200 --> 05:24:43,500
we must set a new meter color
and create a customizable mask.
4976
05:24:44,866 --> 05:24:47,000
The mask is supposed to illuminate
4977
05:24:47,000 --> 05:24:57,733
a part of face and torso, and in this case
it wouldn't be very difficult
4978
05:24:57,733 --> 05:25:02,533
to automate it because the face
practically doesn't move or hardly move.
4979
05:25:03,300 --> 05:25:06,000
So we simply have to check
if the face moves
4980
05:25:06,100 --> 05:25:09,733
while the fire is close
and adjust the mask position.
4981
05:25:10,233 --> 05:25:13,833
So here you can see the mask
and you can notice that
4982
05:25:13,833 --> 05:25:19,033
at this moment, at this point,
the face moves away from the mask.
4983
05:25:19,966 --> 05:25:22,633
And in the previous frames.
4984
05:25:22,633 --> 05:25:25,700
We also have to check that
the mask is in the right
4985
05:25:25,700 --> 05:25:33,566
position.
4986
05:25:33,566 --> 05:25:35,466
Additionally, we must create the fact
4987
05:25:35,466 --> 05:25:39,500
that the mask is only noticeable
when fire approaches the face.
4988
05:25:40,366 --> 05:25:43,300
So what we must do
is use the capacity parameter.
4989
05:25:43,300 --> 05:25:44,533
To achieve this.
4990
05:25:44,533 --> 05:25:49,966
We must automate the capacity so that when
the fire approaches the face, he said.
4991
05:25:50,000 --> 05:25:55,800
100% in just when the fire is moving
away, it's at 0%.
4992
05:25:55,900 --> 05:26:00,000
So at this point
we have the capacity at 100%.
4993
05:26:00,433 --> 05:26:04,266
But just at this moment
before we are going to set the capacity
4994
05:26:04,266 --> 05:26:11,033
at 0%,
4995
05:26:11,033 --> 05:26:17,233
but it's necessary to do it not only in
the moments before, but also after.
4996
05:26:17,233 --> 05:26:29,833
So I'm going to set again the opposite
parameter to the minimum level.
4997
05:26:29,833 --> 05:26:33,533
But obviously, since what
we are doing is a light, we must modify
4998
05:26:33,533 --> 05:26:37,533
the feather parameter a bit
to soften the edges of the mask.
4999
05:26:38,400 --> 05:26:41,600
So from here
we can modify the color temperature.
5000
05:26:42,300 --> 05:26:45,966
We could start in another parameter,
but we are going to start with this one
5001
05:26:46,500 --> 05:26:50,800
so that you can notice the difference
in now the face color looks warmer.
5002
05:26:52,033 --> 05:26:52,966
We can check the full
5003
05:26:52,966 --> 05:26:56,333
video and you can see
when the fire gets closer to the face.
5004
05:26:56,900 --> 05:26:58,766
The color of the face changes.
5005
05:26:58,766 --> 05:27:02,266
So I have increased exposure of it to
5006
05:27:03,600 --> 05:27:03,966
here.
5007
05:27:03,966 --> 05:27:06,233
The light is much more noticeable. Right?
5008
05:27:07,466 --> 05:27:12,633
It looks good.
5009
05:27:12,633 --> 05:27:15,633
I'm going to exaggerate all the parameters
a little more
5010
05:27:16,100 --> 05:27:18,800
in case you don't notice it too well.
5011
05:27:18,800 --> 05:27:23,700
I'm going to raise the temperature
and also the exposure.
5012
05:27:23,700 --> 05:27:31,233
And let's kick it out again.
5013
05:27:31,233 --> 05:27:35,000
I think it's a bit exaggerated,
but I do it like it is.
5014
05:27:35,300 --> 05:27:37,800
So you can notice the difference.
5015
05:27:37,800 --> 05:27:41,000
This is a principle that you should use
when creating visual effects
5016
05:27:41,300 --> 05:27:43,133
with action essentials.
5017
05:27:43,133 --> 05:27:48,133
The first factor is that the action
essential follows movement we want.
5018
05:27:48,666 --> 05:27:51,333
Secondly, that it has the correct color.
5019
05:27:51,666 --> 05:27:55,100
And thirdly, the defect that in this case
5020
05:27:55,100 --> 05:27:58,700
it's the fire interacts
in some way with environment,
5021
05:27:59,033 --> 05:28:03,500
just like we did here, that
the fire lights a face when it approaches.
5022
05:28:04,600 --> 05:28:06,466
But as I always tell, try to
5023
05:28:06,466 --> 05:28:09,600
experiment because in this experimentation
5024
05:28:09,600 --> 05:28:11,733
we can improve all these visual effects.
5025
05:28:12,700 --> 05:28:15,300
In fact,
you can combine different types of fire
5026
05:28:15,300 --> 05:28:18,466
to have more random reactions
of the same effect.
5027
05:28:19,200 --> 05:28:22,266
Well,
since you know how to to add the fire
5028
05:28:22,266 --> 05:28:25,266
by using the action essential,
we can move on to these and other
5029
05:28:26,466 --> 05:28:29,200
more professional example
If we are going to do
5030
05:28:29,200 --> 05:28:32,100
a kind of dissection of what we did here.
5031
05:28:32,433 --> 05:28:35,333
First of all,
you may notice that the shot in itself
5032
05:28:35,600 --> 05:28:38,666
has a blurred background
due to the nature of the lens.
5033
05:28:39,000 --> 05:28:41,733
So we were supposed to match that look
5034
05:28:42,000 --> 05:28:45,766
that are produced
by adding a blur to the fires.
5035
05:28:45,766 --> 05:28:49,966
So there is a blur is in Spanish
because that is the original project.
5036
05:28:50,166 --> 05:28:51,900
But anyway, that is a blur.
5037
05:28:51,900 --> 05:28:54,966
And you can notice that I am activating
the blur and.
5038
05:28:54,966 --> 05:28:59,533
You can notice how different it looks,
but that blur is interesting
5039
05:28:59,533 --> 05:29:01,400
because since the Blur is diffuse
5040
05:29:01,400 --> 05:29:04,800
in the image,
that Blur make us take the fight for real
5041
05:29:05,200 --> 05:29:08,100
because we are not able
to look at the fire in detail.
5042
05:29:08,566 --> 05:29:12,666
So that strategy really pays off
in terms of filmmaking.
5043
05:29:12,900 --> 05:29:14,866
If you're supposed to add some
5044
05:29:14,866 --> 05:29:18,600
effects to your shots,
anything that prevents steals is to detect
5045
05:29:18,900 --> 05:29:24,333
that those effects are artificial, are not
real, will be your best ally.
5046
05:29:24,333 --> 05:29:28,200
We also modify the saturation parameter
in the lumen through color
5047
05:29:28,933 --> 05:29:31,800
to make the fire match
with the lighting of the scene.
5048
05:29:32,233 --> 05:29:35,500
Because you can notice
that the scene is almost in the night
5049
05:29:35,900 --> 05:29:38,433
and the colors are supposed
to be desaturated.
5050
05:29:38,666 --> 05:29:41,333
It's also the nature
of the short films look,
5051
05:29:42,600 --> 05:29:43,500
but you can also
5052
05:29:43,500 --> 05:29:47,200
take into account
that to make an effect based for real,
5053
05:29:47,433 --> 05:29:51,200
you're supposed to add
masks to the nearby songs.
5054
05:29:51,400 --> 05:29:55,833
I mean, that ground, that grass
is supposed to be illuminated by the fire.
5055
05:29:56,066 --> 05:29:58,166
So this mask works for that.
5056
05:29:58,166 --> 05:30:00,600
So you can notice I'm
turning off an effect
5057
05:30:01,666 --> 05:30:03,333
and you can notice the difference.
5058
05:30:03,333 --> 05:30:06,033
It's an essential feature
in terms of lighting.
5059
05:30:06,400 --> 05:30:10,400
Remember that we did it in the example
of the of the hand with the fire.
5060
05:30:10,666 --> 05:30:14,633
We illuminate it in the face
when the fire was approaching it.
5061
05:30:14,866 --> 05:30:19,400
And obviously this effect,
this mask is on the clip of the shot.
5062
05:30:20,000 --> 05:30:22,133
These are the depths of color gradient
5063
05:30:22,466 --> 05:30:26,433
and they are not related to how powerful
the is your computer,
5064
05:30:27,033 --> 05:30:30,500
but rather that to be sensitive
to these changes,
5065
05:30:30,800 --> 05:30:35,000
to the nature of the light,
the nature of the picture, etc., etc..
5066
05:30:35,333 --> 05:30:39,666
On the other hand, you must also take
into account that when it comes
5067
05:30:39,666 --> 05:30:44,133
to creating visual effects, it's crucial
that stage of color grading.
5068
05:30:44,200 --> 05:30:47,466
I'm going to deactivate the fire
to check the color grading.
5069
05:30:47,833 --> 05:30:49,966
I'm going to deactivate
and you may add to color.
5070
05:30:50,300 --> 05:30:52,066
There are several layers.
5071
05:30:52,066 --> 05:30:53,700
They are in a Spanish color.
5072
05:30:53,700 --> 05:30:56,633
The luminary bat is the elementary color.
5073
05:30:56,966 --> 05:31:00,566
And in this shot we did applied everything
I have taught you so far
5074
05:31:01,033 --> 05:31:05,400
in every layer is a very subtle detail
I'm looking for.
5075
05:31:05,400 --> 05:31:08,333
The most important layer,
I think, is death
5076
05:31:08,966 --> 05:31:11,333
is the following.
5077
05:31:11,333 --> 05:31:13,800
So pay attention how different it looks.
5078
05:31:14,300 --> 05:31:18,166
This is the raw look of the image,
the original lighting of the shot.
5079
05:31:18,333 --> 05:31:21,166
But due to the high dynamic
range of the camera,
5080
05:31:21,166 --> 05:31:23,633
we were able to modify the colors
in this way.
5081
05:31:23,866 --> 05:31:29,333
So we did modified its posture
where it creates exposure on its exposure
5082
05:31:29,333 --> 05:31:34,433
in Spanish and just by moving that
parameter, the image looks so interesting.
5083
05:31:34,666 --> 05:31:37,733
But obviously the illumination,
the lighting up on the character
5084
05:31:37,733 --> 05:31:39,066
is decreasing too.
5085
05:31:39,066 --> 05:31:42,133
So in this another layer,
we added another mask
5086
05:31:42,266 --> 05:31:45,166
that was compensating
that absence of light.
5087
05:31:45,566 --> 05:31:47,633
I mean, we did just the same process.
5088
05:31:47,633 --> 05:31:50,300
We did
that previous lesson in the ship cabin
5089
05:31:50,700 --> 05:31:53,866
and you must pay close attention
that we not only modified
5090
05:31:54,300 --> 05:31:57,400
the lighting of the character,
but also the temperature,
5091
05:31:57,933 --> 05:32:02,400
because since the light was different
and it representing a kind of night,
5092
05:32:02,433 --> 05:32:06,000
a cold night, the temperature was supposed
to match that.
5093
05:32:06,300 --> 05:32:09,966
So we did move the temperature
to the cold tones a little bit.
5094
05:32:09,966 --> 05:32:13,433
You can notice here
I'm exaggerating the temperature,
5095
05:32:13,933 --> 05:32:16,166
but is for you to notice the difference.
5096
05:32:16,700 --> 05:32:19,133
And that was all for the character.
5097
05:32:19,133 --> 05:32:23,033
Additionally,
we did also modify the grass color.
5098
05:32:23,333 --> 05:32:25,033
I mean, in order to bring out
5099
05:32:25,033 --> 05:32:29,133
more colors of the shot, thereby
increasing its dynamic range,
5100
05:32:29,133 --> 05:32:32,933
you can notice difference
when I deactivate the made to color.
5101
05:32:33,366 --> 05:32:36,900
I think it's not that subtle,
but it increases the color of the
5102
05:32:36,900 --> 05:32:38,333
entire picture.
5103
05:32:38,333 --> 05:32:41,366
I think that detail makes
the image looks beautiful
5104
05:32:41,700 --> 05:32:46,200
and that was created by using the H
as old secondary effect.
5105
05:32:46,566 --> 05:32:49,800
You can notice the selection
when I check the box.
5106
05:32:50,866 --> 05:32:51,500
Only the
5107
05:32:51,500 --> 05:32:55,233
grass is selected
and since the grass is wholly selected
5108
05:32:55,500 --> 05:33:00,100
we were able to modify
the color of the grass in detail.
5109
05:33:00,100 --> 05:33:01,866
We did raise the temperature
5110
05:33:01,866 --> 05:33:05,666
actually here and moving the temperature
to the cold tones.
5111
05:33:06,100 --> 05:33:10,966
So you can notice that is a
whole set of details that makes the shot.
5112
05:33:10,966 --> 05:33:12,000
We prepared for.
5113
05:33:12,000 --> 05:33:15,066
The visual effects in the last Lumiere
record
5114
05:33:15,066 --> 05:33:18,333
or later
was to decrease the light dramatically.
5115
05:33:18,600 --> 05:33:21,000
So you can notice it looks amazing.
5116
05:33:21,500 --> 05:33:24,933
We did modified all these parameters
that you already know
5117
05:33:25,400 --> 05:33:27,266
to reach that kind of lighting.
5118
05:33:27,266 --> 05:33:28,366
I'm going to activate again.
5119
05:33:28,366 --> 05:33:30,533
The light produced by the fire.
5120
05:33:30,533 --> 05:33:33,066
You can notice them over there
on the background
5121
05:33:35,966 --> 05:33:38,066
and I'm going to activate again the fires.
5122
05:33:38,966 --> 05:33:43,000
I would say that the most important thing
when it comes to creating visual effects
5123
05:33:43,433 --> 05:33:47,266
is the lighting, because the lighting
will help you to deceive the audience
5124
05:33:47,266 --> 05:33:48,433
all the time.
5125
05:33:48,433 --> 05:33:51,666
And even though
you didn't have the best visual effects,
5126
05:33:51,900 --> 05:33:55,200
even in the cases
that you are using animations
5127
05:33:55,200 --> 05:33:59,700
and 3D objects, for example,
the lighting is fundamental
5128
05:33:59,933 --> 05:34:04,066
because you are supposed to make
those elements blend with the background.
5129
05:34:04,066 --> 05:34:08,400
A blend with the shot in the audience
is supposed to take those elements
5130
05:34:08,700 --> 05:34:12,366
as one more part of the environment
and the scene.
5131
05:34:12,933 --> 05:34:14,466
So this lesson is up to here.
5132
05:34:14,466 --> 05:34:16,200
I hope you enjoyed it.
5133
05:34:16,200 --> 05:35:36,933
And until the next lesson.
5134
05:35:36,933 --> 05:35:39,000
Perfect. We are here again.
5135
05:35:39,000 --> 05:35:42,333
This time we are going to use
a spark action essential
5136
05:35:42,733 --> 05:35:45,133
in this subject that is actually a sword.
5137
05:35:45,633 --> 05:35:46,633
What I want to do
5138
05:35:46,633 --> 05:35:50,500
is to create that effect of a spark
along the length of the sword,
5139
05:35:50,733 --> 05:35:52,866
where the sharpening
in the sword with the object.
5140
05:35:53,466 --> 05:35:55,800
So we are going to use the sparks again.
5141
05:35:56,166 --> 05:36:01,400
Last time we used it with the letters, but
this time we will do it with the sword.
5142
05:36:01,400 --> 05:36:03,666
So I'm going to look for the Spark video.
5143
05:36:03,933 --> 05:36:06,066
I'm not going to focus too much on that.
5144
05:36:06,233 --> 05:36:10,966
I will just use one that I already had
in mind and I'm going to add it to.
5145
05:36:10,966 --> 05:36:20,066
The timeline.
5146
05:36:20,066 --> 05:36:23,500
So it's basically the same spark
we used the last time,
5147
05:36:23,733 --> 05:36:26,933
but this time we must take a good look
at the nature of the spark.
5148
05:36:27,300 --> 05:36:30,933
But above all, we can see in the video
the place where the sparks come from
5149
05:36:31,066 --> 05:36:35,300
and the direction in which they came out,
because we have to make the spark cam
5150
05:36:35,300 --> 05:36:40,300
from the contact zone and also the sparks
go downwards or forwards.
5151
05:36:41,000 --> 05:36:43,133
But I insist you can experiment.
5152
05:36:43,133 --> 05:36:45,700
It doesn't have to be exactly
as I told you. Maybe.
5153
05:36:45,700 --> 05:36:49,600
Does it make sense
that the sparks come out like this?
5154
05:36:49,600 --> 05:36:53,900
But I think in that way they could look
good for the exercise we are doing.
5155
05:36:54,866 --> 05:36:56,166
So the first thing to do
5156
05:36:56,166 --> 05:36:59,333
is place
a spark in the right place on timeline.
5157
05:36:59,933 --> 05:37:02,300
In this case, the spark should start.
5158
05:37:02,300 --> 05:37:05,600
Just when I start to rub the object
against the sword.
5159
05:37:06,600 --> 05:37:10,766
Then in the control panel,
we must change the scale of the spark
5160
05:37:11,066 --> 05:37:17,133
and also the position
so that it's right in the contact song.
5161
05:37:17,133 --> 05:37:20,366
But additionally,
we must change the rotation because
5162
05:37:20,366 --> 05:37:23,100
as we know,
the spark originally goes to the right.
5163
05:37:23,500 --> 05:37:25,700
So we must change that.
5164
05:37:25,700 --> 05:37:27,500
But we have two to do that.
5165
05:37:27,500 --> 05:37:31,100
We have the option to change the rotation
in the control panel
5166
05:37:31,633 --> 05:37:34,500
or also add a horizontal flip effect.
5167
05:37:35,033 --> 05:37:37,133
So this time I'm to use effect.
5168
05:37:37,600 --> 05:37:41,733
So we go to the video effects folder
and then to the transform folder,
5169
05:37:42,133 --> 05:37:44,700
and then we choose flip horizontal.
5170
05:37:45,300 --> 05:37:48,200
So we that effect to the spark clip
5171
05:37:48,666 --> 05:37:51,633
and now the spark
will come out to the left side.
5172
05:37:52,566 --> 05:37:55,433
But since the direction
is not completely perfect,
5173
05:37:55,500 --> 05:37:57,666
we are going to modify the rotation a bit
5174
05:37:58,200 --> 05:38:00,933
so that the spark goes
exactly where we want it.
5175
05:38:01,800 --> 05:38:04,800
So the idea is
that you can use the two tools,
5176
05:38:05,233 --> 05:38:07,933
the horizontal flip
and their rotation to achieve it.
5177
05:38:09,033 --> 05:38:09,633
So we just
5178
05:38:09,633 --> 05:38:14,233
go to the effect control panel and change
their rotation a bit so that the spark
5179
05:38:14,233 --> 05:38:16,966
is not completely horizontal to the left
5180
05:38:17,300 --> 05:38:19,733
but is slightly tilted downwards.
5181
05:38:20,466 --> 05:38:23,566
We can correct again
the position of the starting point.
5182
05:38:24,533 --> 05:38:29,200
So the next thing is to determine how far
the spark will be seen in the clip.
5183
05:38:29,400 --> 05:38:33,600
I mean, to cut the spark clip when
the object finishes torching the sword.
5184
05:38:34,733 --> 05:38:37,500
So I think it's right at this moment.
5185
05:38:38,400 --> 05:38:44,266
Then right after here it disappears.
5186
05:38:44,266 --> 05:38:48,033
But you know that the spark has moved
towards the tip of the sword.
5187
05:38:48,400 --> 05:38:52,400
So little by little we are going to look
for a point in the path where.
5188
05:38:52,400 --> 05:38:55,633
We can make
another keyframe of this automation.
5189
05:38:56,566 --> 05:39:01,566
So we go on and on and on.
5190
05:39:01,566 --> 05:39:05,133
And I think that over here it's okay.
5191
05:39:05,833 --> 05:39:08,400
So we move the mask towards the tip,
5192
05:39:09,700 --> 05:39:11,900
placing it just right here.
5193
05:39:12,633 --> 05:39:15,266
So a beginning, it will not be perfect.
5194
05:39:15,600 --> 05:39:18,266
We must go long correcting it.
5195
05:39:18,266 --> 05:39:23,166
So here you can really see the spark move
in, but it's moving faster than the hand.
5196
05:39:23,166 --> 05:39:26,433
So we must adjust that
by creating other key frames
5197
05:39:26,433 --> 05:39:36,366
in between.
5198
05:39:36,366 --> 05:39:52,200
Remember that you can create
as many keyframes as necessary.
5199
05:39:52,200 --> 05:39:54,100
So I think it's ready.
5200
05:39:54,100 --> 05:40:01,100
Let's remove the Blue Guides.
5201
05:40:01,100 --> 05:40:04,633
So it happens that also,
because of the position of the sword,
5202
05:40:05,100 --> 05:40:08,166
the spark must also
be affected by the perspective.
5203
05:40:08,466 --> 05:40:10,666
So we must correct that too.
5204
05:40:10,666 --> 05:40:15,333
When the spark starts near the hilt,
it should look slightly smaller,
5205
05:40:16,566 --> 05:40:18,533
so in this case, in order
5206
05:40:18,533 --> 05:40:21,300
not to exaggerate
with the size of the spark,
5207
05:40:21,666 --> 05:40:25,633
the best option is to keep
the size of the spark a down of the clip,
5208
05:40:26,066 --> 05:40:31,066
and we simply the size of the spark
at the beginning of the clip near degree.
5209
05:40:32,033 --> 05:40:34,600
So I'm
going to reduce the size of the spark.
5210
05:40:34,600 --> 05:40:38,333
Had to begin in
by at least three or whatever
5211
05:40:38,333 --> 05:40:56,766
it's necessary.
5212
05:40:56,766 --> 05:41:00,500
So as we modify the scale,
I think the position of the spark
5213
05:41:00,500 --> 05:41:03,533
was misaligned a bit during the traveling.
5214
05:41:03,533 --> 05:41:05,300
We must correct it.
5215
05:41:05,300 --> 05:41:08,066
So you had to be very patient,
incorrect everything
5216
05:41:08,066 --> 05:41:19,933
until it looks perfect.
5217
05:41:19,933 --> 05:41:30,900
Uh, but
5218
05:41:30,900 --> 05:41:35,333
there is still something else missing,
and that would be the color correction.
5219
05:41:35,333 --> 05:41:39,633
So We must add the lumi tricolor
to the clip, and here we change
5220
05:41:39,633 --> 05:42:11,933
the color saturation to make it the spark
look more real.
5221
05:42:11,933 --> 05:42:15,700
So you could perfectly combine
these effect with a source sound effect
5222
05:42:16,200 --> 05:42:18,100
that is part of this process.
5223
05:42:18,100 --> 05:42:33,400
You know, the sound also makes the picture
look more real.
5224
05:42:33,400 --> 05:42:37,833
So now you know how to add
the spark effect to a sort in
5225
05:42:37,966 --> 05:42:43,066
now you can try it in other context gowns
or as we did in the previous lessons.
5226
05:42:43,433 --> 05:42:44,766
So thank you very much.
5227
05:42:44,766 --> 05:42:46,266
And until next lesson
5228
05:43:26,066 --> 05:43:29,033
for this
lesson, I used a digital drawing tablet.
5229
05:43:29,366 --> 05:43:32,866
You could get one if you want to achieved
what I did in this lesson.
5230
05:43:33,366 --> 05:43:37,833
Digital Drawing tablets
are not that expensive, but the resort
5231
05:43:37,833 --> 05:43:41,500
of what I'm going to teach you in
this lesson is really worth it.
5232
05:43:42,133 --> 05:43:45,300
So once you really have
your drawing tablet connected
5233
05:43:45,300 --> 05:43:47,300
to the computer,
you simply had to record the
5234
05:43:47,300 --> 05:43:50,066
computer screen
while you are writing what you want.
5235
05:43:50,100 --> 05:43:53,966
I mean, specifically
that phrase signature or title
5236
05:43:53,966 --> 05:43:57,800
that you would like to appear
in your video here at the premiere?
5237
05:43:57,800 --> 05:44:03,266
I already have the video where I recorded
the screen when writing on the tablet.
5238
05:44:03,266 --> 05:44:06,500
The only thing that can be a little
difficult is the calligraphy,
5239
05:44:06,900 --> 05:44:08,100
the handwriting.
5240
05:44:08,100 --> 05:44:10,466
But in fact,
you didn't have to be the one to write.
5241
05:44:10,466 --> 05:44:15,100
You could ask someone who has a good
handwriting to help you and write for you
5242
05:44:15,100 --> 05:44:18,900
what you want, what you need, or simply
you make your signature.
5243
05:44:18,900 --> 05:44:23,133
For example, all these drawing tablets
come with a default software
5244
05:44:23,133 --> 05:44:24,500
that you can use,
5245
05:44:24,500 --> 05:44:26,100
but there are graphic designers
5246
05:44:26,100 --> 05:44:29,166
who use their own tablets
directly in the Photoshop.
5247
05:44:29,566 --> 05:44:33,533
I mean, that's not a problem
because these tablets are all and play.
5248
05:44:33,900 --> 05:44:37,300
So I recorded the screen
and I spent some time writing.
5249
05:44:37,700 --> 05:44:41,633
I confess that it costs me a bit
because every time I was run.
5250
05:44:41,633 --> 05:44:45,466
But since the screen was being recorded,
I recorded all the attempts.
5251
05:44:46,066 --> 05:44:51,633
But among all these attempts, evidently
some of them stand out and work.
5252
05:44:51,900 --> 05:44:52,766
I was writing.
5253
05:44:52,766 --> 05:44:56,333
May I tell you something
very important to remember is that in
5254
05:44:56,333 --> 05:44:59,700
writing software you must choose
dark colors for the background
5255
05:45:00,066 --> 05:45:03,600
and wait for the letters or whatever
you are writing or drawing.
5256
05:45:03,900 --> 05:45:07,466
Try to make it the background,
always black, blue or green,
5257
05:45:07,966 --> 05:45:10,233
but just being black or dark is enough.
5258
05:45:10,933 --> 05:45:14,300
So we already our video portion
on the timeline,
5259
05:45:14,633 --> 05:45:17,800
the part
where we write our based on the timeline.
5260
05:45:18,333 --> 05:45:22,966
So what we had to start doing is that
the video clip only shows what we wrote.
5261
05:45:23,133 --> 05:45:27,300
So we must have started by cropping
the ages of all that part of the upper
5262
05:45:27,300 --> 05:45:31,833
section of the software types
and also below where the toolbar.
5263
05:45:31,833 --> 05:45:33,300
And there are two ways to do it.
5264
05:45:33,300 --> 05:45:38,700
And the first is in the passage parameter,
we simply make a mask and that's it.
5265
05:45:39,300 --> 05:45:42,433
We have cropped in the whole section
of both and below,
5266
05:45:42,966 --> 05:45:46,466
and I think this is the most suitable way
because you can crop
5267
05:45:46,533 --> 05:45:49,633
just to where you want it
simpler and easier.
5268
05:45:50,166 --> 05:45:53,100
It all depends
also on what you have written
5269
05:45:53,100 --> 05:45:56,600
or if it's a drawing
or a relatively irregular shape
5270
05:45:56,933 --> 05:46:05,433
in which you need to isolate
that irregular shape.
5271
05:46:05,433 --> 05:46:07,200
But there is also another way to do it.
5272
05:46:07,200 --> 05:46:11,100
You had to go to the effects folder
and then to view the effects
5273
05:46:11,400 --> 05:46:14,800
and then to transform
and there you will select crop.
5274
05:46:15,666 --> 05:46:17,900
So you must add defect to the clip.
5275
05:46:18,033 --> 05:46:20,166
I'm going to deactivate what we did in the
5276
05:46:21,300 --> 05:46:23,200
So in the crop effect, we are
5277
05:46:23,200 --> 05:46:27,166
going to modify, in this case
the top and bottom parameters.
5278
05:46:27,700 --> 05:46:30,366
I mean, to be able to cut
all those sections
5279
05:46:30,366 --> 05:46:41,566
that I don't need in the image.
5280
05:46:41,566 --> 05:46:45,066
So as I told you,
you can cut the image however you want.
5281
05:46:45,100 --> 05:46:47,400
It all depends on what you need.
5282
05:46:47,400 --> 05:46:51,533
But well, the opacity tool is free,
more useful, I think.
5283
05:46:52,533 --> 05:46:55,200
So once the edges of the video
has been cropped,
5284
05:46:55,666 --> 05:47:00,633
the next step is to delete the background
color in this case, that gray color.
5285
05:47:01,000 --> 05:47:04,166
And to be able to do it,
we must go to the chroma key effect.
5286
05:47:04,400 --> 05:47:06,400
So we go to the effect folder.
5287
05:47:06,400 --> 05:47:09,633
Then we click on gain folder
5288
05:47:10,000 --> 05:47:21,866
and then we choose the color key effect.
5289
05:47:21,866 --> 05:47:23,633
So we add the effect to the video clip.
5290
05:47:23,633 --> 05:47:27,133
In the first parameter
you're going to find is the key color.
5291
05:47:27,233 --> 05:47:31,200
Here you will find this small dropper
where you are going to the color
5292
05:47:31,200 --> 05:47:32,966
that we want to eliminate.
5293
05:47:32,966 --> 05:47:35,400
In this case,
we are going to select a gray background.
5294
05:47:35,900 --> 05:47:38,833
Basically, this is the same way we do
a chroma key, you know,
5295
05:47:39,166 --> 05:47:43,533
in which we remove green backgrounds
or someone dressed in green
5296
05:47:43,866 --> 05:47:47,533
to pierce the video and show
what is on the right that video.
5297
05:47:47,966 --> 05:47:50,666
So here
we already have the perforated video.
5298
05:47:51,000 --> 05:47:55,066
I mean, the atelier signature
is the only thing visible in the video.
5299
05:47:55,333 --> 05:47:58,933
And now I can add that signature of all
any other
5300
05:47:59,766 --> 05:48:02,766
or image and put it whatever I want.
5301
05:48:03,400 --> 05:48:04,666
So this is very useful.
5302
05:48:04,666 --> 05:48:08,833
If you want to make a YouTube channel
or you are editors for a YouTube
5303
05:48:08,833 --> 05:48:13,266
or any brand, you can embellish the videos
a lot to use in this technique.
5304
05:48:13,933 --> 05:48:17,100
Now I'm going to add a background image
so that you can see
5305
05:48:17,100 --> 05:48:19,633
what the signature looks like,
and that's background.
5306
05:48:20,400 --> 05:48:24,033
So obviously at first
it will not always look perfect.
5307
05:48:24,366 --> 05:48:27,966
So we must modify these parameters
over here and play with them
5308
05:48:28,566 --> 05:48:31,933
and especially at thin an edge feather.
5309
05:48:32,800 --> 05:48:35,833
So both parameters
allow me to soften the edge.
5310
05:48:36,166 --> 05:48:39,300
In the case of the feather
is directly to soften.
5311
05:48:39,866 --> 05:48:43,400
And the thing is to increase
or reduce the size of the edge.
5312
05:48:44,066 --> 05:48:46,600
So pay attention to how well I am of it.
5313
05:48:46,666 --> 05:48:50,700
The edges are seen more
I mean, they are more noticeable.
5314
05:48:51,400 --> 05:48:55,066
Obviously, the objective
is that these edges disappear.
5315
05:48:55,433 --> 05:48:56,666
I'm going to render this
5316
05:49:03,166 --> 05:49:04,466
now pay attention to how the
5317
05:49:04,466 --> 05:49:08,200
layers appear as if they were an animation
kind of animation.
5318
05:49:09,000 --> 05:49:12,833
Actually making an animation of layers
like this is complicated.
5319
05:49:13,366 --> 05:49:16,566
Not to mention that if you get a software
that makes animated
5320
05:49:17,100 --> 05:49:19,433
of this type,
they are not going to be unique.
5321
05:49:19,800 --> 05:49:23,733
And if there is something you need
in social network or to identify
5322
05:49:23,733 --> 05:49:28,433
a personal brand or whatever you want
is that this element is unique.
5323
05:49:29,000 --> 05:49:32,600
So the only way you can do something
unique is to do it yourself.
5324
05:49:32,933 --> 05:49:37,200
I mean, draw in it or writing it
yourself is the best.
5325
05:49:37,200 --> 05:49:42,200
Additionally, since these letters are also
one more clip, we can move it as we want
5326
05:49:42,500 --> 05:49:46,600
and increase its movement
and improve its animation also.
5327
05:49:47,266 --> 05:49:48,933
So I'm going to do an example
5328
05:49:48,933 --> 05:49:53,233
of what it would look like
if we added movement to those letters.
5329
05:49:54,333 --> 05:49:55,500
For example, we can make the
5330
05:49:55,500 --> 05:49:58,833
letters leave the screen
once they finish appearing.
5331
05:49:59,300 --> 05:50:02,366
So in the position parameter,
we put a key frame
5332
05:50:02,366 --> 05:50:06,166
when the letters finish appearing
and maybe have a second later.
5333
05:50:06,166 --> 05:50:12,900
We put another keyframe
in which we change the position.
5334
05:50:12,900 --> 05:50:15,300
Now look how interesting it looks like.
5335
05:50:15,600 --> 05:50:20,100
I mean, as if it were all an animation
made in a special software for this.
5336
05:50:20,300 --> 05:50:23,800
So it is quite useful
because it's cheap in the end.
5337
05:50:23,800 --> 05:50:26,200
There are very cheap
drawing tablets out there.
5338
05:50:26,433 --> 05:50:29,466
And additionally you
then need a very advanced software
5339
05:50:29,666 --> 05:50:32,800
or a very powerful to make animations.
5340
05:50:33,700 --> 05:50:38,200
So I think the only difficult thing is
having the ability to draw or write well.
5341
05:50:38,733 --> 05:50:40,800
But in fact I think that the letter is
done.
5342
05:50:40,800 --> 05:50:42,633
Need to be beautiful, to be unique.
5343
05:50:42,633 --> 05:50:45,133
Everything will depend on the style
you have.
5344
05:50:45,500 --> 05:51:21,400
So take all these into account
and until the next lesson.
5345
05:51:21,400 --> 05:51:22,366
Hello people.
5346
05:51:22,366 --> 05:51:25,200
In this module
we are going to work on sound design.
5347
05:51:25,833 --> 05:51:30,566
Sound design is one of the most important
stages of the editing process,
5348
05:51:30,566 --> 05:51:34,333
but at the same time it's
also one of the most underrated stages
5349
05:51:34,766 --> 05:51:38,900
for a large part of the film makers
I have met during my career.
5350
05:51:39,033 --> 05:51:43,233
It seems that not important
to create with detail and creativity
5351
05:51:43,533 --> 05:51:47,300
this sounding mention of a story
of any audiovisual work.
5352
05:51:47,733 --> 05:51:51,300
But the truth is that half of what we are
filling in, the information
5353
05:51:51,300 --> 05:51:56,766
we are receiving from any movie
or any short film enters through our ears.
5354
05:51:57,166 --> 05:52:02,233
Additionally, in many current films,
the immersive capacity is related
5355
05:52:02,233 --> 05:52:34,866
to sound design.
5356
05:52:34,866 --> 05:52:36,366
On the other hand, in the same way
5357
05:52:36,366 --> 05:52:40,000
that there are video editors
who only focus technical aspects,
5358
05:52:40,433 --> 05:52:43,733
there are also sound
engineers and sound designers
5359
05:52:44,100 --> 05:52:47,700
who only focus on technical aspects
related to mixing in.
5360
05:52:47,733 --> 05:52:50,766
For example, which we are going to see
also in this module.
5361
05:52:50,766 --> 05:52:55,533
But the truth is that nowadays
tools give us many possibilities
5362
05:52:55,533 --> 05:52:58,733
when it comes to solving
technical problems,
5363
05:52:58,733 --> 05:53:02,866
but it's precisely the creative part
that we have to address,
5364
05:53:02,866 --> 05:53:07,400
especially generally in the projects
you are working on a beginning.
5365
05:53:07,633 --> 05:53:11,900
There will not be good sound designers,
so you had to be able to do that
5366
05:53:11,900 --> 05:53:13,500
job yourself.
5367
05:53:13,500 --> 05:53:17,000
But above all, show the producer
or the director of the project
5368
05:53:17,300 --> 05:53:21,600
that you are really of doing that
job saving production costs.
5369
05:53:21,600 --> 05:53:25,866
Of course, all of these would mean
that you are a worthwhile professional
5370
05:53:25,900 --> 05:53:27,333
for the production team.
5371
05:53:27,333 --> 05:53:31,300
So going to show you an example
of how important it is to use
5372
05:53:31,366 --> 05:53:33,933
sound design creatively in a scene,
5373
05:53:34,533 --> 05:53:38,233
I'm going to show you a scene
from the movie Hair in Scene,
5374
05:53:38,233 --> 05:53:41,266
the main character is finishing up
divorcing his wife.
5375
05:53:41,833 --> 05:53:45,333
But the truth is that deep down
he didn't want to get divorced.
5376
05:53:45,900 --> 05:53:47,966
So they are sharing one last coffee
5377
05:53:48,033 --> 05:53:51,166
where she is
finishing signing her divorce papers.
5378
05:53:51,400 --> 05:53:55,133
But pay attention to the sound
design of the story, to the sound design
5379
05:53:55,133 --> 05:54:15,500
of this scene. I, I
5380
05:54:16,500 --> 05:54:17,400
think that
5381
05:54:17,400 --> 05:54:29,100
this could.
5382
05:54:29,100 --> 05:54:33,866
Wow, here we are.
5383
05:54:33,866 --> 05:54:35,700
We could do this in person.
5384
05:54:35,700 --> 05:54:37,833
And then you've been traveling a lot.
5385
05:54:37,833 --> 05:54:43,000
No, I'm really,
really glad you suggested it.
5386
05:54:43,000 --> 05:54:45,300
I signed all the papers
5387
05:54:46,466 --> 05:54:50,400
for you to sign.
5388
05:54:50,400 --> 05:54:55,266
What's the rush?
5389
05:54:55,266 --> 05:54:58,266
Yeah,
I know. I'm. I'm a really slow signer.
5390
05:54:58,266 --> 05:55:04,266
I realize it took me three months
just to write the letter.
5391
05:55:04,266 --> 05:55:07,800
Anyways, it's marked in the very design,
5392
05:55:08,900 --> 05:55:11,433
so you know, you have to do right now.
5393
05:55:11,433 --> 05:55:12,600
I can just.
5394
05:55:12,900 --> 05:55:16,533
It's just going another way easier
5395
05:56:06,233 --> 05:56:08,666
with you Realize how important the sound
5396
05:56:08,666 --> 05:56:11,566
design was in the emotional structure
of the scene.
5397
05:56:12,000 --> 05:56:15,666
Basically, in the scene they show us
the memories of the protagonist,
5398
05:56:16,233 --> 05:56:20,233
those memories
about when he was happy with his ex-wife.
5399
05:56:20,433 --> 05:56:23,466
But actually the scene
shows those memories
5400
05:56:23,466 --> 05:56:26,133
without sound in silence,
5401
05:56:26,566 --> 05:56:30,266
only leaving the sound of the restaurant
of the cafeteria.
5402
05:56:30,766 --> 05:56:33,066
Just like your memories are in real life,
5403
05:56:33,300 --> 05:56:35,800
we usually the images in our minds,
5404
05:56:36,200 --> 05:56:39,400
but we continue to hear what we are
hearing, whatever we are.
5405
05:56:39,866 --> 05:56:44,600
So even if we did remember the sound,
the sound that we remember in our mind
5406
05:56:44,633 --> 05:56:48,566
is not louder than the sound
that we are hearing at the moment.
5407
05:56:48,966 --> 05:56:52,933
So this decision is not something
that has to do with technical aspects.
5408
05:56:53,400 --> 05:56:56,666
It's something completely creative
that goes by
5409
05:56:56,800 --> 05:57:01,200
knowing how to equalize the audio mix
or adding sound effects to the mix.
5410
05:57:01,633 --> 05:57:04,400
It's something that serves
as a storytelling.
5411
05:57:04,400 --> 05:57:10,166
It's a sound narrative element.
5412
05:57:10,166 --> 05:57:14,233
Another important element is in music
selection, in filmmaking.
5413
05:57:14,233 --> 05:57:17,766
This stage is done by the music editor,
but the music
5414
05:57:18,300 --> 05:57:21,166
is that person who works with a composer
5415
05:57:21,300 --> 05:57:25,600
and the director of the film
to select those musical pieces.
5416
05:57:25,600 --> 05:57:30,066
That best represents
the idea the film director has in mind
5417
05:57:33,800 --> 05:57:34,100
to be
5418
05:57:34,100 --> 05:57:38,000
able to know what is
the most appropriate music for our work.
5419
05:57:38,033 --> 05:57:40,800
We must ask ourselves the right questions.
5420
05:57:41,100 --> 05:57:44,300
First of what is the target
audience of our project
5421
05:57:44,700 --> 05:57:49,466
if it is a commercial film
or is it an independent film?
5422
05:57:49,800 --> 05:57:53,333
For example,
if it's the of the independent short film
5423
05:57:53,633 --> 05:57:56,333
or an independent film,
you have to be aware
5424
05:57:56,333 --> 05:57:59,200
that you should use
as little music as possible
5425
05:57:59,766 --> 05:58:02,666
because the target audience is not common
people.
5426
05:58:03,033 --> 05:58:07,000
It's a group of critics who need to see
this cinematographic language
5427
05:58:07,200 --> 05:58:11,666
in its purest level without anything
that can deceit our emotions.
5428
05:58:11,666 --> 05:58:13,533
I mean that according to them.
5429
05:58:13,533 --> 05:58:17,133
Music often
does that job that the story cannot do,
5430
05:58:17,400 --> 05:58:20,066
which I don't always agree with that,
but well,
5431
05:58:20,400 --> 05:58:25,066
that is the of critics of specializing
in independent cinema.
5432
05:58:25,366 --> 05:58:28,900
On the other hand,
if it is an advertising or a commercial
5433
05:58:28,900 --> 05:58:32,000
or the target audience is also important,
I mean, how
5434
05:58:32,000 --> 05:58:35,400
old is the target audience
That is important to know?
5435
05:58:35,833 --> 05:58:39,266
If it's a video for Instagram,
you could ask ourselves
5436
05:58:39,266 --> 05:58:43,366
the question of whether or not the music
you are listening to is trending.
5437
05:58:43,800 --> 05:58:46,700
So try to take all this into account
and let's move on
5438
05:58:46,900 --> 05:59:19,866
to working on the sound design
and the premiere.
5439
05:59:19,866 --> 05:59:20,400
Perfect.
5440
05:59:20,400 --> 05:59:22,433
We are here again at the Adobe premiere.
5441
05:59:22,966 --> 05:59:26,133
The purpose of this lesson
is to be able to do professional audio
5442
05:59:26,133 --> 05:59:29,633
editing regardless
of whether we an adult or not.
5443
05:59:29,933 --> 05:59:34,800
I mean a professional digital audio
workstation individual premiere can do it
5444
05:59:35,066 --> 05:59:39,300
because in terms of audio editing,
we have all the tools to make it.
5445
05:59:39,700 --> 05:59:44,533
So this time I'm going to use a scene
from one of my best short films.
5446
05:59:44,900 --> 05:59:48,233
So the idea is to edit
all the sound of a scene,
5447
05:59:48,566 --> 05:59:50,833
I mean to create this sound design.
5448
05:59:51,366 --> 05:59:56,900
So I'm going to start using only the video
of these is in to add to the timeline.
5449
05:59:58,566 --> 06:00:00,000
So let's check the scene
5450
06:00:00,000 --> 06:00:02,966
on the programs, monitor
5451
06:00:05,933 --> 06:00:07,766
The scene starts right here.
5452
06:00:07,766 --> 06:00:10,200
The character is running
for a very long way.
5453
06:00:10,200 --> 06:00:14,433
And in fact, in that part,
there is no sound but a soundtrack.
5454
06:00:14,600 --> 06:00:18,400
But where we are going to create
and this sound design is right from
5455
06:00:18,400 --> 06:00:22,466
the moment the character crosses the river
and then he crawls and crawls
5456
06:00:22,466 --> 06:00:26,800
until comes across the corpse
of another character in the story.
5457
06:00:27,400 --> 06:00:30,766
So we are supposed to add
every single sound
5458
06:00:30,766 --> 06:00:35,366
effect of that environment.
5459
06:00:35,366 --> 06:00:38,733
So obviously,
most people are very afraid of this
5460
06:00:39,000 --> 06:00:43,066
because generally we are filmmakers
who know how to use the camera.
5461
06:00:43,066 --> 06:00:47,300
We are interested in video editing,
but when it comes to sound,
5462
06:00:47,466 --> 06:00:50,200
it seems that it's
a completely different world.
5463
06:00:50,700 --> 06:00:54,533
But the truth is that this knowledge
is very important and since the tools to
5464
06:00:54,566 --> 06:00:58,533
the sound are available at the premiere,
we must know how to do it.
5465
06:00:58,800 --> 06:01:02,900
So the following thing we must know
is that we need some sound sources.
5466
06:01:02,900 --> 06:01:06,366
I mean, we must find each of the sounds
that should be playing in the scene
5467
06:01:06,633 --> 06:01:08,666
and we must find them separately.
5468
06:01:09,033 --> 06:01:11,666
There are two ways to get them,
the first in the most
5469
06:01:11,666 --> 06:01:15,666
difficult way is recording them directly,
either on set using
5470
06:01:15,666 --> 06:01:19,400
a portable recording device
like the one you see on screen.
5471
06:01:19,800 --> 06:01:23,433
And the other way is looking for
the sounds on the.
5472
06:01:23,433 --> 06:01:24,866
So this later process
5473
06:01:24,866 --> 06:01:28,633
would be the cheapest,
but that doesn't mean that it's the worst.
5474
06:01:29,100 --> 06:01:30,866
It's simply the cheapest.
5475
06:01:30,866 --> 06:01:35,166
I mean, it turns out that there are many
sound effects of anything on the internet.
5476
06:01:35,300 --> 06:01:38,700
We can find them on sound pages
or on YouTube itself.
5477
06:01:38,833 --> 06:01:41,933
So we simply put the name of the sound
we are looking for
5478
06:01:42,166 --> 06:01:45,833
in the YouTube search engine,
and many of them will appear.
5479
06:01:46,133 --> 06:01:49,733
Then we simply have to download them
and use them in the editing.
5480
06:01:50,366 --> 06:01:52,833
Another important thing to know
is that we are going
5481
06:01:52,833 --> 06:01:56,133
to have to change the premiere
layout several times.
5482
06:01:56,333 --> 06:01:58,866
I mean that preset layout for with you
5483
06:01:58,966 --> 06:02:02,466
because we are going to have
to add effects to the tracks, mix them.
5484
06:02:02,900 --> 06:02:07,333
Remember that the mixer will appear
in the audio preset the mixer console
5485
06:02:07,366 --> 06:02:11,466
which corresponds to each of the all
the tracks that we have on the timeline.
5486
06:02:11,466 --> 06:02:15,733
Remember that the timeline is divided
into sections one sections
5487
06:02:15,733 --> 06:02:19,500
for the tracks above
and the section for all the tracks below.
5488
06:02:19,866 --> 06:02:21,200
So pay attention to the fact
5489
06:02:21,200 --> 06:02:24,766
that each one of the failures
of the mixing console are identified
5490
06:02:25,233 --> 06:02:27,800
or the one or the two of the three
and below
5491
06:02:27,800 --> 06:02:31,200
in the of tracks we see a18283.
5492
06:02:31,200 --> 06:02:35,033
Of course, the result is a master track
where the general mix comes out.
5493
06:02:35,700 --> 06:02:37,300
So the most interesting thing is
5494
06:02:37,300 --> 06:02:40,633
that we are going to need to change
from 1% to another because.
5495
06:02:40,633 --> 06:02:45,966
Actually, the editing preset is much more
suitable to create the sound composition
5496
06:02:46,200 --> 06:02:49,800
and we are going to use the audio preset
only when we go through the mix
5497
06:02:49,800 --> 06:02:51,066
in a stage.
5498
06:02:51,066 --> 06:02:54,933
Everything will also depend on how
comfortable do you feel with each preset.
5499
06:02:55,000 --> 06:02:58,433
But personally, from my experience,
the audio preset consumes
5500
06:02:58,433 --> 06:03:01,333
more computer resources than the percent.
5501
06:03:01,700 --> 06:03:05,200
So I think that this is an important
variable when it comes to choosing
5502
06:03:05,200 --> 06:03:06,300
one or another.
5503
06:03:07,266 --> 06:03:10,100
On the other
hand, returning to the issue of sound
5504
06:03:10,166 --> 06:03:13,633
sound sources, it's important
to create a kind of sound bank,
5505
06:03:14,133 --> 06:03:16,800
a sound backup that we can resort to
5506
06:03:16,800 --> 06:03:20,066
when it comes to doing sound design.
5507
06:03:20,066 --> 06:03:25,333
For example, here I have all these folders
organized for different types of sounds.
5508
06:03:25,933 --> 06:03:29,966
There are environments, footsteps,
sounds of water
5509
06:03:29,966 --> 06:03:33,966
or fire or sounds, shots, etc., etc., etc.
5510
06:03:34,366 --> 06:03:38,533
And the most important thing is that
some of the sounds were recorded by me
5511
06:03:38,900 --> 06:03:42,233
or by my production
with a portable recording device
5512
06:03:42,433 --> 06:03:44,833
and others were downloaded
from the internet,
5513
06:03:45,133 --> 06:03:47,933
as I told you, from YouTube
or all their pages.
5514
06:03:48,300 --> 06:03:51,566
So knowing all,
what do we need to produce a scene?
5515
06:03:51,933 --> 06:03:56,366
Obviously the scene takes place nearest
stream, okay, now of a smaller river.
5516
06:03:56,366 --> 06:04:01,033
So we need to add that background
sound to the whole.
5517
06:04:01,033 --> 06:04:03,066
Anyway,
it's important to know when it comes
5518
06:04:03,066 --> 06:04:06,500
to recording a river,
the sound of that river, for example,
5519
06:04:06,900 --> 06:04:09,966
What we record
doesn't have to be exactly that.
5520
06:04:09,966 --> 06:04:12,333
It could be a little louder, for example.
5521
06:04:12,733 --> 06:04:16,933
That doesn't matter because we can correct
that imperfection in the sound design.
5522
06:04:17,633 --> 06:04:20,700
But in any case, this time
I'm going to use a river sound
5523
06:04:20,700 --> 06:04:24,700
that I downloaded from the internet
so you can convince yourself
5524
06:04:24,700 --> 06:04:27,400
that it can be done with
sounds from internet.
5525
06:04:27,800 --> 06:04:31,166
So on this folder,
I'm going to pick this sound
5526
06:04:31,166 --> 06:04:35,066
that I have here called
Distant River Ambiance.
5527
06:04:35,866 --> 06:04:42,800
So I'm going to drag that file
to the Premier.
5528
06:04:42,800 --> 06:04:47,100
Additionally, since it was a short film
produced by my team, I have the sound
5529
06:04:47,100 --> 06:04:52,133
of the actor who was myself,
but that sound was recorded Later.
5530
06:04:52,433 --> 06:04:55,466
A dubbing was done
to have the acting of the scene
5531
06:04:55,700 --> 06:04:59,700
because during the shooting of the scene
it was impossible to the sound
5532
06:04:59,700 --> 06:05:04,066
because Steadicam was generating noise
and it came through the microphone.
5533
06:05:04,066 --> 06:05:06,633
So we had to double the performance later.
5534
06:05:07,133 --> 06:05:09,966
But what else do we need
in terms of sound?
5535
06:05:09,966 --> 06:05:13,400
We need the sound of the contact
of the hands to grasp.
5536
06:05:13,400 --> 06:05:17,133
For example, the sound of crawling on
the ground is also important,
5537
06:05:17,500 --> 06:05:21,866
but we also need the of contact
with the water splashing sounds.
5538
06:05:22,366 --> 06:05:25,033
So that sound is important
for this scene? Yes.
5539
06:05:25,066 --> 06:05:27,933
When the character crosses the river,
I already have.
5540
06:05:27,933 --> 06:05:31,833
That's in my sound backup,
so I'm going to use it.
5541
06:05:32,900 --> 06:05:34,266
So I'm going to direct that
5542
06:05:34,266 --> 06:05:43,966
sound all at once into the project.
5543
06:05:43,966 --> 06:05:47,100
So when it comes to selecting the sounds
to make it the sound
5544
06:05:47,100 --> 06:05:51,500
design of the character crawling
through the grass, we don't necessarily
5545
06:05:51,500 --> 06:05:54,133
need the sound of some hands in the grass.
5546
06:05:54,533 --> 06:05:57,266
We could use other sounds
that could represent that.
5547
06:05:57,433 --> 06:06:00,266
For example
I'm going to use some sounds of footsteps,
5548
06:06:00,266 --> 06:06:05,833
some with Earth, and also steps on sound
to create the sound of hands on the grass.
5549
06:06:05,833 --> 06:06:09,666
And I tell you this
to motivate you to your creativity
5550
06:06:09,666 --> 06:06:12,533
when it comes to creating sound
environments.
5551
06:06:12,866 --> 06:06:15,733
In other words,
don't let limitations prevent you
5552
06:06:15,733 --> 06:06:18,133
from developing a project of this nature.
5553
06:06:19,066 --> 06:06:20,833
And I have always come across this.
5554
06:06:20,833 --> 06:06:24,433
I have come across good filmmakers
who are afraid to get involved
5555
06:06:24,433 --> 06:06:28,600
with sound design just because they don't
know what it's really.
5556
06:06:28,600 --> 06:06:32,266
So I'm going to add
the sounds that I told you I have put in
5557
06:06:32,633 --> 06:06:47,100
in their respective folders.
5558
06:06:47,100 --> 06:06:51,500
So the first thing I'm going to do
is add this sound of the distant river
5559
06:06:51,500 --> 06:06:58,733
to the timeline
which would be like the sound background.
5560
06:06:58,733 --> 06:07:02,700
So I'm going to select a piece of audio
from the river and drag it onto
5561
06:07:02,700 --> 06:07:03,566
the timeline
5562
06:07:09,766 --> 06:07:10,266
so you can
5563
06:07:10,266 --> 06:07:13,333
modify the volume of the clip
on this line here.
5564
06:07:13,666 --> 06:07:15,133
And you can also automate
5565
06:07:15,133 --> 06:07:18,833
data volume on deadline
using the pen tool on the toolbar.
5566
06:07:19,400 --> 06:07:23,033
I mean, you can automate the volume
in the same way as we did
5567
06:07:23,100 --> 06:07:32,700
the opacity in those previous lessons.
5568
06:07:32,700 --> 06:07:37,900
So we already have that distant river
sound next to the image and can start
5569
06:07:37,900 --> 06:07:41,100
contemplating the image next to the sound
to see
5570
06:07:41,100 --> 06:07:48,900
if it starts to match.
5571
06:07:48,900 --> 06:07:53,300
Pay attention that with that ambient
sound the scene begins to come to life.
5572
06:07:53,600 --> 06:07:57,600
Obviously The rest of the
sounds are amazing, but that ambient sound
5573
06:07:57,600 --> 06:08:01,033
helps me to have a point of reference
regarding the volumes
5574
06:08:01,366 --> 06:08:04,866
that each of the sounds in the scene
should have, because it's
5575
06:08:04,866 --> 06:08:09,033
not just about choosing the sounds well,
but about knowing the exact volume.
5576
06:08:09,033 --> 06:08:16,200
They should have the exact reverberation
index that's panning.
5577
06:08:16,200 --> 06:08:18,200
So I'm going to start by adding the splash
5578
06:08:18,200 --> 06:08:21,866
sound to create the moments
when the character comes out of the water.
5579
06:08:22,200 --> 06:08:26,433
So I'm going to search for the sound
and I'm going to select a splash of water.
5580
06:08:26,433 --> 06:08:28,733
Good enough for that moment.
5581
06:08:28,733 --> 06:08:31,233
We have to take into account
that the character
5582
06:08:31,266 --> 06:08:44,300
comes running.
5583
06:08:44,300 --> 06:08:46,900
I think this part sounds interesting
5584
06:08:53,000 --> 06:08:56,400
and remember that not only the splash
sound, it's necessary,
5585
06:08:56,400 --> 06:09:00,200
but also what comes after,
I mean, a bit of the water movement
5586
06:09:00,600 --> 06:09:03,366
so that the sound we choose
must have all of that.
5587
06:09:03,866 --> 06:09:07,100
So I'm going to drag it to the track
under the river
5588
06:09:07,800 --> 06:09:11,433
and now we have to position it
right at the moment where the character
5589
06:09:11,433 --> 06:09:23,933
comes out of the water.
5590
06:09:23,933 --> 06:09:27,933
Note that here I had automated
the beginning of the sound with the band.
5591
06:09:28,266 --> 06:09:32,200
I had created a kind of fade
in because character crosses the river
5592
06:09:32,200 --> 06:09:41,966
and then steps into the deeper water.
5593
06:09:41,966 --> 06:09:46,366
Another important element of these,
a scene, is that if you look at the scene,
5594
06:09:46,366 --> 06:09:51,200
the scene starts with an overhead shot
from above where the character looks
5595
06:09:51,200 --> 06:09:55,233
very small, and then we see a closer
shot of the character crossing the river.
5596
06:09:55,466 --> 06:09:59,833
So That visual difference should also be
noticeable in terms of sound.
5597
06:10:00,066 --> 06:10:04,033
And in fact, this shouldn't only be noted
in terms of the splash sound,
5598
06:10:04,366 --> 06:10:07,600
but we should also turn up
the volume of the distant river
5599
06:10:07,600 --> 06:10:09,466
so that difference is felt.
5600
06:10:09,466 --> 06:10:18,633
Also, you can turn up the amount of volume
you want to write.
5601
06:10:18,666 --> 06:10:36,000
You feel the scene until you feel it
matches.
5602
06:10:36,000 --> 06:10:37,800
These elements are too important.
5603
06:10:37,800 --> 06:10:39,700
At first glance,
it seems that it's something
5604
06:10:39,700 --> 06:10:43,666
that the audience is not going to notice,
but believe me, that they will notice it.
5605
06:10:43,933 --> 06:10:47,666
They will have the feeling that the scene
is more real than the scene is better.
5606
06:10:48,733 --> 06:10:50,366
But pay close attention to this.
5607
06:10:50,366 --> 06:10:53,133
If you look at here in the splash sound
5608
06:10:53,633 --> 06:10:56,466
here in the corner,
there is an effects symbol.
5609
06:10:56,766 --> 06:10:59,700
If you click here,
you will be able to change the automation
5610
06:10:59,700 --> 06:11:02,800
line to another parameter,
like, for example, panning.
5611
06:11:02,800 --> 06:11:03,733
So in this a scene,
5612
06:11:03,733 --> 06:11:07,400
the characters moves from the left
to the right, he comes from the left,
5613
06:11:07,666 --> 06:11:11,166
and that sensation must be created
in the sound into mention.
5614
06:11:11,633 --> 06:11:15,033
Even though we are the character
from the front of the screen.
5615
06:11:15,300 --> 06:11:20,833
In our main, his movement, his traveling
in has been understood in 360 degrees.
5616
06:11:21,066 --> 06:11:23,100
So we need to represent that.
5617
06:11:23,100 --> 06:11:26,133
So the splash sound
should also play from the left.
5618
06:11:26,900 --> 06:11:30,566
So pay attention that after words,
the camera follows the movement
5619
06:11:30,566 --> 06:11:35,200
of the character in turns to the right
precisely to create that sensation.
5620
06:11:36,700 --> 06:11:39,700
I highly recommend
never pan completely to one side.
5621
06:11:40,000 --> 06:11:42,033
This is a recommendation
from my experience
5622
06:11:42,033 --> 06:11:44,166
recording with my band in a studio.
5623
06:11:44,466 --> 06:11:46,633
I mean, if we panned completely to one
5624
06:11:46,633 --> 06:11:49,633
side, the steering
sensation of the sound is lost
5625
06:11:50,533 --> 06:11:53,900
because every single of the clip
must always sound on
5626
06:11:53,900 --> 06:11:57,633
both sides, simply that when we pan
it's to the place we want.
5627
06:11:57,800 --> 06:12:00,833
The audio clip will sound from that side
to a greater
5628
06:12:00,833 --> 06:12:07,266
extent.
5629
06:12:07,266 --> 06:12:09,200
Perfect. This lesson is up to here.
5630
06:12:09,200 --> 06:12:12,600
We are going to move on to the next one
where we are going to edit the sound
5631
06:12:12,600 --> 06:12:46,900
produced by the contact of the hands
and the body with the grass.
5632
06:12:46,900 --> 06:12:48,133
Perfect. We are here again.
5633
06:12:48,133 --> 06:12:48,866
We are going to edit
5634
06:12:48,866 --> 06:12:52,566
the sound of the contact of the character
with the ground, with the grass.
5635
06:12:53,100 --> 06:12:56,700
We are going to use the sound
running on descend.
5636
06:12:57,166 --> 06:13:02,066
It took it out,
5637
06:13:02,066 --> 06:13:05,133
but we are also going to use
this other one working on the sound.
5638
06:13:05,133 --> 06:13:08,766
This sound is very interesting
because you can feel the water a little
5639
06:13:08,933 --> 06:13:21,933
in every step.
5640
06:13:21,933 --> 06:13:22,366
Perfect.
5641
06:13:22,366 --> 06:13:25,200
We are going to start with the sound
about walking on the sand.
5642
06:13:25,500 --> 06:13:28,766
We are going to cut a portion of the sound
and we are going to drag it
5643
06:13:28,766 --> 06:13:45,600
to the timeline down here.
5644
06:13:45,600 --> 06:13:47,933
So first of all, we must level the volume.
5645
06:13:47,933 --> 06:13:49,233
We are going to increase the volume
5646
06:13:53,400 --> 06:13:55,300
than we are consuming on the timeline.
5647
06:13:55,300 --> 06:13:59,766
Until we see in detail that sound
you're going to need pay attention with.
5648
06:13:59,766 --> 06:14:04,666
I'm going to do I'm going to separate
each of the steps with the research tool.
5649
06:14:05,000 --> 06:14:07,933
One, two, three, four,
5650
06:14:08,133 --> 06:14:15,200
to have each step separately.
5651
06:14:15,200 --> 06:14:18,566
So in this way, we will be able to place
each of these cuts
5652
06:14:18,566 --> 06:14:22,066
where we want to create that
effect of contact on the grass.
5653
06:14:22,500 --> 06:14:24,033
This is very important.
5654
06:14:24,033 --> 06:14:24,600
Trust me.
5655
06:14:24,600 --> 06:14:28,333
I know a lot of good film directors
who don't know this
5656
06:14:28,700 --> 06:14:30,000
and it's really useful.
5657
06:14:30,000 --> 06:14:39,233
It's not as complicated as it seems.
5658
06:14:39,233 --> 06:14:44,033
So we need to make each cut to match the
movement of the character on the screen.
5659
06:14:44,033 --> 06:14:47,866
If while we are editing, we feel that
those sounds need more volume, for
5660
06:14:47,866 --> 06:14:52,333
example, we simply have to select them all
and then click with the right button
5661
06:14:52,700 --> 06:14:59,100
and then delete all the train
and race to gain of the clips.
5662
06:14:59,100 --> 06:15:08,533
So here we can
raise the amount of decibels we want.
5663
06:15:08,533 --> 06:15:10,300
So we need a lot of patience.
5664
06:15:10,300 --> 06:15:13,933
Little by little, we are going to place
each of the cuts taken take on that.
5665
06:15:13,933 --> 06:15:15,000
If at some times
5666
06:15:15,000 --> 06:15:18,633
we see that some of the character's
movements are stronger than others,
5667
06:15:19,000 --> 06:15:22,566
we can increase the volume of the clips
in that specific
5668
06:15:22,566 --> 06:15:27,866
moment.
5669
06:15:27,866 --> 06:15:31,466
Pay attention here to how I am increasing
the volume little by little
5670
06:15:31,466 --> 06:17:19,000
until it matches the image image.
5671
06:17:19,000 --> 06:17:22,500
I personally love it when the scene starts
to come alive like this.
5672
06:17:22,966 --> 06:17:24,966
This really takes the scene
to the next level.
5673
06:17:25,400 --> 06:17:27,733
Additionally,
remember that we can also find
5674
06:17:27,766 --> 06:17:30,233
every single cut that we are adding here.
5675
06:17:30,800 --> 06:17:32,400
I mean, in the same way as a river.
5676
06:17:32,400 --> 06:17:56,400
Also, the sounds of the character
come from the left.
5677
06:17:56,400 --> 06:18:00,133
The most interesting thing about this
is that in Cubase or ProTools
5678
06:18:00,133 --> 06:18:04,533
or example, which are a professional sound
editing software, these is done
5679
06:18:04,533 --> 06:18:26,600
exactly the same way.
5680
06:18:26,600 --> 06:18:27,633
But pay attention to this.
5681
06:18:27,633 --> 06:18:30,900
When the camera turns to the right,
the character leaps the frame,
5682
06:18:31,366 --> 06:18:34,866
but his footsteps
have to continue to be heard somehow
5683
06:18:35,100 --> 06:18:51,466
because are still close to the character.
5684
06:18:51,466 --> 06:18:53,400
So I'm going advanced his work a bit.
5685
06:18:53,400 --> 06:18:55,600
I'm going to add
the rest of the sound cuts.
5686
06:18:56,033 --> 06:18:59,733
So the lesson is no so long
and we continue in the process
5687
06:18:59,733 --> 06:19:07,600
of creating this sound
in this same lesson.
5688
06:19:07,600 --> 06:19:08,166
Perfect.
5689
06:19:08,166 --> 06:19:09,366
I have already made
5690
06:19:09,366 --> 06:19:13,866
each of this sound catch match
each of the character's movements in.
5691
06:19:13,866 --> 06:19:48,966
This is the result.
5692
06:19:48,966 --> 06:19:52,666
We can add more volume
to these last steps of the character
5693
06:20:01,200 --> 06:20:02,366
even more because we are
5694
06:20:02,366 --> 06:20:29,566
seeing the character from much closer.
5695
06:20:29,566 --> 06:20:32,866
So what we are going to do
is mix the sounds of the footsteps
5696
06:20:32,866 --> 06:20:36,833
that we have already added
with the older sound effect that we had.
5697
06:20:36,933 --> 06:20:40,233
They went off running and descend
because that sound is slower.
5698
06:20:40,600 --> 06:20:43,666
So the byproduct of the end of the
two sound effects
5699
06:20:43,666 --> 06:20:56,200
will be of fair quality.
5700
06:20:56,200 --> 06:21:00,066
So we select a portion of this audio
and then we drag it to the timeline.
5701
06:21:00,300 --> 06:21:03,500
But pay attention that I have run out
of all the tracks
5702
06:21:03,900 --> 06:21:07,800
in the timeline
so I can add another track in two ways.
5703
06:21:08,433 --> 06:21:11,066
The first is that we can add a track
by simply going
5704
06:21:11,066 --> 06:21:14,133
to the sequence step and add track.
5705
06:21:14,533 --> 06:21:17,133
But there is another easier way
we can simply drag
5706
06:21:17,133 --> 06:21:19,200
the audio portion to the space below.
5707
06:21:19,200 --> 06:21:23,533
The last sequence in note two Magically,
the software will create a new sequence.
5708
06:21:23,966 --> 06:21:27,466
I'm going to put the audio clip here
on this track that we already have.
5709
06:21:27,800 --> 06:21:30,900
So pay attention
that if I drag it to the space below,
5710
06:21:31,200 --> 06:21:33,600
look at how the new sequence created.
5711
06:21:34,200 --> 06:21:37,500
So what we are going to do is separate
each of the sound heads
5712
06:21:37,900 --> 06:21:40,866
to have the cut separates
it as with the other sound.
5713
06:21:40,866 --> 06:21:42,466
And then we put in right where?
5714
06:21:42,466 --> 06:21:45,833
The ones we added previously are
so they are
5715
06:21:45,833 --> 06:21:55,600
mixed.
5716
06:21:55,600 --> 06:21:56,833
It's important that the way
5717
06:21:56,833 --> 06:22:00,233
you are doing this whole process,
you can experiment with the sounds.
5718
06:22:00,800 --> 06:22:02,200
I mean, try them.
5719
06:22:02,200 --> 06:22:05,100
I mean change their place
to see how they sound.
5720
06:22:05,100 --> 06:22:10,266
Because sometimes we discover random things that we never imagined would sound good
5721
06:22:54,133 --> 06:23:14,466
or you can now hear how each contact
with the grass hats
5722
06:23:14,466 --> 06:23:48,300
match my body in terms of sound.
5723
06:23:48,300 --> 06:23:51,600
Now we are finally going to add
the sound of the actors
5724
06:23:51,600 --> 06:23:54,566
expressions
which were recorded separately.
5725
06:23:55,066 --> 06:23:59,400
So we search for it in the folder
and drag it to the timeline
5726
06:23:59,700 --> 06:24:19,566
in the same way as with the other sounds.
5727
06:24:19,566 --> 06:24:20,400
So obviously
5728
06:24:20,400 --> 06:24:24,233
the sound of the actor's expressions
belongs to the part where we are ready?
5729
06:24:24,233 --> 06:24:25,866
See him up close.
5730
06:24:25,866 --> 06:24:28,733
So we must make it match
the image of the character
5731
06:24:36,100 --> 06:24:38,033
so if it's necessary to increase
5732
06:24:38,033 --> 06:24:40,300
the audio gain would simply do it
5733
06:25:02,700 --> 06:25:15,433
right?
5734
06:25:15,433 --> 06:25:19,100
Ideally, each painting
should match each movement of the arms
5735
06:26:07,933 --> 06:26:11,033
so we can even add binding as well
to the character spent in.
5736
06:26:11,033 --> 06:26:12,633
We can make a curve.
5737
06:26:12,633 --> 06:26:15,566
I mean, at the beginning
it starts from the left
5738
06:26:15,933 --> 06:26:19,833
and at certain moments
we automated change towards the center.
5739
06:26:20,133 --> 06:26:45,400
So it's heard that the sound moves
with the character,
5740
06:26:45,400 --> 06:26:48,600
for example, here
the character enters the frame again.
5741
06:26:48,900 --> 06:27:53,633
We can move the pan to the center.
5742
06:27:53,633 --> 06:27:55,833
You realize how good everything
sounds, right?
5743
06:27:56,066 --> 06:27:59,100
So we are going to leave this lesson here
and you're going to move on
5744
06:27:59,100 --> 06:28:30,600
to the next one.
5745
06:28:30,600 --> 06:28:32,700
So the first thing we are supposed to do
5746
06:28:32,700 --> 06:28:36,300
is to check
the reverberation of each track,
5747
06:28:36,300 --> 06:28:40,966
because we must make all the sounds
seems as if they were in the same place.
5748
06:28:41,400 --> 06:28:44,433
Sometimes this is something
almost imperceptible,
5749
06:28:44,733 --> 06:28:47,866
but dose small details
make the difference.
5750
06:28:48,500 --> 06:28:53,333
For example, we could start by recognizing
that the bass sound here is the river.
5751
06:28:53,800 --> 06:28:55,500
I mean the rest of the sounds
5752
06:28:55,500 --> 06:28:58,700
should be congruent
with the reverberation of that river.
5753
06:28:59,500 --> 06:29:02,000
For example,
let's start with the splash sound.
5754
06:29:02,500 --> 06:29:06,333
Not only does it have to match
the reverberation of the river,
5755
06:29:06,400 --> 06:29:10,233
but the action of colliding with the water
is happening a certain distance
5756
06:29:10,233 --> 06:29:14,266
from the camera so the reverb can generate
that distance for us.
5757
06:29:14,533 --> 06:29:19,200
So we are supposed to go to the mixing
console at the top of the tracks.
5758
06:29:19,500 --> 06:29:21,000
We are going to find this vinyl.
5759
06:29:21,000 --> 06:29:24,600
So right here we are going to be able
to add effects to each of the tracks.
5760
06:29:24,900 --> 06:29:28,100
In this case,
the splash sound is on the second track.
5761
06:29:28,700 --> 06:29:31,366
Pay attention
that there is a very thin gray line.
5762
06:29:31,366 --> 06:29:34,400
The divide is the panel above the line.
5763
06:29:34,400 --> 06:29:37,533
We will be able to add defects
below the line.
5764
06:29:37,533 --> 06:29:40,433
We can route the tracks
to play on group tracks.
5765
06:29:40,733 --> 06:29:42,100
But I would say the most important
5766
06:29:42,100 --> 06:29:46,033
thing is labels where you can add
the effects to the tracks.
5767
06:29:46,033 --> 06:29:50,033
So we must click on these small tabs
and there we will look for there
5768
06:29:50,033 --> 06:29:51,466
with their effect.
5769
06:29:51,466 --> 06:29:54,900
You can notice that there are three types
of reverberation
5770
06:29:55,133 --> 06:30:01,766
going to select this surround reverb.
5771
06:30:01,766 --> 06:30:04,500
So here
you're going to find several parameters.
5772
06:30:04,933 --> 06:30:08,900
I know it seems complicated,
but it's much easier than you think.
5773
06:30:08,900 --> 06:30:11,700
This step,
you're going to find several presets.
5774
06:30:12,000 --> 06:30:14,833
It's like in the reverb style
that we are going to use,
5775
06:30:15,000 --> 06:30:20,100
but we will also be able to change all
the parameters to customize those presets.
5776
06:30:20,900 --> 06:30:23,833
For example,
I'm going to use these cathedral presets.
5777
06:30:25,133 --> 06:30:27,766
So of all
the parameters we are going to find here,
5778
06:30:28,033 --> 06:30:31,233
the most important
is this one where it creates mics.
5779
06:30:31,833 --> 06:30:36,300
So this little fader indicates
that it's a 100%.
5780
06:30:36,366 --> 06:30:40,366
The sound will be completely affected
by the reverb, but as we lowered
5781
06:30:40,366 --> 06:30:45,133
the percentage, it will sound like
the original audio without reverberation.
5782
06:30:45,133 --> 06:30:46,366
So this is the main tool
5783
06:30:46,366 --> 06:30:49,766
where you're going to add
more or less reverb to the track.
5784
06:30:50,366 --> 06:30:52,933
Keep in mind
that this reverberation in the track
5785
06:30:52,933 --> 06:30:56,366
will affect all the audio clips
that are on that track.
5786
06:30:57,033 --> 06:31:00,166
But there is something important
regarding reverb, and that is
5787
06:31:00,166 --> 06:31:03,966
that as we add
the effect to any audio gain is lost.
5788
06:31:04,500 --> 06:31:09,200
So that is the reason why this other fader
is next to it, where it rates
5789
06:31:09,200 --> 06:31:12,433
gain, that is very important
to take into account.
5790
06:31:12,600 --> 06:31:15,800
We also have another fader
that belongs to the feedback
5791
06:31:16,666 --> 06:31:18,966
in another one
that belongs to the violence.
5792
06:31:18,966 --> 06:31:22,266
We can make the reverse sound
more to the right or to the left.
5793
06:31:22,933 --> 06:31:25,733
There is also the first failure
that is to increase
5794
06:31:25,733 --> 06:31:29,466
the wetness of the effect,
which is like intense city.
5795
06:31:30,000 --> 06:31:34,033
Basically, these are the most important
feature of this output panel.
5796
06:31:34,833 --> 06:31:39,133
But pay attention that over here there are
other parameters that you can change.
5797
06:31:39,133 --> 06:31:44,766
You can modify, for example, the room
size, you can modify the reverberation
5798
06:31:44,766 --> 06:31:47,433
bounces over here in bridge delay
5799
06:31:47,866 --> 06:31:50,266
and also the width of the reverberation.
5800
06:31:50,866 --> 06:31:54,000
In fact,
these last two parameters are to control
5801
06:31:54,000 --> 06:31:57,600
that how the reverberation
expands to the sights.
5802
06:31:58,000 --> 06:32:01,466
But I highly recommend
you try the effects, try to experiment.
5803
06:32:01,866 --> 06:32:05,700
I'm just giving you an overview of
the main parameters of the reverberation.
5804
06:32:07,166 --> 06:32:09,500
So the splash starts to sound better.
5805
06:32:10,133 --> 06:32:13,000
I'm going to isolate in the track to test
5806
06:32:13,100 --> 06:32:25,366
the reverberation better,
5807
06:32:25,366 --> 06:32:29,000
so I'm going to add even more reverb,
but also increasing the gain.
5808
06:32:29,800 --> 06:32:34,766
So remember how to do it by raising
percentage and also raising the gain.
5809
06:32:34,800 --> 06:32:36,100
Fader
5810
06:32:43,733 --> 06:32:48,366
Now, it sounds much better because now
the splash can be heard at the distance
5811
06:32:48,400 --> 06:32:53,233
the design suggests, because obviously
nothing is happening next to the camera.
5812
06:32:53,233 --> 06:32:59,933
I mean, there are meters away.
5813
06:32:59,933 --> 06:33:18,433
So let's listen to how it sounds together
with the rest of the sounds.
5814
06:33:18,433 --> 06:33:22,833
So once we had added
the reverberation to the tracks, mostly
5815
06:33:23,266 --> 06:33:27,800
we are ready to move on to the music
because these are singles music.
5816
06:33:27,800 --> 06:33:30,966
I mean, at least one part of the scene.
5817
06:33:30,966 --> 06:33:34,233
And additionally adding music
will allow me to explain to you
5818
06:33:34,500 --> 06:33:37,333
something important
related to audio editing.
5819
06:33:37,500 --> 06:33:40,566
So in order to do this, I'm
going to use two files.
5820
06:33:41,233 --> 06:33:41,966
On one hand,
5821
06:33:41,966 --> 06:33:45,500
there is an audio that contains the music
with this sound design
5822
06:33:45,500 --> 06:33:48,700
at the same time, but you know that
we are doing the sound design.
5823
06:33:48,866 --> 06:33:52,033
Therefore there is another audio
that only contains the music.
5824
06:33:52,366 --> 06:33:56,200
So first of all, what I'm going to do
is to extract a cross section in the file
5825
06:33:56,200 --> 06:34:00,800
that contains both the sound design
and the music, a cross section
5826
06:34:00,800 --> 06:34:02,266
where only plays the music.
5827
06:34:02,266 --> 06:34:06,366
And I'm going to try to mix
this portion of audio with the other audio
5828
06:34:06,366 --> 06:34:10,333
that contains only
the music obviously is the same music.
5829
06:34:10,633 --> 06:34:15,666
So this part of the scene where there is
overhead shot, only the music plays.
5830
06:34:15,666 --> 06:34:18,700
Originally I that was the original idea.
5831
06:34:18,933 --> 06:34:23,300
But once we get closer to the character,
the sound design is starts to play.
5832
06:34:23,500 --> 06:34:28,566
So what I'm doing here is trying to
to cut that part into sound design.
5833
06:34:28,566 --> 06:34:30,066
It starts to play in.
5834
06:34:30,066 --> 06:34:33,900
Obviously in that part
I'm going to add the audio file
5835
06:34:33,933 --> 06:34:36,900
that all the good taste in music
I'm doing this.
5836
06:34:36,900 --> 06:34:39,933
I'm using the original audio
mix of the short
5837
06:34:39,933 --> 06:34:46,733
film.
5838
06:34:46,733 --> 06:34:47,833
So this audio clip
5839
06:34:47,833 --> 06:34:51,900
that I'm moving at this moment,
trying to get it closer to the older
5840
06:34:52,500 --> 06:34:56,966
only contains music, of course,
since it's the same music, I'm
5841
06:34:56,966 --> 06:35:12,866
trying to match the correct point opinion.
5842
06:35:12,866 --> 06:35:17,200
So the purpose of teaching you
this is for you to learn that you can add
5843
06:35:17,200 --> 06:35:21,333
all the effects to the clips
and also all the transitions to the clips.
5844
06:35:21,766 --> 06:35:25,733
And they are old, exactly the same effects
that we can add to the tracks.
5845
06:35:26,066 --> 06:35:28,633
I mean, those
we are able to add to the tracks.
5846
06:35:28,800 --> 06:35:33,600
So we just go to the effects folder
and we look for the all the effects
5847
06:35:33,966 --> 06:35:36,900
in these folder contains
all the effects you can try.
5848
06:35:36,900 --> 06:35:39,500
For example,
there is amplitude and compression,
5849
06:35:39,966 --> 06:35:42,033
there is also delay,
5850
06:35:42,500 --> 06:35:45,266
modulation, noise, etc. etc.
5851
06:35:45,533 --> 06:35:48,600
For example, compression
and is very useful for voices.
5852
06:35:48,933 --> 06:35:53,033
So for example, those acting expressions
that we added to the sound
5853
06:35:53,033 --> 06:35:56,433
design are likely to sound
better with compression.
5854
06:35:56,433 --> 06:36:01,166
So my purpose is also encourage you
to lose the fear of using these
5855
06:36:01,166 --> 06:36:02,500
or the effects.
5856
06:36:02,500 --> 06:36:06,500
For example, you must know that for voices
in also voiceover
5857
06:36:06,633 --> 06:36:09,733
single band
compressor is the most suitable compressor
5858
06:36:09,733 --> 06:36:13,833
when we are talking about a voice
that is playing in a monitor.
5859
06:36:13,833 --> 06:36:15,000
Like for example,
5860
06:36:15,000 --> 06:36:19,466
we can also add equalizer
to stressed the most suitable frequencies
5861
06:36:19,466 --> 06:36:23,500
for a specific type of voice,
but this time for the music.
5862
06:36:23,500 --> 06:36:26,366
We are going to use
audio transitions in the premiere.
5863
06:36:26,366 --> 06:36:29,400
There are three kind of transitions
constant
5864
06:36:29,400 --> 06:36:32,333
gain, constant power and exponential fade.
5865
06:36:32,633 --> 06:36:34,666
They are all almost the same.
5866
06:36:34,666 --> 06:36:37,800
I would say that
the only difference the blending mode,
5867
06:36:38,266 --> 06:36:42,366
but it will depend on the nature of
the audio and most of all with the nature
5868
06:36:42,366 --> 06:36:45,233
of that specific part of the audio clip
5869
06:36:45,500 --> 06:36:47,800
that you want to mix with another clip,
5870
06:36:48,266 --> 06:36:52,333
I'm going to use the constant gain
that is the most natural of all.
5871
06:36:52,566 --> 06:36:55,400
You had noticed that I had added
this transition
5872
06:36:55,400 --> 06:37:05,500
just right in the union.
5873
06:37:05,500 --> 06:37:10,733
So for me it sounds perfect,
that transition I had to match this hit
5874
06:37:10,800 --> 06:37:37,700
that sounds here
with that action of race in the face, I'm
5875
06:37:43,100 --> 06:37:43,833
of course
5876
06:37:43,833 --> 06:37:46,866
that hit was representing that impact
5877
06:37:46,933 --> 06:37:49,500
of coming across dad that gear.
5878
06:37:50,033 --> 06:37:53,766
So I'm going to unmuted the track
where the sound design is playing
5879
06:37:54,166 --> 06:38:17,066
the rest of the sound of the scene.
5880
06:38:17,066 --> 06:38:20,233
I'm going to fix a little bit
the volume of the music
5881
06:38:21,300 --> 06:38:44,066
and I'm going to try it again.
5882
06:38:44,066 --> 06:39:18,300
I'm going to raise the volume
a little more.
5883
06:39:18,300 --> 06:39:22,200
So now I'm going to add that compressor
that I had mentioned before
5884
06:39:22,500 --> 06:39:24,233
to the actors performance.
5885
06:39:24,233 --> 06:39:27,500
So we just go to the audio effects folder
and we look for dead
5886
06:39:27,966 --> 06:39:30,600
and we look for the single band
compressor.
5887
06:39:31,133 --> 06:39:34,200
I have already mentioned
that it was the most suitable
5888
06:39:34,533 --> 06:39:38,033
when the Voice
is playing in a monitor track.
5889
06:39:38,033 --> 06:39:43,266
So it's over here.
5890
06:39:43,266 --> 06:39:47,733
So once we have added that effect,
we can go to the effect control panel
5891
06:39:48,266 --> 06:39:51,600
and we are going to find that effect
over there.
5892
06:39:51,600 --> 06:39:58,333
So we must click on custom setup and
then edit In the parameters window opens.
5893
06:39:58,733 --> 06:40:01,333
You can notice that the effect control
5894
06:40:01,333 --> 06:40:04,666
works the same for audio
under the same principle.
5895
06:40:04,666 --> 06:40:07,666
You can automate any feature in the audio
clips.
5896
06:40:08,000 --> 06:40:11,933
Actually, you can notice that
since I have automated the volume,
5897
06:40:12,200 --> 06:40:15,200
the automation line in the volume
is activated.
5898
06:40:15,233 --> 06:40:18,400
But let's continue with the compass
here In the set up,
5899
06:40:18,933 --> 06:40:21,800
we must select the voiceover over here
5900
06:40:23,933 --> 06:40:24,366
and let's
5901
06:40:24,366 --> 06:40:35,200
check it out.
5902
06:40:35,200 --> 06:40:39,466
And you can notice that
it has more presence and more definition
5903
06:40:39,466 --> 06:40:50,700
in general.
5904
06:40:50,700 --> 06:40:55,500
But actually we can improve that sound,
that quality by using an equalizer.
5905
06:40:55,833 --> 06:40:58,933
So we go to the all effects folder
and we pick a graphic
5906
06:40:58,933 --> 06:41:01,866
equalizer of 20 bands.
5907
06:41:02,400 --> 06:41:07,500
And you must remember that equalizers
go always on top of the compressors.
5908
06:41:07,500 --> 06:41:12,000
So we open the custom setup
and since it's a voice pantin,
5909
06:41:12,000 --> 06:41:15,000
most of all, you're supposed to raise
5910
06:41:15,233 --> 06:41:18,066
the mid high songs on the equalizer.
5911
06:41:18,900 --> 06:41:23,533
This is very important not only for this
case, but also in dialogs, for example.
5912
06:41:23,900 --> 06:41:25,500
But do not exaggerate.
5913
06:41:25,500 --> 06:41:28,866
This changes
you are supposed to be subtle, modifying
5914
06:41:28,866 --> 06:41:37,833
the frequencies.
5915
06:41:37,833 --> 06:41:40,200
It sounds so much better actually,
5916
06:41:41,566 --> 06:41:46,266
and it was not necessary to raise
the volume of the clip or the track.
5917
06:41:46,266 --> 06:42:28,666
For example,
5918
06:42:28,666 --> 06:42:32,733
so you can notice
how far you can go by doing sound design.
5919
06:42:32,733 --> 06:42:36,933
India premiere
because actually Adobe Premiere provides
5920
06:42:36,966 --> 06:42:41,600
all the tools to to create a sound design,
to create a professional mix,
5921
06:42:41,933 --> 06:42:44,366
not use in ProTools or Cubase.
5922
06:42:44,866 --> 06:42:48,100
Even though I have another course
related to sound design
5923
06:42:48,100 --> 06:42:52,366
in Cubase Focus
and how to use Cubase professionally.
5924
06:42:52,366 --> 06:42:55,266
But I could say that
it's almost the same process.
5925
06:42:55,566 --> 06:42:59,200
Try to remember everything,
the transitions, the equalizers
5926
06:42:59,200 --> 06:43:00,566
to compress saws.
5927
06:43:00,566 --> 06:43:04,433
You must also take into account
that when it comes to audio mixing
5928
06:43:04,933 --> 06:43:08,400
in the final tracking and the general
track, you can also add effects.
5929
06:43:08,733 --> 06:43:12,200
I mean you can add multi band
resource and equalizers
5930
06:43:12,266 --> 06:43:16,166
to create that effect of mastering
as a friendly reminder,
5931
06:43:16,166 --> 06:43:19,200
you must also take into account
that when adding tracks
5932
06:43:19,500 --> 06:43:24,066
you are able to add as many video tracks
you want in all the tracks you want
5933
06:43:24,400 --> 06:43:26,700
and you can select the placement
where you want.
5934
06:43:27,100 --> 06:43:30,666
The track is located
and also the track configuration.
5935
06:43:30,900 --> 06:43:34,600
If it's mono example,
these little symbol will appear on
5936
06:43:34,600 --> 06:43:39,800
the minor track is a very small speaker
that you can notice over here.
5937
06:43:40,433 --> 06:43:44,066
So if you using an interface
and interface,
5938
06:43:44,666 --> 06:43:49,733
the microphone will be connected
to one single line, one single input line.
5939
06:43:49,966 --> 06:43:53,433
So the track where you are supposed
to record that voice
5940
06:43:53,666 --> 06:43:56,966
or wherever you want
must have also one track.
5941
06:43:57,500 --> 06:44:00,000
So just by clicking on that microphone
5942
06:44:00,000 --> 06:44:03,466
symbol,
you can start recording a simple asset.
5943
06:44:03,466 --> 06:44:07,766
I'm not able to record anything
at this moment because the software
5944
06:44:07,766 --> 06:44:12,100
is connected to another software
in order to to record the lesson.
5945
06:44:12,333 --> 06:44:15,366
So my interface is connected
to that another software.
5946
06:44:15,666 --> 06:44:20,166
So it doesn't work at this moment,
but since you are going to be recording
5947
06:44:20,233 --> 06:44:23,533
lesson, you will be able
to record the voice as you want.
5948
06:44:24,233 --> 06:44:26,366
So, so far, so good.
5949
06:44:26,366 --> 06:44:29,366
I highly recommend you to take that
another course.
5950
06:44:29,366 --> 06:44:35,366
Have sound design because I really teach
you there about how to master A.U.
5951
06:44:35,366 --> 06:44:35,966
mics.
5952
06:44:35,966 --> 06:44:39,433
I'm talking about surround
mixing many subjects
5953
06:44:40,000 --> 06:44:43,500
to sound design, and most of all, always
5954
06:44:43,533 --> 06:44:47,300
from the point of view of a filmmaker
that is the most important of all,
5955
06:44:47,700 --> 06:44:50,366
because most of the courses related to
5956
06:44:50,366 --> 06:44:53,666
sound design are related to sound mixing
5957
06:44:53,900 --> 06:44:58,166
rather than the creative process
behind crafting a sound design.
5958
06:44:58,766 --> 06:45:02,566
So lesson is have to hear
and until the next lesson
5959
06:45:10,400 --> 06:45:33,633
or perfect.
5960
06:45:33,633 --> 06:45:37,266
After having learned
the subject of reverberation,
5961
06:45:37,266 --> 06:45:41,466
I want to teach you how to add effects
and transitions to the audio clips
5962
06:45:42,000 --> 06:45:45,533
because not only we are going to be able
to add effects to the tracks,
5963
06:45:45,800 --> 06:45:49,366
as in the last lesson,
but we are also going to be able
5964
06:45:49,366 --> 06:45:52,200
to add them to each one of the clips
we are using.
5965
06:45:52,433 --> 06:45:57,266
After all, they work like a video clips
in which we can add effects.
5966
06:45:57,266 --> 06:46:01,333
So I'm going to start explaining these
by adding music to these as seen
5967
06:46:01,800 --> 06:46:05,400
in the particularity of this whole
the file that I'm going to use,
5968
06:46:05,700 --> 06:46:08,866
which is in fact the that the scene
originally has,
5969
06:46:09,300 --> 06:46:12,200
is said this audio contains
not only the music
5970
06:46:12,200 --> 06:46:15,066
but also the original sound
design of the short film.
5971
06:46:15,900 --> 06:46:20,266
So I need to subtract from this audio only
the part where the music sounds alone,
5972
06:46:20,433 --> 06:46:24,300
which is the part where we see the
character running from the shot overhead.
5973
06:46:24,533 --> 06:46:26,666
But since I also have another file,
5974
06:46:26,666 --> 06:46:29,700
the music alone,
I'm going to mix it with that audio
5975
06:46:30,200 --> 06:46:32,866
so that only the music sounds all the way
5976
06:46:32,866 --> 06:46:36,333
because we have already made it
the sound of the scene.
5977
06:46:36,333 --> 06:46:40,333
So here I'm trying to join the two
audio clips just at the moment
5978
06:46:40,333 --> 06:46:43,533
where the sounds of the scene
start to play and obviously
5979
06:46:43,533 --> 06:46:46,666
I have to match the same part of the music
in both
5980
06:46:46,666 --> 06:47:29,033
audio clips.
5981
06:47:29,033 --> 06:47:32,666
So here we are pretty close
to almost matching the two audio clips,
5982
06:47:33,033 --> 06:47:35,466
but obviously it's not perfect.
5983
06:47:35,466 --> 06:47:37,700
I mean, it's noticeable
that there is a cut.
5984
06:47:37,900 --> 06:47:39,800
We must delete that cut.
5985
06:47:39,800 --> 06:47:43,133
We must smooth the transition
between one clip and the other.
5986
06:47:43,533 --> 06:47:48,266
So using this tape that we already know,
we go to the premiere effects folder.
5987
06:47:48,700 --> 06:47:51,333
So here
we will be able to add to the audio clips,
5988
06:47:51,333 --> 06:47:54,466
those same effects
that we can add to the tracks and.
5989
06:47:54,466 --> 06:47:58,333
It will be exactly the same
as when we add in effect to a video clip.
5990
06:47:58,833 --> 06:48:01,600
For example, here there are noise reducers
5991
06:48:01,700 --> 06:48:04,966
that are very useful
for cleaning up the voices.
5992
06:48:04,966 --> 06:48:07,300
You can also add
that compressor to the voices.
5993
06:48:07,600 --> 06:48:10,666
They sound more
clearly on the rest of the mix.
5994
06:48:11,633 --> 06:48:14,533
In fact, that there is a very useful
one in this folder,
5995
06:48:14,533 --> 06:48:18,300
which is the single band compressor
which works. Yes.
5996
06:48:18,300 --> 06:48:22,866
For that there are also equalizers
which are very useful too.
5997
06:48:23,266 --> 06:48:26,400
But what we need
right, are all the transitions.
5998
06:48:26,833 --> 06:48:30,266
And in this folder
we will find three types of transitions,
5999
06:48:30,333 --> 06:48:32,400
game power and exponential.
6000
06:48:32,800 --> 06:48:35,100
In reality,
more than in a technical issue.
6001
06:48:35,100 --> 06:48:38,700
To choose the right one,
you simply have to listen at it
6002
06:48:38,700 --> 06:48:42,000
and listen to which one
sounds more similar to what you need.
6003
06:48:42,733 --> 06:48:45,133
So I'm going to choose
the game transition.
6004
06:48:45,233 --> 06:48:49,200
I just select it and drag it
to the junction of the two clips.
6005
06:48:49,833 --> 06:48:53,700
So this allows me to smooth out
that change from one clip to another
6006
06:48:54,133 --> 06:48:56,633
so that you don't notice
that cut that we did.
6007
06:48:57,100 --> 06:49:00,033
So now it sounds like
the original music complete
6008
06:49:00,033 --> 06:49:08,933
without the sounds of the scene.
6009
06:49:08,933 --> 06:49:13,400
So I'm going to move the music a bit
because when this low beat took place
6010
06:49:13,400 --> 06:49:42,600
in the music, the character is supposed
to be facing forward. I'm
6011
06:49:47,000 --> 06:49:50,000
now pay
attention how it all sounds together.
6012
06:49:50,100 --> 06:49:54,000
I'm going to unmute the rest
of the sound of the scene to listen to it
6013
06:49:54,000 --> 06:50:19,300
together with the music
and feel the magic.
6014
06:50:19,300 --> 06:50:33,333
We can turn up
the gain of the music in general.
6015
06:50:33,333 --> 06:50:35,866
I think I exaggerated a bit.
6016
06:50:35,866 --> 06:51:33,633
I'm going to lower it a bit.
6017
06:51:33,633 --> 06:51:34,300
Perfect.
6018
06:51:34,300 --> 06:51:37,633
Now we can add a compressor
in an equalizer to the voice,
6019
06:51:38,100 --> 06:51:41,033
I mean to the performance
to improve its sound.
6020
06:51:41,633 --> 06:51:45,633
Actually, we could add this to the track
where the voice is playing,
6021
06:51:45,966 --> 06:51:48,533
but I want to show
you directly in the clip.
6022
06:51:49,300 --> 06:51:51,900
So we go to the audio effects folder
6023
06:51:51,900 --> 06:51:54,433
and look for the single band compressor.
6024
06:51:55,200 --> 06:51:58,500
So we selected and drag
it to the voice of the clip.
6025
06:51:59,633 --> 06:52:00,433
So now when you
6026
06:52:00,433 --> 06:52:03,800
click on the audio clip,
it will appear in effect control.
6027
06:52:04,200 --> 06:52:07,133
And here
we will be able to modify its parameters.
6028
06:52:08,100 --> 06:52:13,500
So then we click on Edit
and the Compressor Parameters panel.
6029
06:52:13,500 --> 06:52:15,866
Oh three Attention
to this important detail.
6030
06:52:16,300 --> 06:52:21,100
I almost forget this notice
that appear divided in panning parameters.
6031
06:52:21,100 --> 06:52:24,300
Have the automation
clock activated precisely
6032
06:52:24,300 --> 06:52:27,466
because we have modified
the automation line in the clips.
6033
06:52:27,900 --> 06:52:30,300
I mean, they tell you this
so that you can see
6034
06:52:30,600 --> 06:52:33,033
that it works
the same as with video clips.
6035
06:52:33,666 --> 06:52:36,966
So going back to the compressor here
in this a small tab,
6036
06:52:36,966 --> 06:52:39,733
we select the preset that the compressor
will have.
6037
06:52:40,100 --> 06:52:52,866
In this case,
we are going to select the voiceover.
6038
06:52:52,866 --> 06:53:06,200
Listen to how the character's voice
sounds now with more Bresson's.
6039
06:53:06,200 --> 06:53:07,800
But we can even improve the voice
6040
06:53:07,800 --> 06:53:11,766
with an equalizer
so we can add a 20 band equalizer.
6041
06:53:12,333 --> 06:53:15,500
You should always pay attention
to the equalizer always goes
6042
06:53:15,500 --> 06:53:17,400
before the compressor.
6043
06:53:17,400 --> 06:53:20,500
This must be so because the compressor
must work on the frequencies
6044
06:53:20,500 --> 06:53:23,166
that we are going to reinforce
with the equalizer.
6045
06:53:23,666 --> 06:53:28,433
So we add it, we click on edit,
and we must raise the frequencies
6046
06:53:28,433 --> 06:53:34,900
a bit where the voice is playing.
6047
06:53:34,900 --> 06:53:38,700
For example,
this gap between 1005 thousand hertz,
6048
06:53:38,933 --> 06:53:54,433
it's generally where these kind of voices
sound.
6049
06:53:54,433 --> 06:53:58,333
You listen to how the voice sounds now
with more clarity and presence.
6050
06:53:58,600 --> 06:54:01,300
I'm not increasing the voice volume, only
6051
06:54:01,333 --> 06:54:44,400
improving its equalization.
6052
06:54:44,400 --> 06:54:47,700
So basically this is what making a sound
design is about
6053
06:54:48,433 --> 06:54:50,566
the same that I had done in The Voice.
6054
06:54:50,566 --> 06:54:53,866
For example, you could do it
in the general output track,
6055
06:54:53,866 --> 06:54:55,366
in the mixing console.
6056
06:54:55,366 --> 06:54:57,066
I mean, you can add an equalizer.
6057
06:54:57,066 --> 06:54:59,700
And then for example,
a multi band compressor
6058
06:54:59,800 --> 06:55:02,533
to give more volume
to the whole sound design.
6059
06:55:02,933 --> 06:55:07,200
On the other hand, remember well that
you can download sounds from the internet
6060
06:55:07,533 --> 06:55:11,000
and make a completely professional
sound design without any problem.
6061
06:55:11,233 --> 06:55:15,066
And also remember the issue of transitions
that in fact
6062
06:55:15,066 --> 06:55:18,766
you are going to have to use it a lot,
especially with voices.
6063
06:55:18,766 --> 06:55:20,700
On the other hand,
there is another very useful
6064
06:55:20,700 --> 06:55:23,300
and important tool
when it comes to sound design,
6065
06:55:23,800 --> 06:55:28,466
and that is that you can record directly
on the timeline, record audio
6066
06:55:29,100 --> 06:55:34,166
if you go to the sequence step and then
add track and then you add a MONA track.
6067
06:55:34,166 --> 06:55:37,733
For example, actually here in this panel,
you can also add
6068
06:55:37,733 --> 06:55:41,133
a video track
or another track of any nature.
6069
06:55:41,300 --> 06:55:44,066
I mean,
if you want it to be stereo or mono.
6070
06:55:44,600 --> 06:55:47,833
So if we had them on a track,
we will be able to record what
6071
06:55:48,366 --> 06:55:51,133
in through the input line
where the microphone is connected
6072
06:55:51,133 --> 06:55:55,733
to your interface in the case that you are
using an audio interface, of course.
6073
06:55:56,400 --> 06:55:59,700
So this little white you see here
is what identifies
6074
06:55:59,700 --> 06:56:01,633
the Mona tracks on the timeline.
6075
06:56:01,633 --> 06:56:05,200
And those Mona tracks are
where you should record when you are using
6076
06:56:05,233 --> 06:56:07,133
a microphone with the interface.
6077
06:56:07,133 --> 06:56:08,133
So this is great
6078
06:56:08,133 --> 06:56:12,000
because we don't need any audio
editing software to record anything.
6079
06:56:12,333 --> 06:56:18,100
But anyway, you must record on the Mona
tracks because the audio input is minus.
6080
06:56:18,100 --> 06:56:22,733
If you did it on the stereo track, it
would be recorded readily on the one side.
6081
06:56:22,833 --> 06:56:25,033
I mean, it wouldn't make sense.
6082
06:56:25,033 --> 06:56:27,466
So you simply had to press these little
6083
06:56:27,466 --> 06:56:30,600
that is here and the software will start
recording immediately.
6084
06:56:31,033 --> 06:56:33,633
At this moment,
I can record anything because everything
6085
06:56:33,633 --> 06:56:37,333
is connected to the software
that allows me to record lesson.
6086
06:56:37,333 --> 06:56:38,666
But this is not too complicated.
6087
06:56:38,666 --> 06:56:40,733
Just press there and it will record.
6088
06:56:42,033 --> 06:56:43,200
Well, I think
6089
06:56:43,200 --> 06:56:46,233
the most important thing is
that you lose your fear of editing.
6090
06:56:46,233 --> 06:56:48,433
Now you don't limit yourself.
6091
06:56:48,433 --> 06:56:50,300
It's not as complicated as it seems.
6092
06:56:50,300 --> 06:56:51,566
Yes, try it.
6093
06:56:51,566 --> 06:56:56,300
This is very useful for videos on YouTube
and obviously to create fiction projects.
6094
06:56:56,433 --> 06:56:58,800
Sharp films, movies, etc..
6095
06:56:59,200 --> 06:57:03,033
But I think that today is useful
for everything, including some documentary
6096
06:57:03,033 --> 06:57:03,833
video.
6097
06:57:03,833 --> 06:57:06,466
You could improve the audio
using this entire procedure
6098
06:57:07,066 --> 06:57:10,366
and do not forget that important detail
of their reverbs
6099
06:57:10,800 --> 06:57:13,633
that work
very well to create the soundscapes.
6100
06:57:14,100 --> 06:57:47,466
Well, this lesson is up to here
and until the next one.
6101
06:57:47,466 --> 06:57:50,266
Well, this video
editing course comes to this hand.
6102
06:57:50,700 --> 06:57:55,633
The most important thing is that I'm going
to update eventually with more lessons,
6103
06:57:55,900 --> 06:58:00,433
especially concerning the understanding
of cinematographic language.
6104
06:58:00,833 --> 06:58:03,700
I believe that this is essential
to become better editors,
6105
06:58:03,700 --> 06:58:06,700
better
filmmakers, better videographers also.
6106
06:58:07,133 --> 06:58:09,000
So put everything into practice.
6107
06:58:09,000 --> 06:58:10,600
As I told you, you consume quality.
6108
06:58:10,600 --> 06:58:12,600
You are to develop your own sensitivity
6109
06:58:12,600 --> 06:58:15,133
to moving images
and also the sound dimension.
6110
06:58:15,600 --> 06:58:18,666
Well, if you like this course,
you can leave me a review
6111
06:58:18,666 --> 06:58:23,466
because it will help me a lot to create
even better courses than this one.
6112
06:58:23,466 --> 06:58:38,200
Until next time.
569401
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