All language subtitles for Film & Video Editing

Hello, everyone.

Welcome to this great chance
to learn about film editing.

We are going to start with this
first model in which we are going to see

in detail the fundamental narrative tools
that you must know to start editing.

Additionally, this is a course
in which we are going to learned

how to use Adobe premiere,
so it's necessary to address

those main tools that, from
my point of view, are the ones necessary

to tackle any editing project, any film

project, film editing and video editing.

It's not a mere technical issue.

So as we learn to use Adobe
Premiere software,

we will learn important things
related to editing and filmmaking.

So in this same model,
we are going to learn about the process

of assembling shots.

I think that for fiction it's fundamental.

And during this first model, we are going
to see several lessons related to this

where we will review the same concepts,
but in different examples.

I mean, professional examples
that we will be tune into Premiere

Software and other professional examples
on the screen.

All this knowledge is
part of what I learned in my script

writing Master Degree
as the best film school in Spain is CCAC.

So don't miss the chance to learn this.

So let's start once and for all
with this theoretical lesson.

So the first thing you should know
is that in the editing process

there are three fundamental concepts
or narrative tools

that you should use when editing,
when dealing with a film project,

with a fictional project.

Basically, film editing
is one more stage of a screen writing

because it happens at a script.

It's written to be able to record
all the shots that represent

that script,
or at least come close to that script.

But in the editing process,

we are going to join the shots to tell
what is in the script.

So in that process, problems
and challenges will arise

that we're not possible
to see the filming on during writing.

Additionally,
is the latter stage of writing

because the script is not a movie,
but the editing is a movie.

So pay attention to how important it is.

So these three comes
after ellipses, time and corner.

This is stored in

the ellipses is a narrative tool

that allows you to summarize information
in a story.

I mean,
I mean, amid moments in a chain of events

to shorten the duration of the film,
it allows you to skip

certain moments that do not interfere
with the understanding of the story.

And this is going to happen
for a very simple reason.

The audience sees a scene
and already understands

what could had happened
between the time jumps.

I mean, what could have happened
in that information

that I'm not showing you
because it's understood.

So let's see this example.

That is a very good one.

In the movie 12 Years a Slave,
there is a moment where Solomon asks for

help from a man
who is working as a carpenter.

The actor is Brad Pitt, Indeed.

Let's watch this scene
and then I will tell you.

Originate from Canada.

I guess where that is.

I know where Canada is.

I've been there myself.

Montreal and

Kingston and Queenstown.

And a great many places.

We'll travel a slave.

How came you here?

That's too bad.

Have justice have been done?

I never would have been here.

How was this

coming?

Your.

I'm afraid to tell you.

And the word you speak is profound.

She. It.

It is amazing.

And in no good way.

Do you believe

in justice, As you said,

I do.

Slavery is an evil that should befall.

As you could see by that time,
the movie is almost over.

I think there are minutes left to finish.

I mean, there is not case
in telling this Solomon's story again.

So Solomon is supposed
to tell his story to that man.

That is story that we already knew.

That is everything that we saw
in the movie until that moment.

And that is why there is a direct
narrative jump from the moment

Solomon's asks for help to the moment
where Brad Pitt's character tells him.

That is an amazing story, you know,
not in a good way that is passes.

We don't need to show Solomon
telling the other character the story.

But since we are so audience
know the story,

we can imagine what he told
the other character.

So this narrative strategy allows you
to reduce the length of the mandate.

In any case, we will see another
practical example later on.

The other important element is time.

The length of a shot changes
the meaning of a shot in itself.

This is a very important
we are going to see a very quick

small example in one of my works,

22 plus

three

in this a scene

which is actually a flashback,
I mean a memory.

We notice that the character is history,
not the family, the indigenous family,

but especially the character stares
at the family's daughter.

The baby in the scene last a long time.

The change of glances lasts a long time,
but it happens that this process

of looking for seconds
generates expectations in the audience

because the character is not simply
looking at something to recognize it,

but rather that he is looking at the child
for a long time for maybe two reasons.

The first is that maybe the character
is moved by what he's looking at.

I mean, the family with his daughter
seems really tender to him,

but on the other hand, maybe he wants to
have a family or maybe it's his daughter.

I don't know.

So many things you can imagine

just from the fact that he is looking
at something for a long time,

because the more time the audience passes,
the more questions will be asked.

The other element is the caller.

The caller results important.

In this same scene.

You can notice that since they
are flashbacks in order that those scenes

were taking as a flashbacks, it's
necessary to use a different kind

of correction in those moments
to get more information to the audience.

I mean, they must be aware to the fact
that those two scenes

are a different moment
from the ones they were watching before.

Here there is another example
of a flashback.

It suppose that the character
is remembering the best moment

with detonated with whom
he has come across in a As you can see,

the memory has another color correction,
another color grading.

Additionally,
the color is also related to the emotions

and lighting in the court of correction.

You are not supposed to select a color
for a scene

that could be detrimental
to the emotion of the scene.

So as you could see,
these are very important elements

when it comes to telling these stories
by editing.

It doesn't matter
if it's a movie or a commercial.

It doesn't matter if it's a YouTube video.

All these tools are used to tell a story
properly.

Later on, we will see
another important elements related

to the assembly of the shots,
which is the ordering of the shots.

But we will see that in another
lesson until

the next time.

Perfect.

We are here again.

I know there are important elements
related to this toolbar.

Are those buttons that are over here

and take these buttons
as an extension of these toolbar.

And we are going to start with this magnet
symbol snapped to timeline.

And what is this used for?

This magnet is directly connected
to the racer tool

because it's very difficult
to be precise in the cuts

and sometimes we need to cut
matches the blue guideline.

So when activated the magnet helps
that the cut sticks to line.

But the magnet
not only sticks, the guideline,

but also the borders of the clips.

For example, for example,
when we need a clip to get closer

to other clip, for example,

I'm going to add a cross section
of this short film to the timeline,

and I'm going to get it closer
to the older clip that is in the timeline.

It happens that since we usually zoom in

and zoom out the timeline
in order to work, unfortunately,

and sometimes we need to join two clips,
not biting in any clip.

So in those cases, the magnets
help us that the clip sticks the border.

So if this wasn't enabled, we might be
biting off a bit of the other clip.

On the other hand, when we need to move
the clip to the precise place

we want, for example, when we really zoom
in, the timeline is better for us.

That is not activated.

So you already know how it works.

It's not that complicated and
is one of the most useful tools for us.

You know that when activated, the magnet
helps us to stick to the guideline line,

to stick to borders, to be more precise
and have a better workflow.

On the other hand, there is
an important detail to regarding the cuts

and it's related to the cuts
in the audio section.

I have already told you
about the time code in the timeline,

and I was talking about that
when I was creating the sequence

and it was related to how the time
will be displayed in the timeline

and you can follow the time code
or follow the frames per second.

But it happens that we used to mean
the timeline completely

and you move the blue line guide.

That line is moving
from one frame to another

and that it's a problem
when it comes to editing audio

because the order itself
is more continuous than that frame rhythm.

I mean, you can notice the older jumps

and this is very tricky
when it comes to cutting all the clips.

So in order to solve this, you must click
on the ruler of the timeline

with the right mouse
button and select show all the time units.

So by doing this,
you can move the blue guideline,

not jumping from one frame to another,

but following the continuous all the time.

Therefore, you're going to be more precise
when cutting all the clips.

You must remember that
the audio is more accurate.

I mean, when you are using a 48
caid resolution

that means that there will be
a 40/8000 recordings for second.

You can notice this in the time error

that at this moment is display
in the audio samples.

I mean, every single second is counting
88,000 hairs.

But as you know,
you can also change these to milliseconds.

But this is a good reminder for you
when it comes to cutting audio clips.

So the following button
is this the link selection button?

It happens that sometimes when with rock
a cross section of a video

from the reference monitor to the timeline
with the act, that section with its

respective audio as in this case,
for example, this portion of it is a film.

So when we activate the link section,
when we click on the video clip,

we are going to select the audio
clip as well.

I mean, it's important
when it comes to be in TV editing.

So when we deactivate that tool,
if I click on the clip,

I'm going to select
only the video clip, as simple as that.

So I'm going to do it again.

I'm going to activate the button
in to select a video clip

and select
both the video and audio at the same time.

The following button
is the tool for inserting sequences,

and this tool allows me
to do that in two ways.

So I'm going to use as an example
these and other sequence that I have here.

You can notice that inside that sequence
I have selected this clip,

but put in an and out.

So we go back to the sequence
we are working with

and I'm going to drag
that sequence into this one.

So when this button is deactivated

and we are going to drag a sequence
into this one, it will happen

that all the files inside
that sequence will appear in the timeline.

I mean, it's as if it were moving
all the clips inside that sequence,

into the sequence we are working with.

Of course, we are moving also the editing,
but with the clips separately.

But on the other hand, if I activated
this button, it will work differently.

So I'm going to drag this sequence again
into this sequence we are working with.

And you can notice that I'm
moving a kind of nested clip,

and this nested clip contains
everything inside that sequence.

Regardless if you have marked mean or
an out, the entire sequence will be moved.

So it's a very useful tool when it comes
to creating a huge project, for example.

So you are able to insert as many
sequences as you want into a sequence.

So I'm going to open this sequence again.

You can notice that there is a need
and now a selection.

So I'm going to go back to the sequence
we are working with

and I'm going to drag
the other sequence into this one.

So since the button is activated,
the entire sequence is inserted

and you are able to select the portion
you want of

that sequence as if it were another clip.

And actually if you click on that clip,
you're going to return to

the other sequence.

So I'm going to deactivate a button again
and I'm going to drag the sequence

into this one.

And you can notice that only the selection
was taken into account.

I mean, everything
that was between the end and out

and additionally
and moving the clips inside a sequence.

So the following button
is the marker tool.

Basically, they are reminders
that you are able to add

to the editing
to remind you something important.

I mean, when you're editing a huge project
or a sequence that is too long,

you are likely to miss things
in the editing.

Most of all, when you are working day
after day back to back,

you are doing many changes
in the editing, in the sequences.

So this reminders are very useful
so you can add reminders,

you click on them
and you can put a name if you want,

and actually you have a comment section
below when you are able to to type

comments
related to the sequence or changes.

And also you are able
to change the color of the marker.

So I use this a lot because huge

projects involves many hours of work.

The next tool is this spotter here,

and this tool allows you to select what
you want to be displayed in the timeline.

I mean, the timeline has several features.

You are able to select which one you want
to be displayed as simple as that.

So you can deactivate, for example,
to show audio waves

or the audio key frames, for example,
whatever you want in the timeline.

I would like to stress something important
related to the shortcuts,

because I have never been keen
on using shortcuts

because most of the editors that I know
that use shortcuts are not that good.

But if you want to know
the premiere shortcuts, go to the edit tab

and then keyboard shortcuts
just right here.

The software provides you
all the information about the shortcuts.

I don't like shortcuts at all
because the brain has limitations.

The brain has boundaries,

and I'm not keen on a spend in my memory
in that kind of information.

I mean,

when you are a professional editor,
when you are a professional filmmaker

or a professional artist, you're going
to have to remind a lot of things

related to general culture, to art,

to philosophy, etc., etc.

And you are supposed to do that
in order to bring out

the best of the best
of your artistic references.

And that is a complicated process
in your mind and in your brain.

So I'm not spending my time.

I'm reminded that you can activate this
racer tool by pressing C on the keyboard.

For example, a minute

I simply click on the racer
and I'm going to use the racer.

But anyway, try to remember
what is this magnet tool used for?

And also this linked tool
that allows you to select either

the video clip or the video
and know the clips and together

remember,
it is tool for in certain sequences

that allows you to insert a nested clip
or the clips separately.

Remember also the markers in this last one
and the spanner

that allows you
to display the timeline features.

So this lesson is up to here
and until the next one.

Hello, people.

One of the most important challenges
when it comes to editing movies or editing

any other visual work is to understand
the true meaning of the images.

In my filmmaking course,
I talk about these in depth

semiotic lessons
where I explain how important it is.

The figure ground concept.

I mean, that concept that tells us
that not only the characters

tell us about the story,
but also everything that surrounds them.

But there is a crucial element
when it comes to understanding this.

This element is time, time
and the image time and the contemplation.

The problem today is how the visual world
is that everything is too fast.

We want to communicate as fast as possible
and perhaps some some place,

for instance, works very well
by the very nature of these platforms.

I mean, Instagram, YouTube, Tik Tok.

The problem is that

cinema works differently, especially when
it comes to making quality cinema.

That kind of movies in which

we want to tell them things
and to be able to tell deep things.

It's necessary that the communication
process between the author

and the audience is accurate and correct.

So we must always ask
the following question to ourselves.

The audience is really understanding
what the script means,

and in this sense,
the process of editing is fundamental

because in that process
we are going to determine

not only the order but also the duration
that every single shot will have.

In the story I always use as an example
the action of taking the time

on any clock, how long it takes you
to check the time, a brandy clock.

I mean,
when you see the time in your clock,

I would say the number of the 3 seconds
are taken to see the time.

But if we see the same clock,
the same shot of the clock

for a longer time,
it starts something else in our mind.

We begin to question what we see
on the screen, to ask ourselves

questions about the meaning
of what we are watching on the screen.

And that is where things begin
to happen in our minds.

That is where we start using the image
for another type of reading.

I mean, the amount of time

that an image is on the screen changes
the meaning of the image in itself.

So since determine the duration
of an image on the screen will be our job,

we must be prepared to understand
when necessary or not,

when it's convenient or not.

Stretch or squeeze a shot.

So I will show you a short film
in which I work with my film school.

I worked specifically to end the music,

but the thing is
that this work has problems

related to the creation of the shots,
but at the same time,

there are valuable shots
precisely due to its duration.

So let me give you
a little context of the story.

In this short film.

The story is about a girl
who is an actress

who was sexually abused by someone,
but she doesn't want to say

anything to her mother.

The girl behaves strangely.

She's always in a bad mood.

But at some point in the story,
the girl's mother

finds a sweater of her daughter
with a bloodstain.

And finally the mother understands
that the girl suffered

some kind of abuse and manages
to understand her daughter.

At the end of the story,
this short film has evident

screenwriting problems, including that,
for example, the girl is an actress

and the spectator or the audience fails
to know that she is an actress, actually,

because the director and the screenwriter
of this work simply use as a shot

where there is a kind of calendar
as a mechanism to inform the audience.

The bigger has a shooting
on a specific date,

and that is not enough information
to understand that she's an actress.

But pay attention
to the shot in the first place.

The shot doesn't last enough
time to see it in detail.

And secondly, the word shooting,
which in the calendar say is rolled

that in Spanish is not close enough
to be properly read.

An editor could have
perfectly solved this, for example,

if the shot had been recorded with
enough resolution simply by zooming in

and the shot would have been enough to get
the word shoot in the word road ahead.

And additionally,
if the shot doesn't last long enough

simply by taking a screenshot of the last
frame of the shot, we could lengthen

that shot using that photo
as if it were part of the video.

On the other hand,
at the beginning of the short film, a shot

where we see some flowers
with cars on a table.

It is the first shot
after seeing the gear in the bathtub.

And I must confess
that the first time I saw that shot,

I thought it was a coffin
with some flowers above.

I mean, that kind of made me real flowers.
Arrangements.

It turns out that they are congratulation

gift for the girl
for having acted in a play.

But actually even the traveling
of the shot to the left,

plus the fact that we don't see
the table itself before

the first thing that comes to your mind
is that it's a coffin.

In addition to the order of the shot
into assembly for yields.

I mean the short films, it begins
with a war with Gore at the beginning,

as if she were thinking
about something deeply.

So when you see the image of an
in long gate,

it would object with flowers about
what do you think?

What can you think?

So you said that you had to realize
that the game of things because

if in the data
there is another shot of the same table

from a more distant point of view,
for example, where it's clear

that is a table to the naked eye,
you are supposed to choose that take

or to remove it.
But under the illustration of

Columbia Girl, to look

really? MM

But not
everything is failing in this short film.

For example, the last great shot
of the last scene where the mother enters

the room and lies in front of her daughter
and observes her.

For a long time,
both the director and the editor were able

to take another decision,
such as you decide on their shots,

shoulder or make cuts
to summarize the scene, for example.

But they didn't do that.

Simply,
the scene is long enough to allow us

to contemplate the two characters
for a long time,

to immerse ourselves
in the emotions in their emotions

in a deeper way.

So try to see all these as an example,
because it's like

the fact of contemplating a painting.

Let's use as an example
these minutes painting.

Let the genius live.

Let's suppose this is a shot.

If the duration of this
take where 4 seconds for example,

would that time be now to contemplate
in the background, for example,

to notice that in the background there is
another woman who obviously is with them.

It's enough time, 4 seconds to detail

that there is even on a small wooden boat
in the background,

that is surely the means of transport
by which they arrive at that place.

Surely a magical place
where they wanted to escape, to be alone.

Those to France with their lovers.

So do you realize that that is the only
way to deepen the audiovisual language,

to write, to contemplate art,
to become a real gifted artist?

Until next lesson.

Perfect.
We are here in the Adobe premiere.

In this lesson, we're going to start
learning how to interpret a movie script.

When it comes to film editing, I mean
how a screenplay looks on the screen

and in turn, how a script page
that represents

60 seconds in a movie also looks like.

The tip tip is that we learn to interpret
a film script when it comes to editing,

or at least have an idea
of what the script wants to convey.

I'm going to divide the screen and I'm
going to show you this a scene in this way

shot where everything is going to happen
in one single shot, and at the same time

I'm going to read the script page
responding to this scene.

You must also know that a screenplay page
represents 60 seconds on screen.

But pay close attention to this lesson,
because in fact,

it will not always be like that.

We must be aware,
even when a script is badly written.

So as filmmakers or editors,
we are supposed to know

how long the actions in a film script
really last.

This is start and

end gave in shape day no begin to arm
hangs

over at the edge of the bed
as he is leaps,

an open suitcase lies on the floor.

A music book is in the suitcase.

A soft light illuminates the young skin
of innovation, design

innovation
to sleep soundly on the bottom of a bank.

He wears a green shirt and pants
that are not comfortable for sleeping.

The sheets and pillow are very wide.

The sounds of
some seagulls is heard in the distance.

They seem to get closer at innovations
as a sleep, since not to be disturbed,

the noise of the seagulls increases
and wakes up never kitchen to

no vision to wipe sea sighs
to try to wake up.

He seems to want to go back to sleep,
but he makes the effort to take his eyes

off the morning light indicates
that he must get over

the which intercedes
on the edge of the bed.

He steals, feels tired though,
which into wipes his eyes.

He seems to be somewhat worried,
but he makes it easy for it to muster

the strength to finish standing app
the morning light enters through the small

round windows, typical of a ship
from the early 20th century Norwegian.

The finishes close in his suitcase
has already put on his shoes

and then walks slowly
towards the cabin windows,

approaches the cabin

windows while he fixes his braces,

knobby chin
to watch through one of the cabin windows.

His seems very thoughtful.

There are cutouts
of the walls of the cabin

like someone who has been there
for quite some time.

The cabin lights turn on, indicating

that the ship
is about to dock at the dock?

No. Seemed to realizes
that it's time to leave.

He begins to look around to see
if he has nothing left in the cabin.

They'll be chained
to, sees every detail and turns to a bench

where there are some loose sheets, which
obscures the sheets and reflects deeply.

Lubitsch into approaches
to change and sits down.

He then takes the sheets and goes
through them one after another.

The sheets
seems to remind him of something

nobody center is nostalgic,
his stirs into infinity.

Very thoughtful.

Obviously what we

see on the screen is always
an interpretation of a movie script,

an interpretation
that can come from a script writer

or can come from the film
director himself.

In this context, a question arises,
Does this script page really belong to the

is this in the true these

that in general terms
that is read in the units of actions.

It seems to be the script
that corresponds to this shot.

However, the first thing
we should take into account

is that these are scene the take last
almost two and a half minutes

and we have just read this great page
which only represents 60 seconds.

So pay attention
to the importance of this knowledge

because we can already see
the deficiencies in the writing.

This knowledge allows us to know
the real duration of the actions

that are happening in the script page.

It allows us to know how long the actions
of a character in a scene last.

This knowledge is priceless,
and it's only possible to understand it

through practice because in fact
we read the scene and reading it to me

more or less the lapsed time
that is two and a half minutes.

But try to imagine that we were 1890
pages script that has this problem.

Then the movie would not last an hour
and half, but 3 hours

in that it really is a problem
in terms of production.

On the other hand,
there is an element that stands out

above all in terms
of this written version of the script,

and that is that a large
number of details are described

that it's not possible to portray them,
or at least it's difficult

to represent them.

From the point of view of these take
the shot is a wide shot.

Okay, Now I've only been shot.

And what does this mean?

It means that in reality,
the shot that we must use to tell

what is happening in the cave
in our shoulders,

for example, pay attention
to this line from the script.

A soft light illuminates
the young skin of snobbish enzyme.

It's not possible
to see this detail in the distance

as well as the detail of the book
on the suitcase, the line where it's read

that nobody is worried about something
in the distance.

It's also difficult to see the details
of the no vision does face.

What I'm trying to say
is that all these details

are essential to be able to determine
which are the shots

that we are going to use from the data
that the production team gave us.

And unless there are specific instructions
for choosing which takes to use,

we should to be able to use the script
as a guide in the script,

suggest in its write in
which are the most appropriate takes.

For example,
the detail of the Vicenza Psalm

and the book on Suitcase
that could be in a single closed shot.

So if in the data that we have
that there is a shot

that portrays
those lines in the best way, for example,

this closed shot,
we are supposed to choose that shot.

So what we have to do
is select the parts of the video clip.

Remember that
I told you how to do it earlier using the

I and oh, the entrance
and the exit in direct defeat.

You fragment it to the timeline.

It's important to note that we are always
building our point of view of the script,

but we are supposed to professionally
read the script in order to best

represent it.

It's pay attention
to how this shot is read,

although here it's not exactly noticeable
that the work is in fact a music book.

The book looks much closer in the same way
the skin of the arm of David Chin,

though Additionally,
we can see in this shot

what the Norwegian two clothes are like

as well as how soundly asleep he is.

We can even better notice
the specific white color of the pillow.

In fact, by combining this close shot

with a meeting shot of novitiate
on the bed, for example, in this shot

we can see in more detail
how no which and stressed

remember that the script tells that
now we tend to wear clothes

that are not that comfortable at all
for sleeping.

Additionally,
we can see more detail the paper cuts

that are stuck on the world,
so this shot is quite useful.

So we can then select the video fragment
that we want to use and the I and oh,

and added to the timelines,
there is something very important

to take into account
when it comes to mixing different shots,

different takes of the same action.

We must pay close attention
to the guarding actions.

Cutting actions are those
where we were going to go from one,

take it to another
so that it feels like you are having

multiple cameras and set at the same time.

For example, here to correct
your turn still worst.

The light, in fact, is still light

in the sound of the sequels
that the wakes up between until.

So this action is repeated
in different shots

and it's perfect
to generate that sensation in the montage.

So if we turn to respect
these consecutive elements

when it comes to moving from one
take to another, we will generate another

narrative Meaning in video editing,
we are going to create an ellipses.

Ellipses is a narrative leap of time
in the editing,

and those time jumps can be short time
or a long time.

In any case, we will see that a specific
element later in another lesson.

But since this is not the case,
we must find those cartoon actions

that allow me to properly
join one shot with another.

Now I'm

going to look for another take to continue
building the scene.

In this case, I'm going to use the action
of putting on the bullets

as I cut action to be able to properly
combine the two takes.

So as I told you,
we are going to select the video fragment

that we want with the eye and oh,

and then drag that video to the time line.

So look at how the cutting action looks.

Creating the sensation

that there are several
cameras in the scene is very important.

It is so to the extent that with balance
in the editing of a specific script,

we are going to discover things
from the Datsun, things

that Indian will allow us
to enrich the editing.

For example, in this script
there is an important description.

The morning light enters
through small round windows.

Typical of a ship
from the early 20th century.

Despite the fact that this detail
can be seen in the general shot

in the script that is written
separately in a small paragraph

which suggests that this shot
is a specific shot for dead or dead.

Some details of that element of mass
be seen.

So I'm going to create a space here
between the shots that we have added

to the timeline
to try to add a shot of the windows.

We attention now to this
in one of the shots that was recorded.

Now we can do is sit in reflecting on
the music sheets that he's reviewing.

But if we realize at the end of the shot,
Norwegian distance

out in practically leaves
the windows exposed

as if it were a shot of the windows.

So we can use those seconds
where navigation does not seen

as if it were a take.

I call these taking shots of the shots
themselves.

The interesting thing about this
is that it forces

us to also create a connection
with the other shots.

So there we must also find a cut in action
that help us to combine

the shot with the others.

For example, there is a moment
where now between two turns

still worst at windows,
so that could be the cut action perfectly.

Remember that
a natural action of the character

he turns still worst light
because the light is what walking up

beside that It's the connection
of the character with the outside.

So this little window shot is crucial.

It allows me to describe the space
in more detail.

It's necessary that we compare
all the information that we perceive

in a close shot

with respect to that first general shot
that we saw at the beginning.

The reading of this shot is
very important, and only by comparing them

can we feel how the information reaches us
in a better way.

Pay attention that even though it's
the same action that is,

the action units are contained
both in the close shots

and in this general shot,
the reading is different.

So this is very important to take
into account when it comes to editing

because there are details
that cannot be shown in an open shot.

But the most important thing is that
there is not a one single way to do it,

simply that we must be open
to find in creative possibilities

within the data
that the production team, gypsies

and, especially since many of you
come from my screenwriting course,

and this is another great example
to see what a screenplay

really looks like on screen.

And I would say that it's one of the most
difficult challenges for a screenwriter.

The most valuable thing about this
knowledge is that many times

they will give us projects that don't even
have a formally written script,

but instead they recorded a story
with some back a guide,

and we must build a story in the editing
so we would

practically be writing the story
ourselves.

Well, let's continue with this example.

Let's pay attention to the last paragraph
where the following is read.

Nobody approaches the bench and sits down.

He then takes the sheets and goes
through them one after another.

The music seems to remind him of something

no bitchin doing systematic
he is stirs into infinity.

Very thoughtful.

So in this wide shot an object is seen
looking at the music sheets.

But can we really see that now?

Bitchin is thinking deeply
about what he's seeing The truth

is that in the opening shot
we only see the character

reading the pages,
but we don't see his face in detail.

But look now at this shot here.

We can see the face close enough to
represent what is written in the script.

Here you're seeing the face up close,
and there is no doubt

that now we can do
is thoughtful in affected by what

he sees on the pages
so we can do exactly the same.

We are going to select a cross section
of video that we want to add it

to the timeline
and be able to better described

that emotion that is read in the script.

And in the same way
we must find the cut action set.

It looks very well mixed with the other
shots,

the attention to each of the movements
in the performance

so that ellipsis does occur
in the editing.

Remember that ellipsis is
something that we will see later on.

For example, we can use any of the moments

we're now
we tend to relaxes this head back

associated works of this nature
over and over again.

You will develop a sensitivity

to editing because your brain
will automatically read into shots.

In this way.

So now we can notice that the character
is thinking about to something

he's leaving something
because we are seeing him on the screen.

What is not seen on the screen
doesn't exist.

This is a basic principle of film writing.

If we are not seeing or hearing
something doesn't exist.

But let's suppose that we wanted
to represent this.

A script with a single sequence shot
so the camera would have to travel

through each of the details
in a kind of traveling with a Steadicam

that would allow us to see the details
that are written in the script.

So that would be something very different
from the general shot that I showed

you at the beginning,
where we cannot see close details.

Let's see it one more time to analyze it.

You already realize that, first of all,
the small details are not feasible.

Secondly, it's important

that we know what a script
belonging to this shot would be like.

I mean, in order to have chosen this shot

instead of the composition
with different shots

that describe the details, etc.,

the script had to have another nature.

First of all, the first thing is
that the paragraphs would be much longer

when the paragraphs are long,

the writer is suggesting us
to make a few cuts as possible.

On the other hand, obviously
there would be no detailed descriptions

of the objects, but a general description
of the actions in time.

On the other hand, the

scripts are written in the actions unit
each period in continue

it is a different action
or a different element to describe.

Additionally,
although the ellipses almost always

of course in that jump from one paragraph
to another with a full stop,

there are not always time
jumps in full stops.

Sometimes these forces are simply made
to consume pages in the script

and indicate to the production team
that the scene last for a specific time,

especially when they are expert writers

who really know
how long human actions last.

So take these into account
so that you know how

to interpret
the scripts that are presented to you.

And unless the director himself
has other instructions,

we must follow what the script is
suggesting to us.

On the other hand, film directors
generally make a new version

of the script, especially
when the film director is not the writer.

But even if the same director is
the writer, there are always modifications

because the scripts are always
in a constant process of improvement

until the end,
until the last editing stage.

So it's important, if he prefers it, that
there is an effective communication

process between the film director
into editor of the film or the short film.

So I'm going to leave you the two versions

of these scenes in two PDF files
so that you can review them

and get to know what a movie
script page really looks like.

So that is for this lesson.

And until the next one, Perfect.

We are here again in the topic premiere.

What the purpose of this lesson.

I want to show you

what the ellipses is about
so that you can use this narrative tool.

Whether you are editing a short
film, movie, a video or any stuff,

because in fact it's a tool
that can be used even

in videos for social networks
can mean those videos

for TikTok or Instagram,
whose purpose is to tell a story.

So I had told you that ellipsis is a time
jump in the narration

whose purpose is to be able
to summarize a story because obviously

the time of now do
these sorties is limited

and sometimes
we want to tell a longer story,

I mean, longer than the video,
because if we want to tell

a story of a person
who lived 50 years, for example,

we didn't have 50 years to tell it,
then we need to collect

the most important moments
to tell those 15 years.

So I'm going to use this same example.

We are editing the which
into in the ship's cabin.

So we can notice that
there is a mini story behind the scene.

I mean, the which Indra
is lying in the bed and then he wakes up,

then he checks the music book,
then he gets up and walks

to the window, etc., etc..

But all these shots we are watching
in this montage have, a continuity

that is they are explicitly connected
to each other, directly connected in time.

Actually, I mentioned that
there were certain cartoon actions

such as when I begin
to turn towards the light.

That is important
because there were two shots in a row

and also the action of Putin on his
is very important.

Also when he looks towards the windows,
well, he is seated.

There is an explicit continuity
in the Haldeman's edge and in that sense,

a sensation is created as if there were
several cameras on the shooting set.

But what would happen
if I eliminate that connection

that it seems to be in one shot,
in another, that connection

that generates continuity,
that continuity,

I mean, that I choose some random shots

in the scene inputs in one after another

by doing that
and the narrative becomes something else.

And usually the ellipsis appears
because it reads as if there are narrative

timestamps between what is happening in
one shot in another.

So I'm going to show you a piece of man
dictionary just doing this

that is altering
the continuity of actions.

I'm going to show you where I read
the script

corresponding to those narrative elements,

and I'm going to show you
how it's written right from this moment.

We're now begin to begins

to look around to make sure
that he has not forgotten anything.

And let me mention
that he had added some music to it

to even enhance this,
which in two begins to look around

to make sure he hasn't forgotten
anything in the cabin.

There'll be a sentence
laying underbank reading his music book,

The Witch, into walks from one side
to the other in the cabin.

We tend to sit it on the bench
reading some music sheet

that we tend to sit in, and the bank
he proposes as he thinks deeply

that we tend to sit in on the bench
reviewing the music sheets.

So as you can notice in the script,
each of the final actions

are written in a single small paragraph
because the script

is telling us
that they are different action units.

This is typical of ellipsis,
but that is not enough.

Rather than your actions
that don't have an explicit connection

with the other, I read a connection
in Generation Dad means time jumps

and those time jumps are the leap sees Amy
and this set of different actions.

So one after another indicates
that more time has elapsed

than what we are seeing
directly in the film.

Obviously, this is not done randomly.

That is, there is a context

where we see the characters
in a sort of wait in the cabin

and then we see that set of units
of different actions.

I mean, if different shots
one after another,

in that context of waiting in the cabin,
help us understand

that the differing shots in a role
represent the passing of time.

For example, try to imagine that
the character could be changing clothes,

exercising different actions
one after another in that will represent

the passage of time, not to mention
that the lighting in each shot

could change to represent
different moments of the day.

But that would be even more explicit.

I suppose that you have seen

these in movies and this is that in there

it's a device that leaps is in fact
the character could be doing other things,

perhaps thinking here in the cabin,
then having dinner with his mother,

then on public transport,
etc., for example.

We could do that.

But of course
we must give a slight previous

context that justifies all those moments.

So everything will depend on the context
in which the editing is made and obviously

on the information that the viewer
has before seeing the scene.

But in general terms,
that LEAP says assist.

It's those spirits at the time.

Another perfect example would be when
a girl is getting ready to go to a party,

she's bathing and then put a make up
and then dressing, etc.

Their time is Besson.

So as I told you, it's
a very good strategy

to tell these stories
in all current communication formats.

But on the other hand, if it were the case
that you cannot give the viewer

prior information that makes them
understand that the different shots

or actions represent the passage of time,
we could add a voiceover

that would allow us to finish
understanding that time is passing.

So I'm going to show you the same scene,
but with a voiceover, a the character

with thinking about things in his mind
while time passes.

So it would be an extra tool
that you could add when it comes

to making montage with ellipses.

The hours passed like the wind passes
over to Iraq without asking,

but it was at

that precise moment he understood
the life was already giving me

another chance, and I could
in a state in the same place anymore.

There was nothing else to wait for

but to follow that voice inside of me.

Did you realize the difference?

The voice is helping you understand
the fact that he is waiting.

Obviously this is explicit,
but true to mind

in a scene where each of the actions
were really different

then the voice could really help
us understand the whole sequence.

So I'm going to give you
an example of a scene from the movie

Benjamin Button,
where this narrative is strategy.

It is there.

It's a device used to tell
the passing of time in the story

of course,
the scene is embellished with a voiceover.

So until the next lesson,

it's running back.

And maybe that's way.

So that's perhaps the voice that we lost
in the war might stand and come home

again, home to phone

work.

Our children

to live long,

full lives.

Perhaps my own son might come home again.

I'm sorry to offend anybody.

I hope you enjoy my clock

first.

Okay?

Yeah, he did. Gave

some say died of a broken heart.

Some say he went to see.

Hello, everyone.

You're here again.

I had added to the premiere
the reunion fliers of the came around

those files
corresponding to one of the recordings,

which we are going to work with.

So what we are going to do in this
lesson is to create the proxies

which are kind of two files
that will allow me to work

with the original files of the camera,
those files without compression.

But proxies allow me to improve workflow
and computer performance.

So we are going to create the proxies

if any of these folders
that have the original files.

So what we have to do
is select all the files inside the folder.

You can choose all of them
at the same time.

In fact, it's the most recommended option,
obviously, because we want to use them

all, then we select them and press
to right mouse button and go

to where it reads proxy,
and then we click on Create Proxies.

So this window will immediately open where
we are going to choose General Presets.

And here we are going to have two options.

The first one is the option
to create MP for files in H 264 format

and just below in this tab we can choose
how much compression we want in that file.

There are three options
high, medium and low,

but also we have the option
of choosing quicktime format

I mean mov files and this option
compresses the files in breast quality.

Perez is a professional uncompressed
format with enough quality,

but less than an original uncompressed
file from the camera.

Actually, sometimes the film camera

even has the option
of recording in a press format.

But the truth is that
in that press format,

there are options with higher resolution
and with less resolution.

It means that even if the original
are impressed, we can create proxies

but with less resolution
that allows me to have a good workflow

without sacrificing
so much quality on the programs monitor.

But I highly recommend
you always choose the and before age 264

in any of these three versions,
because it's the one

that will give you
the best performance in this part.

Below,
you will be able to choose the location

where you want
all those proxy files to be saved.

You can choose the place
you want by press in the Browse button,

so a search engine will simply open
where you can choose the folder you want.

I highly recommend
you always save it in a folder near where

the original files are to improve
the performance of the computer

because the computer will search a certain
part of the hard drive.

Therefore, if those files are closed,
the computer will take less time

to connect them.

Are you already selected
a specific folder?

But in fact the software has the option
of directly creating a folder

next to the original folder
for that very reason that I'm telling you.

So if you want to do it
automatically simply select the option

that is just above and as it a proxy

folder will be automatically created
next to the original folder.

So once we have chosen all

the specifications we want,
we simply have to press.

Okay.

And immediately the Adobe made
the encoder, which software will open?

It's important to mention
that you should have the entire DOP suite,

but if you have the premiere
and the made in go, there is enough.

So once the Adobe made encoder opens,
it will start creating proxy files

in the background.

The truth is that this process consumes
a lot of computing resources.

The meeting coder is supposed
to work in the background, but in reality,

unless your computer is very powerful,

you will have to wait for the proxy files
to be created.

So this message appears to me here,
because I already created the proxy files.

So I'm simply going to stop
and the creation of the files.

But anyway, you just have to wait
for all the files to be created.

And once all the files are created,
you just have to close the adobe.

Mary Ann Colter
So when's the meeting or the race closed

and the camera files are ready
connected to the proxy files.

But anyway,
if by chance they are disconnected,

you simply have to go to the proxy tab
and click on attach proxies.

So this message appears to me,
because I had already created the proxies

and I created them again, but I already
have them created in that folder.

But after doing all this,
you must activate this button.

Toggled Proxies in the program monitor
that allows me to finally connect

the proxies to the program monitor,
which is what really matters.

So the computer, every time it uses a file
that has a proxy created,

it will use the proxy, fail to display
the image on the program's monitor.

With a better workflow,
with better performance.

And the best part of all these is
that we can even add effects

to the video clips
and also use the proxies.

Additionally, do not worry because
when you go to export the final file,

the software will use the original files
of the camera to do the final file.

So try to take advantage

this tool to be able to edit
any kind of professional project,

even if your computer
is not powerful enough

until the next lesson.

Perfect.

What we are going to do in this lesson,
we are going to learn to use the text tool

from the Timeline toolbar,

but additionally we are going to learn
to make on the lines over the text,

which is something very useful for YouTube
version, for videos,

for social networks, and even titles
for movies and short films.

On the other hand,
you are going to embellish

those under the lines
with an action essential

that I know is something
that you are going to love a lot.

It should be noted that
although if you're going to use action

essentials in this lesson,

we are going to use Action essentials
in much more detail later on.

So let's start with the text tool.

So we simply have to select the text tool,
the T in the Timeline toolbar,

and then go to the program manager
and click where we want the text to be.

So I'm going to type B atelier.

So immediately after we finish

writing the text we want a graphic
clip is created on the timeline.

We can stretch or squeeze
this clip as we want,

and it's exactly the same
as if it were a video clip.

Obviously, the only thing
visible in this clip is a text,

and the text will be seen on the screen
as long as it is on top of any other clip.

So we can click on this
and it will automatically open

the general parameter in the control
panel, as if it were any other video clip.

And obviously we can add defects we want
and they will only affect

the text that we have here.

But pay attention.

In reality,

the text that we had written is not
the only one that can be in this clip.

I mean, we could add other text
that are inside this graphic clip

and the individual parameters of each text
will appear in the effects

control panel.

So the graphic clip
would be a kind of general clip

that can contain
all the text that we want.

This is very important, too,
because we can add effects

to the text in the clip separately.

For example, if I keep the graphic
clip selected and also the timeline

guide is on the graphic clip, if I select
the text tool, the gain in a right

and it's in a new text
will be created within this same clip.

So pay
attention that I have typed to my name

and no new clip
was created in the timeline.

But if we review the graphic clip
that we have already created,

we will find individual configuration
tab of that new text.

But you have to pay close attention
to a detail that has to do with this.

You had to be careful
because you can get confused.

It happened to me at the beginning.

If you change the position
parameters of the clip,

it will affect the position
of all the text that are inside it.

It may seem logical,
but if you add the text first

and you get movement to the clip
in the parameters, set the clip

and not of the text.

Then when you add another text,
you will be quite confused.

Look how these parameters affect
two text that I have in the clip.

So I'm going to delete this automation
that I just did on the clip.

So if I wanted to get the movement
to one of the specific text,

I would have to go to the individual
parameters of the text that I want

so that it only moves that one
so we can check the parameters.

So you can notice it and realize
that they are exactly the same.

Obviously, this also allows us to add
effects that only affect a specific text.

So for example
we are going to move this text bait.

So I'm going to do exactly the same one
keyframe at the beginning

in another little later
with two different positions respectively.

So now you can see how only the text

where iterates at earlier moves.

Additionally, as you can see here,
you can change the font parameters.

You will find all those parameters
that the usually changing word of face

here, the separation between the letters
if it's bold or not, etc., etc.

Obviously all the criteria of two letters

really has to do with your style,
with the project that you're want to do.

And on the other hand,

you can activate or deactivate
a text that you have in the graphic clip.

But pay attention to this.

It's very important.

It's not the same that I scaled the text
using the clip parameter.

I mean, if I want to sum
in a specific letter, for example,

to make it look bigger, if I do it
with the parameters of the clip,

I will expose the pixels of the text
and you won't notice it

in the program monitor.

You will notice it when you export
the sequence, the end of the editing.

So the correct way to make the letter big
without pixelated

it is to increase the font size
in the text parameters.

I mean, make them big enough
that even approaching it

with the parameter of the clip or
the text itself, it doesn't get pixelated.

So I always recommend the font as quick
as we can

and zooming in or out using this scale

so that it always has enough resolution
and doesn't get pixelated when exported.

So on the other
hand, there is a very interesting effect

that I wanted to show you
for the letters, for the text.

We must go to the V effects folder
and then to generate

and then choose for color gradient.

So with React Effect emblazoned
before the text, we wanted to effect.

So pay attention that if I put it
below the text, it doesn't affect it.

It must be above the text.

So this effect allows me to modify

each of those mixed colors
that are appearing in the text.

There are four different ones,
and the software will generate

a whole range between the colors.

So I find this effect very nice because
you can actually automate all that change

and it gives our text a modern
look in a very match with the backgrounds.

So now we are going to move on
to the underline into action essential.

So to underline the text
in an animated way,

which is how I usually do it,
we must create a solid

background later,
so we must go to the general.

Then we click on the right mouse button,

we go to new item and then to color matte.

So this small window opens
that tells us the size of the clip

that will be created by default.

It always adapts to the size
of the sequence in which we are working.

So we click on okay, and then we must
choose the color that it match color with.

Have we click on okay again
and we put and then if we went

actually I have

already created a color matte, but
I just wanted to teach you how to do it.

So we must direct that clip
to the timeline.

That color match clip will be like
any other video clip is like a photo

with the difference that we can change
the color of that photo whenever we want.

So the next thing to do is to add a crop
effect to that color magically.

So we go to Transform folder
and we select crop

and we drag that effect to the table.

So once we add the defect,
we must try to create a kind of two lines

by using these parameters over here.

So since we want to do a horizontal line,
we can modify the top

and bottom parameters.

I mean, until the line is that
thick as we want, but we must also modify

the left and right parameters
to adapt to the length of,

the text.

So what I want to do
is not a simple lines.

What I want to do is make a line appears
as if it were being drawn on the screen

as if it were animated.

So we move the right parameter
until the line disappears

and then we add the first keyframe.

So now we must choose the moment or point

where we want
the line to end up appearing.

And now the line appears by itself
fully animate it.

And now we can change if.

We want it to appear faster, for example.

So we simply have to bring
the second keyframe closer to the first.

I mean that
the space between them is shorter.

In fact, you could play with this.

The line could be another way, or

you could make elements appear disappear
in the composition in this way.

But what I really wanted to teach
you guys was to combine

an action essential with this underline.

But what is an action?

Essential is a video
recorded with a green screen.

But with that green background
already removed from the video,

I mean, what remains in the video
is only the element that we want to use.

There are action essentials of all kinds.

Fire shoots, blade.

In fact, Action Essentials is the brand.

Actually, these are perforated videos.

So I'm going to add in this case,
this spark that you seeing right now.

So look at how the sparks
look on the video.

Just the spark as if it were a PDF file.

So imagine everything you can do
by using these.

In fact, later on I'm going to teach you
how to use it with a video

as a visual effect in a lesson
dedicated exclusively to this.

So In this example, what we want to do
is make the spark appear

at the tip of the line
as the line appears.

So the first thing we must do is add
that the length

of the spark clip to the moment
where the line begins and ends.

So now what we
have to do is change the size of the spark

and then automate its movement so that
it follows the tip of the line to the end.

So we go to the beginning of the clip
and we modify the scaled

parameter and the position parameter
to what I already mentioned,

that the spark matches the line.

I mean, the most important thing
is to have the initial position.

Once we have the initial position,
but we had to do so to meet

the horizontal movement of the spark
until the end of the line.

There's something very important
to note regarding keyframes.

Sometimes we place keyframes and
then we modify the duration of the clip.

I mean, we squeeze it

and then the keyframe is hidden from
the timeline of the effects control panel.

And then we don't know where it is.

And we have to delete all automation
to start from scratch.

So what we need to do is stretch the clip
again until the keyframe appears again

perfect.

We already
have our spark adapted to the line,

but we could also add a background
image to test

how everything would look
with a background that wasn't black.

So we can select, for example,
the picture of the universe.

We can darken the universe a bit.

We can do it
by modifying the opacity parameter.

For example,

I'm going to do a little preview, render

well,

you know how to make animated
on their lines and add an effect to this.

You can use all these in your videos
for presentations, movies, for videos

on YouTube, for whatever you want,
and it will look very professional.

Always remember, too,
that the gradient colors of the letters

to the background colors in this case
they combined the colors of the letters

are within the range of the background
and it looks very good.

But in any case, later on we will go in
greater depth with the action essentials

and I will leave you some perforated
videos to use in your videos.

I mean as far as fire, etc..

So this lesson is up to here
and until the next one,

you know, perfect.

We are here again,
almost finishing the module

in this lesson, we are going to talk
about the exportation process.

So this stage is quite simple.

I would say it is the most simple of all.

So obviously since you have come this far,
you have already seen that

there are much more complicated things
when it comes to editing.

So the first thing we must do
is to mark the in and out in our sequence.

You already know how to do it,

but try to make sure
that you are doing this properly.

So the following a step
is to go to the file tab

and then go to export
and then you click on media

and this window will be displayed.

And in this window
you can modify the export settings.

Mainly you have two ways to export files.

I mean two files, a compressed file
in a non compressed file.

Let's start with this.

264 This is the most famous
well known in used format.

It's a compressed format
and you will have two main files

to choose the height, weight rate per file
and the medium bitrate rate per file.

They bitrate rate is the amount
of information per second that

the video will have.

And even though there are these two
mainly options, you will have

all these options over here, these least

which are older files
completely adapted to different platforms.

There are files adapted to smartphones,
to YouTube, even Vimeo files.

And basically those files help

the video to have a better performance
in the players.

And the most interesting thing
is that, for example, in this mobile file,

the system adapts
your sequence to this format,

not spoiling the nature of your video
in terms of aspect to radio, for example.

But basically these two main options
are the most important of all.

But there is an important factor
when it comes to export,

which is the file size, and you are able
to check an estimated file size over here.

And with this for file is 365 megabytes.

And with this other profile,
these a gigabytes.

But actually if we check the profile
settings,

we can modify the bitrate
that is the most important of all.

So we will have these two failures here

or sample failures
and they move in this faders.

We can choose how much information
per second the video will have

when we are talking about compressed
formats.

I highly recommend you
to keep these numbers.

This bit rate under ten

because you are creating
a compressed format in that format.

It's supposed to have a great quality,
but also you want it

to be light
also and light for the players.

So this is a reason why I highly recommend
you to keep the beat rate under ten.

You can play with that,
but must know also that the compression

will be noticed in the dark areas
of the image.

Additionally,
by uncheck in these boxes over here

you can modify
any of rest of the parameters,

but I know that you will not modify these
because

because you have created a sequence
with a specific settings.

And those settings are not supposed
to be modified in the export,

but you can modify the audio quality,
for example.

That is very important
because there is also a bitrate

related to the audio and then once
you finish selecting the settings,

you must click on export in an amp before
file will be created.

A simple step is not that complicated,

but let's move on to the
and compressed format.

I'm going to choose the quick time,
for example, and in this case

it's one of the best known formats
for exporting in high resolution.

So in this format
you will have all these presets.

Actually they are not completely
and compressed because the very process

of creating the final files,
a kind of compression to some extent

I'm going to choose this apple Prores
4444.

It's one of the most used presets
in export settings.

You will have almost the same features
you find in the compressed format,

but you will be able to choose features
like these render

at maximum depth, and you can also change
the depth in terms of color.

You can choose eight or 16
that has more quality.

But let's talk about this export
color space option is related

to the ability to transmit information
related to color in the format.

It happens that nowadays
people are likely to work with formats

like AK or six K in the video player.

Some platforms that works with those
formats work with another technology,

a specific technology
adapted to that resolution.

You HD formats.

For example, not only work
with more resolution with more pixels,

but also with another kind of technology
related to the distribution of colors

in the image.

So over here
you will have three options related

to the transmission of information
in terms of color.

The first one, the 709, is
the most used profile for HD videos,

like the sequences
we were working with in this course.

But the other two options is for working
in projects in Seats key or a key

resolution. Additionally,

these two other options allows you
to reach a higher dynamic range.

But don't get confused with this
a higher dynamic range.

When you are using a high end camera,
you are not able to bring out

more colors of what the format of a D
SLR can generate.

So it's very important
to take these into account

because people think that these options
are like a magic wand.

So I highly recommend you
if you have a DSLR camera, and

I know that most of you
are more likely to afford a DSLR camera,

so I highly recommend pay attention, close
attention to the corner

grading and color correction
lessons of this course, because if you

want to make your video look like
it was recorded with a high end camera,

you must start by modifying
the colors of the image.

You are supposed to modify them
creatively.

I mean, the high dynamic effect is
an optical illusion, not a statement.

So try to make sure
you have a good cinematography,

a good lighting to try to bring out
the best of the best

from your videos.

Additionally,
I recommend you to check this option.

Use maximum render quality.

Actually, this option can be used
for both the and before

in the QuickTime format
is another option over here.

When it relates use previews,
it's very useful

when it comes to creating the file
as quick as possible

because the system will use all
the rendered files that you have created

throughout the editing to create that
final file, thereby reducing

the export time.

There's a friendly reminder
I can give you when it comes

to exporting the file,
and it's related to the compressed

format the H 264
in the hardware of your computer

Over here, you are able to choose
what you want to use to create that file.

If you want to use the integrated card

of your computer
or if you want to use the TPU.

And this is very important because crashes
are likely to happen while exporting.

So if you find many problems exporting,

I highly recommend you to choose
software encoding.

But if you don't, you can choose
hardware encoding.

It will depend on your computer
performance.

Another important reminder related to this

compressed format is the bitrate encoding.

These options over here are to verify
the codification of the file.

Where it reads to pass
means that the software will carry out

two verifications in order to ensure
that the file is properly created.

Obviously it will take more time,
but it's safer.

Also, golden errors are not very common.

They do happen.

So when you reach this stage
you will be ready

to create your filed
by clicking on export.

So this would be
the most important formats

and the ones that you should use
when trying to make an export

until next lesson.

Hello people.

One of the biggest challenges
when it comes to video

editing is spacing your footage,
especially when it comes to music videos.

One of the elements that most related to
rhythm in editing are the cuts.

I mean, determining at what moment we go
from one take to another,

depending on the rhythm of the music.

This cut will be more frequent
or less frequent.

But this is not the only important factor
to take into account

when it comes to knowing
where to position the cuts.

It turns out that we must have certain
musical notions of time

to be able to do correctly, and that is
what we are going to see in this lesson.

This is

of with the students

in school. We

made a similar you saw

someone have a, you know,

doing perfect
and here in a software called Cubase.

This doesn't
mean that you're going to need it,

but am Incubus
because this software has a tool

that will work for me
to explain what they want.

Explain to you.

First of all, you have to understand
that in music videos,

the cuts are going to come
for two reasons by time or by action.

Let's start with time.

What does it mean for a cut to be of time?

So it means that we must make the cuts
in subdivisions of time

that the rhythm of the song
we are working with has.

So I know that these make sound
like you need to know music to do this,

but it really isn't
because anyone who goes to a concert,

that person can keep up with a song
they like.

I mean, people can dance.

People do many things
that involve their rhythm.

So following a rhythm is not a task
that only a musician can do.

So I'm going to use this music
video of mine as an example,

and I'm going to follow the rhythm
with my voice marking one and two.

So, for example, in this case
would be one, two,

one, two, one, two, one, two, one, two.

So and this is the rhythm that even the
timer of this software follows up here.

So the numbers look bigger would be
when I say one.

And the number that this between
the small numbers would be when I say two.

So I'm going to activate
the metronome of the software so that

it follows the rhythm.

So pay attention that it's the same.

One, two, one, two, one, two.

So we must know how to recognize the time
and rhythm of the song

to be able to position the cuts
both in Mach one or Mac two

or in any time mark
that can contain the rhythm of this song.

But however, this doesn't
have to be exact, but an approximation.

In other words,

you are supposed to do everything possible
to make it match, but not necessarily.

100% of the shots must match.

So pay attention
to, for example, this part.

See how it changes from
one shot to another

almost perfectly.

Did you notice

that is almost perfect. One,

one, etc., etc..

The cuts are following the rhythm.

Pay attention to the numbers
that I mentioned in the small line

that belongs to the number
and feel the cuts of the assembly.

So pay attention. That is not perfect.

That is.

It's always an approximation in important
parts of the song in terms of rhythm,

but also the cuts are regular
but always follow in the rhythm.

For example, here is a cut,
but then the next take continuous.

For example here one to

look at.

On the other hand, something interesting
happens here because despite the fact that

the chorus is the most important thing
and you could say that

the cut mass match exactly with the bar,
it doesn't happen here.

I mean, the first take of the chorus

doesn't start on one,
but on two before that one.

And that happens because the action
that I'm doing there, singing,

it's necessary to see its complete

end. That would be a cut by action.

The song can be, you know,

but let's move on to this.

Another example, another music video
I'm going to count and follow music

and you are going to pay attention
to the cuts.

One, two, one, two,

one, two, one, six.

One, two, one, two, one, two,

one, two, one, two.

So most of the cuts going
you see the good data mark,

but there may even be moments
where the music is louder

and you can make many cuts with
rhythm like it is.

Example

even score one here.

So those three cuts

completely followed

the rhythmic arrangement of the music,
which is something also very useful,

an attention to the fact the gears
hug matches the beat of the snare drum

because it's an important gesture
visually.

So as we gonna send a signal to you,

but the cuts in movies or short films
work differently.

They are not determined
by the rhythm of the music,

but by the time
the shot needs to be read properly.

So it's the music
that adapts to the editing.

And only some exceptions
when it's a very musical sequence,

we could try to adapt the shots
to the rhythm of the music.

But let's pay attention to this. A scene.

This is seen as a proof that communication

is the most important factor
when it comes to cuts in pacing.

In this scene, the cuts are very fast
and the reason why this is so is

because Benjamin's

voice is exactly explained in everything
that is happening on the screen.

So the information
communication is double visual

and through the voice of the character.

Now, a taxi driver dropped off a family
and stopped to get a cup of coffee.

And all the while Daisy was realize

and this cab driver
who dropped off earlier fare

and he stopped to get the cup of coffee
I picked up.

The lady was going shop
The Mysskin of the cab.

The taxi had to stop for a man
crossing the street.

We left for work 5 minutes later
than he normally did because he forgot.

Said set his long

while that man late for work was crossing
the street.

Daisy had finished renovations
and was taking a shower

while Daisy was showering.

The taxi was waiting outside a boutique
for the woman to pick up a package

which hadn't been wrapped yet
because the girl who was supposed to rapid

had broken up with a boyfriend
the night before

and forgot when the package was wrapped.

The woman was back in the cab,
blocked by a delivery truck.

All the while Daisy was getting dressed.

The delivery truck pulled away
and the taxi was able to move a daisy.

The last to be dressed waited for one of
her friends who had broken a shoelace

while the taxi
was stopped waiting for a traffic light.

Daisy and a friend
came out the back of the theater,

and if only one thing had happened,
if that shoelace hadn't broken

or the delivery truck had moved
momentarily packed and wrapped and ready

because the girl hadn't
broken up with the boyfriend,

what that man had said is long
and got to 5 minutes earlier.

That taxi driver
hadn't stopped for a cup of coffee

or that woman had remembered Cope.

He got to an earlier cab.

Daisy
and a friend would have crossed the street

and the taxi would have driven by. We.

But life being what it is,
a series of intersecting

lives and incidents of anyone's control.

So that Taxi did not go

and that driver was momentarily distracted

and that taxi hit Daisy

and her leg was crushed.

It's important to note that sometimes
when the composers are quiet,

the editing adapts to the music
because there is a musical arrangement

that is impossible to modify
to adapt it to the editing.

So in those cases, it's the editor
who is supposed

to adapt to the music
at those precise moments.

But in general, rules the communication
process in the evolution of emotions

in the film that determines the rhythm
of the editing that we are going to do.

Well, this lesson is up to here in a way,
for you

to continue in the next one.

Perfect. We are here.

We are going to open our editing software,
which is in this case premiere.

So I'm going to go to my folder
to click on the icon on the shortcut.

I remind you that regardless
of the software you use, once you master

one, it will be much easier to master
the rest of the video editing softwares.

So this welcome window will open in
which we will find and the recent projects

we had work done, but also the possibility
of creating a new project.

So we click on new project and immediately

this new window will be displayed.

So what is this about?

So in this window
you will find the general settings

of the project, mainly the of the project,

and especially the folder
in which the software will save all the

temporary files that it will create
so that the workflow is better for us.

So we can click on Browse

and choose the folder where you want
all these information to be saved,

which is going to be very important
because eventually

we are going to have to delete files
or also recover files.

So by default in the software safes,

all these in the Windows
or Mac documents folder.

So first of all, we're going to
name our project over here.

We're going to write down the video
editing.

For example, so you can see that here.

Below there are three taps.

The most important is this first general,

and the first thing we are going to find
is this box related to video rendering

and playback where we can change

the video hardware that the computer
will use to work on the project.

Either the general manager of the software

as well as when creating the final files.

Remember that
the software is constantly creating files

so that can see a preview
of what we are editing.

So here in this little tab,
we will be able to choose either

the computer's GPU card,
especially for video

or the computer's integrated video card.

This is very important
because obviously when using the GPU,

everything is faster but also less stable.

In, for example, this error could appear
with your exports in the final file,

which means that the GPU card failed
because it got too hard

or because it doesn't have enough power
to create that file.

That is depending on the type of projects
you are editing.

When you support the final file
or make the renders files,

you will be able to use one or the other.

However, if you have the latest generation
computer,

I don't think you have my your problem.

So in that case, you should always have
the computer's GPU selected

in this next box
you're going to set how you want

at the time to be measured by frames
or by time.

At this moment, you won't understand this.

I'm going to explain it to you.

When we are learning about the timeline
because it's easier to see it in a want

to explain how to prepare a project First,
it's worth mentioning

that you will be able to change this
any time in this older parameter.

We will be able to choose
how we want the time loan

to make the time for the audio.

To do this, we must understand
what the sample rate is.

The sample rate
is the resolution of the audio.

That is the number of record samples
that a no DO file has,

so the timeline can measure the time
for each of those recordings

as well as for milliseconds,
which would be the continuous time.

The following box works to set
the type of video captured for event

there are still some cameras in the market
that work with tape

and also with film roles.

This capture box
allows us to set what resolution

we want to capture to be in order
to connect the software to the hardware

VTR, which is the device
that is used for dead.

But in reality, that something
that is really no longer used

and this last box
is related to a possibility

that has been given to users
to improve color editing,

especially When we use film cameras,
which have a high dynamic range of colors.

So this allows us
to have a better configuration

between the software
and our physical monitor.

But in reality, personally,
since I dedicate myself to making fiction,

I think that the image quality is

not only related to the dynamic range,

but rather to the photographic quality
in lighting.

But however, if it's the case,
if animation works, for example,

where you have to really respect
the color of the landscape so characters

to get the best out of them, we can change
the setting to the highest values

to have a better reference,
move on to the second tab.

This second tab that we see here,
scratch these.

It's very important.

In this tab
you're going to indicate to the software

where it's going
to save temporary files of the project,

this temporary files that the software
is going to create to improve the workflow

in these folders,
that only the temporary files

will be saved, but also the capture files.

Additionally, the audio recording files

will also be saved there in folders
in the case that we do a dubbing,

for example.

So we must pay close attention
to this folder.

Obviously we choose the main folder
where the project be saved,

but in this case in that same folder,
super folders will be created

that will contain all these temporary
files in non temporary files.

I highly recommend you not to change
the location of these folders

because all the files of the same project
are supposed to be in the same place,

not only to maintain order and prevent
errors from happening on the computer,

but also because it's possible
that our computer crashes unexpectedly.

Then we will have to move
the entire project to another computer.

So we must know where all the files
related to one project are.

On the other hand, also in many locations,

we are going to need to delete
temporary files related to the renders.

I mean to free up space on the hard disk.

These

are tab
we have here is to ingest settings.

What is this for it?

It turns out that at some point
if we are going to work on projects

where they are going to use film cameras,
those files generated in the film

camera are going to have a high resolution
and are going to be quite heavy.

Therefore,
we are going to have to transfer them

to a external hard drive
before they reach our computer.

So this ingest tool allows me to move
those files that are on the external hard

drive to the internal hard
drive of the computer more easily.

And how are we going to do this?

We must select this,
a small box that we see here.

And the Adobe premiere
will automatically connect

with another software from the same Adobe
suite called Media Encoder.

That software do the transfer.

Whether we continue to work on Premiere,

it's a very useful tool, but in reality
it requires that we have a computer

powerful enough to do both processes
at the same time.

Additionally,
we can select a place where we want

the hard drive files to be copied.

It's interesting
because we can even save in the audio

creative cloud or in the folder
that we want on the computer.

We have the option to copy the files
with verification or without verification.

What is this for?

Because sometimes the files that come
from the camera, some of them have errors

so that the software allows us to verify
which of them have errors,

either to correct them
or to skip the transfer of those files.

But we also have the option to copy
without verification.

But on the other hand,
we can switch to the Transcode option.

This allows me to copy the files,
but converting them to a high resolution

compressed format which allows me to edit
almost as if it were the original files.

However, we had the option
at the end of the editing to export.

Both is in those files
and the use in the original files.

Maxim resolution.

In the same way the Marine Corps
there will copy the files

in the background
while we work on the premiere here.

There are several formats,
some heavier than others,

but in general
they all have good resolution.

These are compressed files,
but they have great resolution

and information
so that we can edit with them

and even export s in them
without losing so much information.

The next option is to create proxies
in what is a proxy?

In the same way as we can create
the previous compressed files,

we can create the proxies
that are even more compressed files

that allow me to work with files
without compression in high resolution.

So it happens that sometimes we work
with film cameras

which generate four key or six key
or eight key files

which are very large.

So the proxies are a kind of low
resolution twin files

that Premier uses to it.

And this greatly improve the workflow

as if we were editing
with a super powerful computer.

So we will be able to edit as we were
working with the original files.

But when exporting this software
will connect with the original files.

Proxies are going to be your best friends
from now on.

We are actually going to use them
in examples later on.

So it's important to pay attention
to the lessons

where I talk about this
topic of proxy files.

So in the same way can choose
in which folder

we want to software to save the files,
the proxy files.

So there are the same options,
save the files in the same project

folder, in the creative cloud,
and also the option to choose the folder

so we can change the proxy parameters

that is from very low resolution
to ones more resolution.

It's very similar to the case
of transcoding compressed files

with the difference
that in the case of Transcode, it files

almost all the options for high quality.

It's important to understand that
in both proxy in Transcode cases,

these parameters are used to improve
the workflow.

That is, their main objective is just
that sometimes

we have a movie camera and we want to it.

It's jobs quickly
that don't require super resolution.

Transcode files are perfect
and the last option

is to copy and create proxies.

This function allows me to create
two separate folders

on the one hand, the original files
that are on the external hard

drive
and on the other hand in another folder.

The proxies remember that

the main encoder will transfer
all those files in the background.

But in reality, as I told you,
it also consumes computers from memory.

Anyway, we are going to continue
talking about the proxy later on.

Okay, We'll show you

how to connect the proxies
to the editing in the program monitor.

But it's important to know all about
is subject of proxies because most

you don't have a supercomputer.

And even those computers that we think
are super powerful, last generation

Mac, for example,
even those need to use proxies.

So once we had finished
the general configuration of the project,

we simply had to click okay in our project
will open immediately.

So since they already have a project
created

precisely
to teach you how to use this software.

I will simply click on
Cancel and I will select

one of the last recent projects
where we are going to work.

So this would be the most important
when it comes to creating a new project.

So this first lesson is up to here
and we will continue learning

about this Adopt
from your software in the next lesson.

So here we already have our project open.

We are ready to start
getting to know the premiere.

The first thing they want you to realize
is, is that we can modify

those same settings that we were reviewing
in the last lesson.

We go to the first tap file
and we go to project settings and then to

and there we can return to modify

the general configuration of the project.

I want to focus mainly on explaining
what are those fundamental

tools of Adobe
premiere in those characters sticks

that will allow us to develop any project
I need.

You don't need to know all the functions
of the software to be a good editor.

That has nothing to do reality,
because in the end

there are many ways
to do exactly the same thing

when it comes to video
editing at those premiere has some presets

related to some general configurations
that help us to adapt

the software to the specific stage
in which we are in our project.

I am currently
in the editing configuration,

but there are others, for example, here
where it's very it's color.

It's another configuration
completely adapted to color correction.

What is really relevant about this color
configuration is the color range analyzer,

the limited scopes that allows us
to see the color ranges of an image.

But anyway, we will see that later on.

Simply what I want you to see is how it
looks like and how an image translated to.

You made three scopes, looks like

this is another effect setup here.

You will be able to quickly access
the facts folders here on the right.

I don't particularly
use that configuration

because I can fully access the effects
from the editing preset.

We simply had to go to this
a small tab that is here

and look for it reads effects

and actually it's much better and easier
to use and easier to understand.

It's preset works this way,
but they highly recommend

you only focus on 2% editing one
that we are seen in the only one

that we are going to use a lot
because it has the audio mixer

where we are going to put the
all the effects directly on the tracks.

Nevertheless, I know that later on
you are going to change it

however you want.

It's worth mentioning that the same tools
are always present in the presets.

For example, these are small effects
control type, which is where

we will be able to edit and effects
will always be present in all the presets.

The library preset allows us to access
effects directly from the Adobe

Cloud, where we can buy extra effects
and plugins for our premiere.

This is Preset is the most useless of all
because

you can actually do exactly the same thing
into editing.

Preset in the last preset is for learning

where premiere gypsies are twice
impartially helps us

to use the software.

So when we open the software
we will always see these main spaces.

On the right will be the timeline
that we will see in more detail later.

Just to the left of the timeline,

we will see the toolbar
that we will also explain later.

But then farther to the left
we will see the file tray displays.

It's nothing else but a file browser
as if it were a file folder on the Mac

or be seen where we are going
to put the video or all the files

or even photos or gif files
and have them there to use in our edition.

For example, I'm going to drag
any video file into the tray

so that you can see how easy it is
to add a video file to the project.

Both the file tray
and the timeline will be connected

to the reference monitor
and the program monitor respectively.

Adobe Premiere has two

main monitors, which are the ones
we are going to use when editing.

The main one is the program monitor,
where we will see what we are editing

to activate it.

We simply have to go to the window tab
and go to the program monitor.

So our monitor be activated immediately.

This monitor will be directly connected
to the timeline.

But on the other hand,
there is also a reference monitor.

We just have to go to the Windows tab
again and we click on reference monitor.

On that monitor,
we will be able to preview each

of the video files
that we are going to use in the editing

so that we can select the exact fragment
that we want to use from that video.

We must

understand what is the reference monitor
in the program?

Monitor
As I told you, the reference monitor

allows us to see what we are going to use
in editing.

For example,
if I click on this video here, over here

that I added a moment ago, it will open

automatically on the reference monitor.

In that monitor, we will be able to select

the exact fragment that we want
from that video so that we can add

that small part of video to the timeline
when we will be doing the editing

to choose that small part of video,
we must press the eye

to mark the beginning
and then oh to mark the end,

which is actually in and out to Mark
and and out of that video fragment.

Once we

know which part of the video we need,
we are ready to take it to the timeline

which is the place
where we will be doing the editing.

There are three ways to direct
the video clip.

The first is by clicking directly on
the video in dragging it to the timeline.

That way, we will track both the video
and the audio of the file.

The second way is by clicking
only in this film,

the roll symbol,
which allows us to drag just the video.

And the third way is by clicking on
this little sound

wave that allows me to direct
only the audio.

So at this moment
I'm going to add the audio and video

at the same time
to the timeline as an example.

So the

software will ask us if we want to keep
the settings of the sequence

or if we want to change the settings
to those of the video file.

We must click on
keep the existing settings

so that they continue to be the same
as the ones we choose for the sequence.

From this moment
on, we are able to see images

on the program Monitor
What I mean by this.

This means that the program monitor
will always be connected to the sequences.

If there is no sequence,
nothing will be seen on the program.

Monitor In fact, for the timeline to open,
which is the timeline

where we do the editing,
where I just added the video fragment

for the timeline to open,
there must be sequences.

For example, here in the tray
there is a sequence.

We can identify the sequences
because they had these little loosening

all in the corner
that's like little overlapping bars.

Actually, you can notice that in the older
video files there is not these.

There is simply now the wave form, which
means that the file also contains audio.

So look, I'm going to delete the sequence

so that you can see how the timeline
automatically disappears.

That is it closes because the timeline is
practically the sequence inside.

So I think it's a good way to understand
how the timeline works.

I'm going to reverse this.

I mean, Contours Z,

so I'm
going to click on the sequence again

so you can see the timeline open again.

So even though our monitors
are connected to different things,

I mean, the program monitor
to the sequences and the reference monitor

to the files in the tray, both monitors.

Sure. It's certain important features.

For example, here in this little tab
where it reads quarter

there, we can change the resolution
with which

we want to sequence
or DVD file to be reproduced.

Obviously, the higher resolution,
the more resources the computer consumes.

Also, in this other tab, we can change

how close
we want to serve the details of the video.

But your attention and not changing the
some of the video in the editing simply

how close are far unseen
the image that appears on the monitor?

We can see it's very close or very far.

This works to see details
such as how focused

an image is or details of the skin color.

For example, obviously
the most important is the program monitor,

where we will see what we are
editing in the sequences.

It's important
to know these in the same way as we use

the eye and the all for the in and out.

We can do the same in the sequence
to determine

what will be the beginning
and the end of what we want to export.

When we had finished editing.

So in the lower right
part of the program monitor,

you will see the time related
to the duration of that part

of the sequence that we have selected
by using the in and out.

Another

important detail that we are going to see
throughout the course

are these tools that appear here
below in the program.

Monitor I'm going to mention
the most important ones

because in fact there are some
that you will never use in your life,

not because they are useless, but because,

as I told you, there are many ways
to do the same in the software.

For example,
if we wanted to make a static image

of a specific moment in the video
that is generate a photograph,

we can click on this little camera
that we see here

and generate a photograph
from that frame there.

It indicates the path
in which the image will be saved,

but also this same image will be
added to the project automatically.

So we can use that photo
as if it were another video

that we can mix photos with videos only.

Obviously the photo is not emotion,

so we simply track the photo to
the timeline and we can it.

There are

other important tools that are below,
such as the proxy commentator

We must activated to be precise
in this little cross right here,

and then drag the commentator icon

to the monitor.

So this tool allows me to connect
the video files to their respective

proxy files,
which are something very important.

If we are going to see that later
on, that will allows us to be able

to edit in any resolution

despite the fact that our computer doesn't
have enough power.

I'm going to leave this up to here
so that you can review

and digest this content step by step.

We will continue reviewing the software
layout

in the next lesson.

Perfect.

We are here again in Adobe Premiere.

In this lesson,
we're going to see how to create sequence,

which I think is the most important thing
to start working in Adobe Premiere.

Before we begin, I wanted to mention
something related to the distribution of,

the folders.

When we are in a project,
we must know what the general folder

is and in order to identify it,
it was simple.

Observe that the name of the project
appears sound more aligned,

as you can see here.

Well, we are in that folder.

Additionally,
the return button is not enabled.

This building here is not enabled.

If I click on this folder automatically,
the return button is enabled.

And of course in this case these folders
intensified with another name

which is being.

But remember that you can identify
the folders as you want.

That is put the name you want.

So I will write folder one.

So knowing this, we can now move on to
what is important.

How to create a sequence.

First of all, by clicking the right mouse
button either inside the folder

or in this space up here, the option
to create a new element will be enabled.

It can be a new folder, a folder search,
which is in the case

that we have many folders,
or it can also be a new item.

In this last option,
a long set of items will appear,

but for now you're going to focus mainly
on the first one in the sequence.

Immediately, when creating the sequence,
this window opens

where these folders, different presets
will appear.

Each of these presets are related
to the configurations

of the different types of cameras
with which we could had shot the scenes.

I don't recommend
using any of these presets

because we are supposed to learn
to configure our sequence

by understanding each of the parameters
that these sequences will have.

In the end, we have to be able to
configure the sequence as we really want.

Not to mention that many of these presets
related to formats

for wave television broadcast
that almost no longer exist.

So we must go directly to settings.

So right here we are going to be able
to choose the specific parameters

for the sequence.

The first is the editing mode.

Here we are going to find all the presets
that we saw previously,

but all displayed on a list.

But as I told you,
it will always be better to do it

ourselves, to choose the specific
parameters for our sequence.

So I recommend you select custom Selecting
custom enables

the configuration of all the parameters,
so pay attention to the difference.

If I select any of the other presets,

notice how I cannot modify the frame size

nor the visualization field,
nor to video previews.

So as I told you, when you select

custom all the parameters
you can modify as you want.

So make sure then
that the sequences in custom,

the first parameter is set frames
per second.

Remember
that moving images are made up of frames

that are photos
that were buzzing quickly one

after generating the fact of motion.

In the case of cinema, it's
24 frames per second.

23 Come on, 876 is exactly the same.

There are audio configurations
such as those of television

that have 30 frames or 60 frames
per second,

but we must always set it to 24
frames per second.

After days, we must go to the video box.

In this box we are going to find
five important parameters.

We're going to pay attention

to the first two, the frame size
and the pixel aspect ratio.

Let's start with the frame size.

This parameter will allow us
to set the resolution of the frame

that is the number of pixels
that each frames will have.

Remember that each format, HD, two,
K, etc.

has a specific number of pixels.

The next parameter pixel aspect
ratio is related to the type of defamation

that each of these pixels will have
to adapt to a specific type of the screen.

Remember that
there are different types of two screens.

Those elongated movie screens,

also the screens
of the digital televisions

and even the television screens
of the last century that are more square.

The pixels aspect ratio distorts
the pixels.

To achieve these adaptation.

And I will give you an example here.

It reads for 1040 by 1080.

But here on one side it also reads 1690.

And that means that with the distortion
that the pixel aspect ratio of 1.3

is generated in the screen
with Luke 16 nine

because the pixels are stretched
to the size to chip it.

But this is not the correct way to do it
in a video

editing of this time 2023.

Because today almost all devices
everywhere have a high resolution

and many screens that adapt
to the original size of the video.

So knowing this, we must go back the
settings and select into square pixels.

We attention that in the tab.

There are several defamation options,

but I highly recommend
you always use square pixels

so that the shape of the image
is really related

to the number of pixels
that we have set in the frame size.

But attention now to the actual size.

If related to this resolution
in a square pixel aspect ratio,

the image now looks a square
like a normal television

because it's respecting
the square aspect of the pixels.

So if I wanted to change
the size of the image

so that it looks like a digital television
screen

in any home that is 1690,

then I will have to take it
to 1920 by 1080.

In that way, the image would be 1990
with the square pixels

like a digital television,
and we would be doing it the right way.

That means that
if I wanted to create a much more stretch

look to the sides, as in the case of movie
screens, I would have to add

many more pixels to the horizontal line
to get to that size.

On the other hand, it's important to know
these I mean, if it's the case of a video

for Instagram or TikTok,
I mean, with a vertical appearance,

you must convert into the proportion
of the size of the image.

So we mass resize first 1080

and then 1920, for example.

So in this way, our program monitor

will have the appearance of a video
for reals.

But doing this,
you must pay close attention to something.

It happens
that when you are editing later on

you are going to have to adapt
the videos to this aspect.

So you are going to have to zoom in
in the image enough in order

to adapt to the aspect.

But we are going to lose resolution.

So I had two reminders.

First of all is that you record
with a camera with enough resolution

so that even by zooming in that way,
you don't lose much resolution.

The other solution is to turn the camera
vertically so that it records vertically.

The problem means

that you are going to be able to do this
only without the SLR camera.

With a film camera is not that easy.

But let's continue with another important
thing about the pixel aspect radio,

because there are still cameras
in the market record,

for example, 1920 by 1080.

But they give us the possibility
of having a cinematic

look that is elongated to the sides.

So that file generated by the camera would
come with distorted pixels by default.

So in those cases, the pixel aspect ratio

tool is useful
so that the image is not distorted.

So if it's the case that we are working
with a camera whose files are in HD

but distorted to 1.3 to have

a cinematic look,
our sequence cannot be set

in a square pixels
because the image will look squishy.

So in example, you are looking at
you can see how any mature

originally recorded with a pixel aspect
ratio of 1.3

would look like in a sequence
with a square pixels.

Now, particularly in the opposite case,
it works differently.

I mean, if the video file
I am using originally

has a big aspect ratio of one
that is its square.

If I changed the configuration
after sequence took 1.3,

the video image would not be distorted.

Simply that when the file is a sports,
the file will have

the pixels stretched to the sides.

It's important
to know that almost all movie cameras

do not distort the pixel aspect ratio.

They seem to bring in configurations
with more pixels of fewer pixels

to adapt to the number of pixels
to the wide aspect of the movie screen

or to aspect a square for televisions.

In any case,
you can play with this parameter.

I will always recommend
using the square pixels,

and if it's the case that you need
the image to look wider or simply modify

the number of pixels
to the necessary point, In fact,

you didn't even have to respect
traditional aspect to radius.

You can make the image as wide
or as square as you want.

These here is the traditional
look of digital screens.

16 nine.

It's important to mention that even after
creating the sequence, you can continue

modifying the parameters of the sequence
by simply clicking on the sequence

with the right mouse button
and then going to the sequence

settings.

So the next parameter is the fields.

What does this consist of?

Long ago when there were only analog
televisions in analog television

broadcast, one thing was to play a movie
in a movie theater

in quite in order to broadcast it
by open signal,

transmit time frames per second to an open
signal was very difficult.

So they had to resort
to another technology

so that the human side
could perceive the frames per second.

As in a movie theater.

Then a technology was invented
that allowed the frames to be duplicated

by using horizontal bars
that displayed the image fast enough

so that the human eye would not detect
the frames passing one after another.

So one of those technologies is NTSC

that is used throughout American continent

in the order is Paul technology
that is used in Europe.

So we have these two options
to choose from here and lower field

first
that belong to those two technologies.

But these exist in Adobe Premiere

because even today
there is an open signal television.

So it's necessary
that we had the possibility

of setting up our project
under that configuration.

But the truth is that you must always set
the sequence in progressive scan.

That is, those parts don't appear.

So the frame flow is continuous,
as in a digital television.

That way you can have
the best video quality in your sequence

and then later in the expert
if you want or it's necessary for you,

you can adapt the final file to NTSC
or file format when necessary.

But always remember
to set the sequence in progressive

so that the image is as clean as possible.

Actually,
if you forget to set these to progressive,

you will notice some horizontal bars
on the image.

The next parameter that we have here
is the time measurement mode

in the timeline display format

I already told you about it
when we were creating the project.

There are several options.

The first is to tell the software
to follow the frames per second

while viewing continuous time.

This second option
num drop frame timecode is a mode

that allows us to adapt to the errors
that the capture may have as a result

of the data transmission process
from the tape to the computer.

So this option allows me to skip
those errors and follow continuous time.

We are not going to use this.

We should always use the timecode

which is the way
adapted to real time in the editing.

And you yourself will realize this
when you are measuring

the duration of a scene
over and over again.

There's also the feed blass frames
16 millimeters and 35 millimeters mode.

This is for film
roll cameras with this analog format.

Then the software measures

the amount of film real in its relation
to the frames per second.

And finally,
there is the frame small in which only

the frames will displayed in not the time.

What is the difference
visually on the timeline

we're going to use, for example,
the continuous.

TimeCode So now look at the timeline
where you can see the time directly

and have the general time meter
not only on the timeline

but also on the program monitor.

But you can change this into settings.

For example, two frames now pay attention
that the time shift to frames

now it shows each of the frames
and here on the monitor

it rich Sierra because there's not
any video selected in the timeline

but also in the same timeline workspace,

we can change the time display we want.

I mean, it's a feature that is not
exclusive to the sequence settings.

And in the same way,
you can also change it in the program.

Monitor

The next parameter

is the working color space
that I had mentioned.

When we would create in the project.

We had several options to work
with high dynamic range of colors.

But as I told you,
I will explain them later.

The important thing is that we can change
all these settings when we want

the next parameter is the audio parameter

where we are going
to find the sample rate.

That is the audio resolution that I had
mentioned in the previous lessons.

So we will be able to choose
several resolutions

and this will depend on the audio
interface you have.

I mean, if you have one
or also on the computer's resources,

of course, the higher resolution,
the better the audio will be.

But it's also consumes
many more resources.

We can not only modify the sample rate,

but also how the all your time
will be measured in the timeline.

But don't get too hung up on this.

This doesn't really change
anything important, just a visual feature

on the timeline that we will see
later on in these last books we have here.

Below is the video previews.

The first parameter of the Xbox
has to do with the program monitor.

That is what type of format the sequence
will be displayed on the monitor.

I highly recommend
you choose in quick QuickTime.

They are simply preview formats.

In fact, they are all compressed
to have a better workflow.

I always leave it in the animation codec,
but there are also

other progress compressed formats.

There are many different ones.

There are some
with more quality than others and in fact

it's something
that you can also change at any time.

This has nothing to do with export.

It's simply the parameters
that the program monitor will have.

Whether you are editing.

Let me mention
not only QuickTime is useful.

Also a frame only impact is very good.

In fact, the difference in performance
between the one and the other is not much.

On the other hand, it's important
to mention that the more information

the video files have,
those files that you use in the sequence,

the computer will also use more resources.

On the other hand,

these boxes that are here
below had to do with the video preview.

But the attention
that is very well specified,

they are right inside the video
previews box.

The linear call to compensated
help is to have a better color

in the preview,
but consumes more computer resources.

There are also the options of maximum
bit of depth, a maximum render quality.

The important thing to know is that all
these details are for the video preview,

not for the sequence itself
or the file to be exported.

Something that I usually do
while I'm editing

is turn these parameters
on to see an approximation

of the final quality of the work,
and then I turn them off.

On the other hand,

when creating the sequence,
we also have the possibility of creating

as many of the tracks
we want in the format we want.

It can be a serial surround 5.1.

It can be multichannel and also in mono.

As I told you,
you can add as many tracks as you want.

Adding a new track will automatically open
the same number of tracks.

The mixture in the audio preset.

For example, here I had added six tracks.

If I click okay, six tracks will
automatically be added to the sequence.

But if we wanted to add
even more audio tracks,

for example, in this other sequence
I created when it was explaining to you,

we simply had to go to the sequence
tab up here and click on track.

This way I can add more audio or video
tracks to the sequence

and I can even indicate where I want it
to appear in relation to the other tracks.

In fact, I can modify
all those same parameters related

to the audio tracks that we could select
when we were creating the sequence.

In fact, as you can see,
you can also select a format

where there is a stereo mono for surround.

For example,
the mono tracks are very important

because they are two tracks
where we are going to do the dubbing.

So when we had a mono track,
a small symbol will

automatically be added to the notified
That track.

It's a small speaker.

It's necessary to do track
where we do the job in this mono

because it's a single microphone
which will capture the voice.

So we will also see this later.

We get it's something that we will
surely have to do as editors.

And finally, after all the tracks tab,
we had the virtual reality tab

obviously in this course
we are not going to touch on this topic

because neither you nor
I have the appropriate

hardware
at this time to explain this to you.

But I'm very motivated to do it.

It's something that I plan to add
to this course

once I have all the devices
related to this technology.

But it's important to know

that Adobe Premiere
allows us to work with virtual reality.

And this is the parameter
that allows me to work with those devices.

This comes with the latest additions
of Adobe Premiere.

Then we press
okay, in our sequence is created.

I know I had to cancel
because during the explanation process

the sequence was created automatically
and remember that by right

clicking on the sequence
and then going to the sequence settings,

you can still modify the sequence
settings as many times as you want.

That would be everything with respect
to creating a sequence in.

As I told you, this sequence
will be connected to the program monitor.

So once we had our sequence created,
we're going to start adding videos

to the timeline
that is the fragment of the video we want.

When we do it,
the software will ask us if.

We want to keep the existing settings
in the sequence

or if we want to change the settings
to those of the video file.

And we must click on
keep existing settings.

That would be all important
when it comes to creating a sequence.

From now on, we are going to store
to dive deeper into editing and understand

what are those fundamental tools
that will allow you

to truly become an editor for film.

I see you in the next lesson. You

Hello people.

I really want to give you some important
piece of advice, not only as a video

editor or a film director,
but an artist himself.

I know that many of you also shoot videos,
or at least a large part of you

are interested in one way or another
in shooting stories or whatever,

and obviously editing
is part of that process.

But the truth is that the tools that you
need to know to adhere to professionally

or well enough to carry out an audio
project are not too many.

So the rest of the knowledge
doesn't come from itself,

from learning all the terms, shortcuts
or functions of a software

it doesn't matter which one
it is Premiere Sonny Vegas or DaVinci.

I mean, the rest of the knowledge comes
from how we use you.

Are you consuming quality
in terms of image of any stories?

So if there are not qualitative references

in your mind, it's impossible
for you to have a quality result.

Editing a simple asset.

For example, you cannot expect to be
a great air cinematographer

if you only consume Marvel movies.

I'm not trying to say

that you cannot learn technical
things from a superhero movie,

but you have to learn,
first of all, to be fully aware of what

you are watching on the screen.

And in order to have a visual culture.

I always talk about this
with my colleagues

and I use an example
the movie Spider-Man in Forest Gump.

I mean, the way they shoot at the scene.

The boss in the movie is Spider-Man,
and I compare it with

the one in the movie
Forrest Gump, for example.

Pay attention
to these first shot of the scene.

Are you aware, for example,
that the colors of the costumes

were specifically chosen
to match the range of colors of the grass?

That is very important
because video editors can change

or modify
the colors of any elements in a scene.

For example,
look at this man that's painting.

It's the same selection of colors in the
composition, the blue of the shirts.

It's representing
that blue color of this guy.

This other painting by moonlight
is the same blue

in shades of green our colors
that match that green of the grass.

So what I'm trying to say is that
this scene is not like that

because the color palette
downloaded from the Internet

I mean, is the byproduct
of having a great visual culture.

On the other hand, the attention
to the duration of this first shot,

that shot
last long enough on the screen to detail

that there is a dirt road
and they leave far from the city or town.

Now, pay attention
to the green color of the ceiling, the bus

that was also deliberately drawn
to match the whole country vibe

because that is the road
the boss is traveling on.

I'm forced for car

door.

Dorothy
Harris Well, now we're strangers anymore.

Now pay attention that the close shots
are only reserved for the main character

and that no one else

has the same color in their clothes
that forest has in the shirt.

And I would say that even the color
of the children's clothing is selected

so that no one stands out and also blends

with the color of the seats.

Can't sit here.

You know, it's funny what a young man
recollects because I don't pay attention

also that even the shirt
that forest has an adult is blue.

Also, it's only
so we connected with the child directly

but also matches the trees around.

On the other hand, just at the moment
that the girls appears on the screen

for the first time in the film, the most
powerful lay motif of the sun took place.

I had never

seen anything beautiful in my life.

She was like an angel.

Have you noticed that exactly
the same thing

has been repeated
as when Forest with his mother.

The girl has a light green dress.

All these that I'm telling you is to try
to awaken their artistic flame in you.

Artistic sensibility is what will lead you
to make better decisions.

I say leaders

pay attention to the lighting of the scene
to create depth in the faces.

One half of the girl's face is shaded
in, the other is illuminated,

and there is even a small tree of light
heat in the window frame as a step.

It does

Anjali

and pause for school.

From that day on, we was always together.

Now let's move on to the Spider-Man,
a scene which also happens on a school bus

where love of the
main character is introduced.

But let me

assure you, this is like any story
worth is all about.

A girl.

That girl, the girl next door.

Mary Jane Watson.

The woman I've loved since
before I even liked.

Pay attention that in the editing
that is closely related to the script,

they introduced you to the girl

at the beginning
without any surprises in the scene.

You are surprised that he finds
the love of his life on the bus.

And here there is no surprise,
neither by editing nor by script.

So The woman I've loved
since before I even liked girls.

I'd like to tell you
that's me next to her.

I had told you that the closest shots
are used for the main characters.

I don't know why
there is a close shot for this guy.

He has no importance in the story.

I tell you this because in film editing,

we can craft this shot
to create a more close to one.

A close up.

For example, here they do it again
and they do it randomly in.

That cannot be done that way.

It has an important INS

and the importance is called
the cinematographic point of view.

In the case of the girl, it's important
because we are talking

about a lot of his life, but
the rest of the characters from that boss,

they are not that important
for this story.

Pay attention
that the customs here had no importance

in the statics of the scene
nor the colors in the space.

So knowing exactly
why things are done in a movie or a scene

is extremely important to be able
to make correct decisions as editors.

Additionally, the editing stage
is the last right in a stage of a film.

It's the last chance
that the film project has

to repair the weaknesses.

This is a perfect example about it.

Imagine that you only see movies
of that kind of quality.

I don't really hate that

the Spiderman movie, in fact,
I find it quite entertaining.

But if you only see movies of that nature
in one day,

you want to shoot one story
in which there is a scene, a boss.

What do you think will be your point
of reference to create and the scene

that will be your reference?

It will not be another.

The same happens if you are a musician
or if you are a painter or a photographer.

It's the same when you see the quality
of someone's work.

I immediately ask whether their customs,
what do they usually do in free time?

What kind of things do they enjoy?

I mean, everything we do
in free time will feed our creativity.

I mean, editing is part of the filmmaking,
and filmmaking is like a speaking

a language. You cannot fully

learn a language overnight,
and it's full of so many things.

Music, theater,
painting, sound art, soundscapes, etc.

So over

the years working in editing,
I have come across many editors

and videographers who approach out of this
work in a very superficial way,

because many of them focus
all their knowledge on knowing

which are the best plugins
to improve the quality of the image.

What is the best camera
with the best dynamic range?

Which camera has the highest resolution,
which is the most advanced software?

For example in the years go by?

And there were continuous
with the same quality,

the same kind of places,
the same lack of visual culture.

All of this is something that no is going
to teach you in one single lesson.

It's something that takes years
to cultivate for you.

It should become a habit
that you go to a machine,

to an exhibition
that you contemplate quality art.

I'm not trying to say that
the technical elements are not important,

but in reality, if there is something,
I don't want for you,

it's for you
to become that kind of videographers

or editors
who only cares about technical things.

So I wish you could really be the best
you can be.

So what many people call talent
is actually the byproduct of a lifestyle.

All these are very important
for the video editor

because you are given
the date of a project.

I mean, the film footage of a project

you are supposed to learn to choose
which are the best shots of the scene.

So, for example,
what is the criteria you're going to use

to choose the best
take or to correct a shot?

Sometimes you have to crop shots,
for example, or reframe the image

to create a new and you must have good
visual reference to do that.

Determining
the violence of an image is essential

for the editor because you will be
cropping images all the time.

The violence comes from the vernacular
sight of human beings,

and this vernacular site
doesn't focus attention on both eyes

at the same time, but one is always
the one that concentrates the most

and the other complements it.

And that is the reason why
the law of figures in an image

must be respected to censor
the main elements of the composition

In any of those four points
that you see there in this case

is the girl's face
that is close to the upper right point.

This was used for the balance of rock
paintings and drawings,

and it's a fundamental
the is today for cinematography.

Being aware of this knowledge
is part of what make us better editors.

So there are a lot of ideas
that will come to your mind

when you have a great audio
visual culture.

Those ideas are the ones
that will help you to create

very much a better
editing and a better job.

So take all of these into account
and let's

continue
learning in this film editing course, you

perfect.

We are here again.

It is of a premiere and it's time to learn
how to use the effects control panel

And why?

Because every time we add a video clip
to the timeline

that, in fact can also be a photo
or an animation, etc.

we are going to be able to edit
certain parameters in that clip and above

all, give instructions to the software,
automate changes in those clips.

So the purpose of this lesson

is to be able to teach you
how to use the effects control panel,

which in fact is the same place
where you will be able

to add different effects
that the software has to use.

So this time
you're going to work with this photo.

So I'm going to add to the timeline.

This photo that I have here
is a photo of this space.

So you know that once we add an element
to the timeline and this line is over,

that element, we're going to see
that video clip on the program's monitor.

But it happens that usually the clips
don't share the same size sequence.

I mean, most of the time
the video or photo

has a different resolution in appearance
than the sequence.

For example, this photo is bigger
than the of the sequence.

And how do we check it?

Simply by double clicking on the monitor.

I kind of friend will be activated.

That indicates the actual of the image
we are using.

So this frame is a tool

that allows us to modify
the size of the image on the monitor.

For example, in this case
we could the space image

match
as much as possible with the sequence,

but it could be the case that we want
a certain part of the image

to be seen in the sequence.

So this frame allows me to play with that
because by moving these different points

that we see in the lines of the frame,
we can change the position

and the size of the image,
but we can also modify the image rotation.

But when we are modifying the position
and size that this clip will have

with respect to the sequence
we are modifying in the parameters

that are in Effects control panel,
which is one of the most important places

in the perimeter when it comes to editing.

Anything for.

Example while we are moving the frame
a few moments ago, the position

and the scale parameter was changing
in the motion section.

In this effect Control panel.

So pay attention.

I'm going to move the image again

so you can see how the numbers move
in the position parameter.

In the same way.

If I so mean or zoom out,
the image changes the scale parameter.

In fact, we can go even deeper
because these parameters allow

me to change if I want to.

For example,
the scale to be uniform or not.

So if I disable the uniform
and scale option, I can modify

how wide or along a one to image to look.

Of course we are
distorting the original of the image.

So basically you can modify the size
of the image either by using the frame

in the programs monitor
or by changing the values in the effects.

Control panel.

Of course, you will always have the option
to undo any of the changes.

So pay attention

that also with the issue of rotation,
the values change in the panel.

And additionally,
remember that whenever you want to modify

the rotation using the programs monitor,
you must position the cursor

in the corners, the frame
until you see that small curved arrow

indicating that we are enabled
to change the rotation.

But the next tool after the rotation

one is the anchor point,
which is very important.

The anchor point allows me to tell
the software the reference point

it will have as we a scale in rotate
the image.

For example,
you can notice that when assuming an out,

that is when I change the scale.

This happens towards the center
of the program is monitor in the same way.

When we change the image rotation,

the image rotates
using the center of the image sexes.

But it happens that if a changing curve
point to the lower

left corner, for example,
when I modify the scale of the image,

this image will not assuming or zoom out
towards the center.

But to that point below and to the left,

and the same will happen
for the rotation parameter.

But why I am explaining all this to you?

Because now on we are going to know
something very important

that we are going to use all the time.

When it comes to editing the key frame in
what is the key frame used for the key

frame analysis to give an instruction
to the software to make a change

in any of the parameters
that we find in the control panel,

not only in the parameters
that are already come by default,

but also the parameters
of the different effects

that we can add to the clips
and which will also appear in this effect.

Control Panel.

We are going to use this scale
as an example.

You know that when you click on
any of the clip, the corresponding effect

control is immediately
enabled where we can modify many things.

I mean, all that
we had just seen in many other things

that we will continue to see
and learn throughout the course.

The idea is to go with step by step, but

you may also notice the next to the effect
controlled by enabled.

It's displayed on the right.

I search for.

But this small timeline
corresponds to the space of time occupied

by that small video clip
that we have selected.

Obviously can modify that duration simply
by stretching or squeezing the clip.

So it's important to know this

because this space is where
we are going to place into key frames.

So we must be aware that

this small timeline
corresponds to the duration of the clip.

It's important to know this
because sometimes we are going to place

key frames, the effects control timeline,
and then we are going

to change the duration of the clip
in the main timeline.

And then when we return to the fact
control timeline,

we will not see the key frames anymore
because they were hidden ahead or back.

But you're going to see all these
using one of the parameters,

for example,
the scale here in the motion panel.

So the first thing we

must do is activate
these little clock that we have here.

Notice that all parameters
have their respective clock.

It's simply
what allows us to activate the key frames.

Once we activated the first key
frame that appears in the timeline

of this effect panel, which is indicating
to the software that right at that point

the images are going to have that specific
a scale that is specific size.

So we are going to automate this image
about a universe from scratch.

We are going to make it
move its size in time by automating

these parameters, using the key frames.

I mean, the values
change assignment progresses.

So we simply position
the cursor at the beginning of the clip,

then activate the clock
corresponding to the scale and the first

keyframe will automatically appear
and the automation will be activated.

Also So a few seconds later
we make a change in size.

We can do it directly in the scale
parameter

in the effects control panel,
or we can do it by moving

the size of the image
with the frame in the program.

Monitor

So in other words, changing the parameters
in any of the ways is exactly the same.

The important thing is to be aware

that the key frames
are in the place that we want.

So notice
now that when I play the montage,

the image changes size.

Obviously, all this procedure works
for any of the parameters

and even for many other effects
that the premiere brings.

For example, we could do this automation
to change the effect of the anchor point.

I simply activated the clock
in the anchor point parameter and move

the anchor point
to this lower left corner for example.

So since we also automated the scale,
now when the image scales,

instead of going to the center,
it will now go to that lower left.

But you must be careful with the key
frames.

Notice that I'm going to add

another one here, but this time
without changing the parameters

and pay attention

that it will not change at all
because I didn't change the parameter.

Let's move on to another parameter,
for example, the image position.

Then we simply have to look for
the position parameter and click the clock

to activate the automation
and the first key friend will be created.

From there we must advance a few seconds.

The ones we want of
and change the image position.

We can do it
using the frame on the programs, monitor

Pay attention that even the

software
will create a kind of guide for the route

that the image will have up that position

so we can check

all the changes by simply
going back to the beginning of the clip

and playing the mount Edge
to see how the automation behaves.

It's something quite simple.

Once we understand it, we are ready to use
all the premiere effects

because style will allow us
to automate any of the effects

that the premiere has.

So I'm telling you all these
because a large part of you want to learn

how to do it.

It is for YouTube or for your Instagram
or TikTok channels, whatever.

I mean, create content so it's necessary
to know these in order to add elements

that enrich the videos,
turn them into dynamic and fine.

So we can use another example.

For instance, you see in this logo
that I have here below,

we can add it
on the top of the picture of the universe.

So let me mention that
in this case, it's a page

that is one that contains
only the part of the logo.

Let everything that is below
part of the roof.

So I'm going to delete all the keyframes
and the automations

that we made in the photo of the universe.

We just have to click on these curved

that are to the right
to return to the initial state.

So what I'm going to do for you
is something typical of the videos.

I'm going to make this logo appear.

Suddenly that is a it enters the image

and in order to do this
we must automate the logo position

because it's
what will allow me to remove the logo

from the frame in the image
whenever I want.

Then we simply have to click on the logo
clip and we have to activate

the automation of the position in effect,
control clicking on the clock, of course.

So we need to set how long they want
the logo to take to appear,

and then we need to create
another keyframe at that position.

In this case,
we need two positions to tell the software

where the logo should be at the beginning
and where it should go.

You should always pay attention

to being right over two key frames
to make sure you are on the key framed.

You should make sure
that little blue dot lags have.

Let me mention that you can add other key
frames using that little button too.

So when in the first keyframe we change
the horizontal position of the logo

to a point
where it's not visible on the screen,

remember that you can do it
by changing these numbers here directly

in the horizontal parameter,
which would be the one on the left.

The vertical one is the one on the right,
but you can also change here

to use
in the frame in the programs monitor.

But in this case
I highly recommend changing it directly

to the horizontal value
so that the logo moves

only horizontally.

So as you can see, it's quite simple.

If you want, for example, the logo
to appear much faster,

you simply have to decrease the distance
between the first,

the second key frames
so that the change is faster.

Then we could even
change another parameter like the scale.

For example,
if we wanted the logo to zoom in

and slowly after appearing on the screen.

So we make a first keyframe
just when it finishes appearing.

And then later we make another key frame
where the logo is supposed to be closer.

So in this case, for example,
we can use the frame on the screen

to put to the logo just the
we want at the end.

Remember that once the automation
is activated, any change we make to

the parameters will automatically generate
a new keyframe

Obviously throughout the course
we are going to use many keyframes.

But I wanted you to know
the effects control panel,

at least this first part motion
in this lesson.

In other lessons,
we will see the other parts,

but it's a good story to know
the key frames perfectly.

So try to practice photos
with videos, with anything.

Well, we continue advancing in the opinion
and the content of the course

until the next lesson.

Perfect.

We are going to continue learning
to use the effects control panel

and this time you're going

to review the positive parameter,
which is not as simple as it seems.

However, it's one of the most useful tools
we get from here.

We are going to learn
to create transitions.

So we're going to start

with one of the most important things
to highlight about opacity.

So this is the first of the general
parameters that allows us to make a mask.

And this is one of the features

that were going to find
in the rest of the premiere effects.

A mask is nothing more than a tool
that allows me to create

a specific selection within the image
to which the effect be applied.

In any case, we are going to see these
throughout the course,

but basically these three buttons
allow me to create three types of mask,

a circular one,
a square one, and a customizable

one in which I can create
and the shape I want.

For example, if I choose the first option,
the circle, the mask will be a circle.

And since I am in Duplicity,
which is the parameter that controls

the transparency of the image,
it automatically creates this effect.

Obviously,
I can modify the type of circle,

but I also have the second option,
the square shape.

And here I can also modify
the structure of the square,

turning it into a different polygon
and well, that there are three options.

That would be the one that allows us
to make the shape by joining end points

as if it were a constellation.

And that is the one I use the most

because the masks
almost always have a regular shapes.

And there are other features
that we can modify

so that the ages are softened in
no so sharp.

For example, if I move the
feather, we can at the edges.

Actually we can also

modify the mask, opacity and.

The mask itself can have transparency,

and we can also
expand mask ages to enlarge the size.

But anyway, we will understand
all these better as we progress

throughout the course.

And although we are not going to talk
mainly about the masks in this

specific lesson,
it's important that you already know them,

because I believe that knowledge is like
that.

You have to see different points
of view of this same tool and above

all, lose the fear of using Adobe Premiere
tools.

Let's talk about opacity then,
and what is capacity.

Opacity is that feature that allows us
to make an image transparent,

to make visible any image below it.

There's a way premiere

timeline works in layers in the same way
as the Photoshop that is,

the video clips that are on top will be
the ones will be seen on the monitor.

So here you can see an example.

I have put another photo of the universe
on top of the one that already

had a mean a overlapped clip in this
how this one looks.

First it has priority, but notice
that if I modify the opacity percentage

in that clip that I just added,
the image below begins to be seen.

So the less percentage it has,
the more visible the image below will be.

But what I really want to show you
is that Adobe premiere like Photoshop

allows me to modify
the nature of that opacity.

I mean that the way in which
that transparency mixes

with the image below has a spatial
in unique characteristics.

So this

plan mode allows
me not only to use the normal opacity,

but all these options
that you can see here and try.

But the interesting thing
is that when using any of the blend modes,

even having the opacity value at 100%,

a type of transparency will be generated
the image below.

So it actually is a tool that allows us
to experiment with the video layers

because that effect
that you're going to see on the programs

monitor is the byproduct
of that blend mode in the specific

characteristics of the images
in terms of light and colors.

So for example, here
we can see that when we isolate the clip,

I mean that the clip doesn't
have any other clip below it.

The blend mode doesn't work.

I mean, it will only work
when the images are overlapped,

when there is one below.

So as I told you, capacity is important
because it will allow us

to make creative
and professional transitions.

This blend mode exist to improve the
transitions between one clip in another.

One of the most common
transitions are dissolves.

When one image dissolves that the order
appears survi, makes in the two images.

So in a previous lesson
I was talking about

the pen tool in opacity automation.

So we automate a kind of fade
in in the opacity line

at the beginning of the clip
that in turn is overlapping.

Another one we will do a now
of course dissolve.

So if in addition to this,
we use different blend modes,

we make that transition more spatial
because the images will have

visual characteristic that will adapt
esthetically to each of those modes.

So if you use Photoshop,
this will be very familiar to you

because this blend modes also exist.

Image layers in Photoshop.

On the other hand,
there's an important element

to take into account
when we make this type of transitions,

and that is that they blend modes
to makes images.

Even when the positive value is at 100%,
it's necessary that there is not only fade

in in the clip that is above,
but also in the clip that is below.

There is a fade out
because otherwise you will notice

an abrupt change
when you reach the end of the clip.

That is below, for instance,
you can notice it here when they hover

the timeline cursor over
right at the end of the clip below.

So right there at the end,
you will notice a change in transparency

that will not be soft, but like a cut.

So we must automate a kind of fade

out in the opacity line of the clip below

so that this is not noticeable.

So pay attention now.

How the transition is completely smooth.

Another important thing is that we can
make that transition as long as we want.

So we're going to do another example.

The use in video.

We're going to use the same short film
that we were working with,

and I'm going to select a part of a scene
to make it transition with another scene.

So here we have this image of the girl
looking back,

and I'm going to mix it with the scene
of the character of the raft.

So if we want to make a special transition
between these two scenes,

we simply click on the video clip
above and choose the blend mode we want.

Remember that to check blend mode.

You must be right at the point where
the two clips of video are overlapping.

Then you can try any of the modes
using video.

It's much more interesting
because in fact it's the most cinematic

way of doing holds.

For example,
look how good this mode looks.

Soft light.

So the first thing is to automate
with Bend tool, the fade in in the clip

above
that cleaned up the character on draft.

But I also have to do the fade out
in the clip below

where the girl is remembered
that if you don't fade out

the clip below, you will notice an abrupt
change in the blend mode.

The reason why

it's more professional this way is
because the original way of doing face

when cinema was analog was adding filters

directly
to film reels in the analog editor.

So use of blend mode in normal
always is not that professional.

So pay attention how interested in
the colors are mixed in this mode?

It looks very professional.

Check out these other modes called Darken

that only affects the plate.

This is an order called light burn
that is interesting to.

This is an order called light color.

For example, these.

So there is to hard light.

This other one is called vivid light.

It's very nice.

Pay attention to these with dark mode.

For example, with this mode
you could play with the mask

so that the transparency
only affects the blade.

We could use a circular mask
that only selects the blade, for example.

So we
try to make the circle match the blade,

but it doesn't have to be perfect
just an approximation.

And then we modify the edges
with the fader parameter,

softening the edges of the mask.

So notice how opacity
now only affects the blade.

It's a very creative resource, you know,
because it really allows you

to create effects in
and reach your radius a lot.

The important thing that you experiment
so that you can discover things.

Remember that each area has a specific
color features

that will result in a specific and unique
blending with the other clips.

So put all these into practice
in the next lesson.

So perfect.

Now we are going to address
the last parameter of defects contraband,

which is the time remapping, and we're
going to use this example to explain it.

I'm going to select a part of this video
where there is a slow motion shot.

Actually, it's one of my music videos
and well, in this case,

this shot was recorded at 60 frames
per second,

which means we can slow it down
without losing any fluency in the video.

So I had added this part of the video
to the timeline and we can check it

in the program, monitor Slow motion
shots are very attractive.

Remember that the slower
where you want it to look, the video

should have many more frames per second.

But anyway what I want to do right now

is to teach you the time remapping.

If we click on the video clip
and go to the effects

control panel, we are going to find this
parameter at the end

is to last up the parameters
of the ones that come by default.

So if you remember, I had told you that
the line that you see by default

in the video clips belongs to the opacity
parameter in that use in the pencil.

We can precisely automate
the opacity in the clip, but the truth is

that this is not the only parameter
that we can automate directly on the clip.

So if we wanted to change that parameter,
there are two ways.

The first is to click on the right mouse
button and we go to show clip keyframes.

We can change it, for example, to time
remapping and we click on the speed.

The other way is by clicking
and these are small box where it reads

effects and we can change the parameters
of this automation line.

But what is time
remapping for this parameter allows?

Me to modify
the speed of the video clip automatically.

And what does that mean?

Just as you see the image in slow motion
right now, you could make the images

speed up at a specific time
or slow it down.

And of course, everything will also appear
automated in the fixed control panel.

So what we must do,
select the pen tool and draw on line

the points where we want
a speed change to start and end.

I mean, we will be able to change
like time gaps.

So I'm going to draw the first point

and the second point over here,

and I'm going to draw also a third point.

So this three points has generated
four different gaps in which

I will be able to speed up
and slow down the speed of the clip.

So we must select the arrow
tool again, the first one,

and now we are going to

raise or lower the line
we want of the automation.

For example,
if I move up this specific lane,

I'm going to speed up at that moment,

but pay close attention
to how the clip is squished,

because by doing this I am accelerating
the passage of the frames.

So now look at the image
that's just at that moment.

The video increases the speed.

I'm going to increase the speed even more

so can notice it.

And also in the same way, you can move
the other gaps, the other lines

between the points,

so you can do it
also in the opposite direction.

I'm going to slow down to video
so you can see how it looks like.

Obviously when you slow it down.

The video clip expands.

Obviously, when we slow down the image,
the frames per second begin to be noticed

obviously when they are not enough.

On the other hand,
we attention to these same points

that I made in the automation
lane were also created

automatically in the timeline
of the effects control panel above.

So you can speed up or down like this
as long as you take into account

that the midpoint of the lane

is the actual speed of the clip
and app is faster and down is slower.

If you want to clear older automation,
just go to the time

remapping and effects panel
and turn it off on the blue clock.

But pay close attention to this wing.

When you do that, the clip
is going to get completely squished.

So you have stretched it again
to make it normal.

Try to remember it because you might
even think that the clip was late.

But there is another way to modify
the speed of the clip.

We simply press the right mouse button
and go to the speed duration parameter.

For example,
in this first feature percentage,

if I set it to 200%,

the speed of the clip will be multiplied
by two.

I mean, in the case of this clip,
it will run at the real speed

because the look of this video
is the byproduct of setting the video

recorded at 60 frames to 24 frames.

On the other hand, in this same tool,
you reverse the speed of the clip.

I mean, make it go backwards.

This is very useful as well.

You only have to select the reverse speed

box and the clip will go backwards.

On the other hand, with you
should pay close attention to in this tool

is the last parameter time interpolation.

This parameter allows me to modify the way
in which the frames will appear

when the video is displayed.

I'm going to activate the reverse
to explain it to you so you can see that

this shot, this video is in slow motion,

but maybe we want the video to go slower.

So we go to the speed tool
and select, for example, 60%.

But when you do this, the

video will stretch and therefore
the frames will start to show.

I mean,
as if the image had some small jumps

because in fact, it's
jumping from one frame to another

because there are not enough frames
to make the movement look smooth.

So you will have three options.

The first frames sampling that is selected
by default allows you to show

the frame, said the video has no matter
if the video is a slow or fast.

The second option frame blends in allows
you to mix the frames a bit.

I mean, when you slow down the image,
the movement is smoother,

but the less option
optical flow will create more frames

per second,
compensate for dead lag frames.

But the truth is that it will never look
like you have the video with more frames.

So I highly recommend you
not to make an excessive use of this tool.

Do not force it.

So this would be the most important

characteristics of this speed
parameter of this a speed tool.

This rehabilitative feature
is very simple, simply that sometimes

the clip to which we are modifying
the speed is next to another clip.

And obviously sometimes when we modify
the speed, the videos are squished.

And that tool allows me to make
the next clip attached to the clip.

We are changing.

The speed of a symbol
is that it doesn't add match complication,

but the most important features
are the ones I mentioned before.

So let's recap.

So you don't forget
we go to the speed tool

and the first thing we will find

is the percentage of the speed
we want the clip to have.

The second option is to reverse that.

The video goes backwards.

The ripple added
so that the clips are stay

attached to each other
even when we change their speed.

I don't think you guys use this too much.

And the one you're going to use
the most is the time interpolation.

It's a way

in which the frames will appear
to make the video smoother and more fluid.

Remember, there are three options.

The first one that shows exactly
the frames the video has, the second one

that mixes the frames to make
the video more fluid and is smoother.

And the other one, the last one

to create the necessary frames
to make it look more fluid.

But let's talk about this option
that is deactivated

it's important to mention
that when the video has out,

you and you modify the speed, the speed of
the audio will also be modified.

Therefore It will be had a lower
when the audio is lower

and faster,
like a squirrel voice when it's faster.

But this option called maintain
all the pitch

here, it's disabled
because the video doesn't have audio,

but it allows me
that even though the speed of the audio

changes,
the tone of the audio doesn't change.

I mean, the voices do not sound
like squirrel or very slow.

But will

you already know how to modify
the speed of any clip?

And this is the most important thing
related to this lesson.

Until the next time

or perfect.

We are here again in the Adobe
premiere in this lesson

are going to learn
to use this toolbar over here.

So this bar next to the timeline contains

the main tools that we will use
when editing.

So I would say that the main purpose
of this a lesson the main objective is,

is to give you a powerful insight
on these buttons over here.

The buttons in the toolbar.

So we are going to look for the sequence
we have already created

in the previous lessons
and we are going to add a video fragment,

the timeline
that is to say to this sequence.

So here I have selected a piece of video.

Remember that you must use the AI in
oh two said

the beginning
and the end of that piece of video.

For example,
the video fragment could be up to here.

So we press oh to select the end.

So we are going to drag the video
to the timeline,

holding down the right mouse button.

We pull the video to the timeline

and we are going to click on
keep existing settings.

Remember that it's to maintain
the sequence configuration.

So already
have our piece of video on the timeline.

But before dig into the Timeline toolbar,
I want to address this

yellow line over here
that appears here on the timeline.

So this yellow line indicates
that the computer's dedicated video card

that is
the DPU is generating temporary previews

so we can see what we are
editing on the program.

Monitor that the yellow line
represents a partial render.

If you had a powerful computer or,
the preview will look good enough

on the program's monitor.

However, depending on the complexity
of what we are editing or how heavy

the fires we are working with are,
we will have to advance in the render

that is, convert
that yellow line into a green line.

I mean that

the computer makes a complete render
so that what we see on the programs

monitor looks completely continuous
without interruptions, without delays.

And you will need these,

especially if you don't have
sufficiently powerful computer.

So what you have to do is select the input
and output of the section

you want to render by pressing
right and o on the keyboard

and once you have the section

selected,
you are going to go to the sequence tab

and then you are going to click
and render in two out

and then immediately a kind of final
render of the entire montage

of what is between the scene in the out
will begin to be made.

Of course, you will have to wait a bit,
especially depending

on how many effects
each of those video clips have.

Additionally, that render will also have
a higher quality.

So regardless of whether our computer
is powerful or not, if we want to see what

we have edited with the higher quality,
we must do that render.

Now look the line.

It's now green, indicating
that the render is finished

after.

This is very important
when it comes to editing music videos

because we are supposed to the video
with the music it to perfection.

So let's start in
with the first button on the toolbar.

This arrow over here.

So these are all is
like the most general tool that allows me

to select anything in the Adobe premiere
and especially in the timeline.

And of course, move
what want as a nanny software.

It's the default selection
tool of the software.

So there's no minor thing to be confused
with.

This is simply the programs, two settings
to move the mouse in the software

and use all the functions
right below the arrow tool.

We will find the track select
for word tool.

This allows me to select all video clips
that are in front

or behind the position
where I am with the mouse.

So basically it allows me to select
several clips at the same time

when necessary, thereby
making it easier for us to work.

So if we press the old key
on the keyboard, we can change

the direction of the selection.

That is,
if we want it to be forward backward.

I'm going to give you an example.

I'm going to add a portion of the video
from the short film

in order to overlap the clips.

I'm going to drag the video along

and I'm going to drop the video
just over here.

So going to bring the track, select
forward button,

making sure it's in the right direction,
which would be forward.

So when I have this tool
activated and click

on the timeline, it will select
all the clips that are to the right.

That is those that are forward.

It doesn't matter how many they are,
they will all be selected.

So I'm going to do it again
and notice that it's even going to select

the respective audio clips
that are connected to those video clips.

Now I'm going to press the old key

on the keyboard
to flip the direction of the tool.

I mean, select everything that is behind
that mouse cursor.

Try to notice the difference.

Pay attention
that when it's activated, select backwards

in a click on the timeline over here,
as there is not clear

behind the mouse cursor,
it will not select anything

because there is nothing to the left
that is backwards.

But conversely,
if I click to the right of the clips,

the clips will be on the left,

so the tool will select them
because they are in the back.

So the tool is very simple,
simply with the old key on the keyboard.

We changed the direction of the selection
when it comes to selecting many clips

at the same time.

So let's go now with the third button

of the timeline toolbar,
which is a bit more complicated,

but there is an important detail
to highlight

before moving on to the third tool,
which is that, well,

the Arrow tool is selected,
we can stretch in a squeeze, two clips.

I mean to travel in all extension
of the original video file.

For instance,
although we had this of the short film,

if we stretch the video clip backwards,

we will travel backwards in the short
film.

Adding more of the short film.

Obviously, and explained these because
the third button has to do with this.

The first button is the replay tool,
but actually press an old on the keyboard.

We have rolling.

Edit in red Stretch tool.

So what is the first one for the rebuilt
added tool?

This function allows me to move
the transition between two clips

that are next to each other.

For example, here
we have two video clips that are together

and they have this function activated.

This allows me that whenever
you stretch the video clip or exquisite,

the next video clip will not change
its beginning or its exit.

It's like pushing
or pulling the next clip.

Pay attention that, the clip stretching
and right and the character's face.

And immediately
the next clip starts when the character

is on the raft with his back visible.

So The replay tool allows me
to stretch this clip

by pushing the next one without changing
the beginning of the next one.

It's a very useful tool for not changing
the beginning of the next.

The next function in this same
third button is the rolling

edit tool,
which we can switch to by pressing old.

So the rolling tool function allows me
to the clip as well, but this time

it will not push the next one,
but it will advance its extension.

It's as if it were inviting
the next pay attention to the fact

that the part where the character's back
is seen no longer appears,

but rather
the clip advanced to farther forward.

So it's as if I had to move
the transition forward,

as if I had made a cut in the clips
by the forward.

So you already know the difference
between the first and second function.

The first one to rebuild the tool
allows me to stretch

a clip by pushing the next one.

I mean, without changing its beginning

in the second option
to which we change in old on

the keyboard allows me to stretch clip,
but this time I do.

By the next clip, I mean, the beginning of
the next clip is not preserved.

So the third

option of this third button is to rate
stretch tool.

This option is related to the speed
the video clip will have,

which is something
that we are going to see later on.

But basically this tool allows to stretch
with squeeze

the video clip, altering its speed.

In other words, when I get stretch it,
I make it to slower.

And when you squeeze it, I it faster.

Look how I stretch the clip.

And now the video looks slower.

So when I use stretch the video,
obviously the frames separate

and run at a slower speed, thereby

slowing down the movement of the video.

That is a function
of that great stretch tool.

So I'm going to press on to reset,
which is on the two,

particularly back like before,
and keep moving forward in the tools.

So the next tool is the racer tool.

So the racer tool is the tool
that we are going to use the most.

It allows me to cut the clips as I want
in, where I want using this tool,

I will be able to cut
a portion of the video from any clip

on the timeline
to be able to move it to where I want.

Remember that you must cut the beginning
and end to be able

to separate it from the clip
as if it were a cake.

I mean, to cut a piece of cake,
you must make two cuts.

So as I told you, the tool that we are
going to use the most in the editing

and it's not too complicated,
we simply selected and got where I want.

Of course, once we cut to move that
that we cut, we must be in the Arrow tool.

Obviously you can also use the racer tool
in the audio clips.

Now we go to the fourth button,
the fourth tool.

This tool is very useful.

In fact, it has two options
that we can change with the old key

on the keyboard slip tool and slide tool.

Let's review the first option.

This tool allows me to modify
the input output of one.

Be the clip
that is between two other clips.

For example, when
clicking on this small portion of video,

these four screens will appear
on the programs.

Monitor the image above, and to the left
belongs to the end of the clip

that is before it in the image
to the right and above belongs

to the beginning of the clip.

That is after each the two images
below belong to the beginning

and the end of the clip
that we have selected.

So this sleep tool
allows me to change the entrance

and exit of the clip they have selected
without altering the position of the clip.

With respect to the other two clips
that are before and after respectively.

So holding down the left mouse button

and at the same time
moving to the right or left.

A change to start in the end of that clip.

Moving in the short film.

So it allows me to move where I want
that little clip to start in the end

without having to go
to the reference monitor and separately

edit the clip and then put it right there.

I mean, it's useful because sometimes
we want to change little things,

but it's tricky to get the clip out to
where it is and put it back in its place.

The truth is that I didn't use that
too much, but it's important to know

that this tool exists so that IT workflow
is as pleasant as possible.

The second option, which would be slide
tool, works differently.

This tool allows me to move
for the position that the clip will have.

With respect to the other two clips,
I mean, the one that is after

and the one that is before,
but without altering beginning

and the end of that clip that I have
selected, be attention to the timeline.

Notice that I am moving the clip in now
its position is moved.

With respect to the other two clips,
look how I am moving

the clip to the place where I want.

So now in the program monitor
the small images are both

now belong to the beginning
and the end of the clip

that I have selected, and both the images
below belong to the clips

that are before and after respectively.

So it's a very useful tool
because it allows me to edit clips

without having to separate them
in another part, the timeline,

which would be more work for us.

So let's move on to the next button

on the toolbar, which would be the pan

depend tool allows me to modify
the automation line on the clips

that by default are volume
for audio incapacity for video.

By making this points called Keyframes,
we construct software to change

both volume and opacity
automatically as the timeline progresses.

But I do not want to go into this
right now because there's going to be

a separate lesson regarding editing, audio
and also editing opacity

as well as a lesson where we are
going to explain what a keyframe is.

The important thing for now
is that you know that the pencil allows me

to alter these automations
simply by making points

on those horizontal lines
that have both the audio and video clips.

And the last button on the timeline
toolbar is the text tool,

which of course we will also see in detail

in a specific lesson for that,

because obviously
I have to explain the parameters in detail

in how you're going to be able
to use the letters in place

and move them on the video for now.

The important thing to know
is that when this option is selected,

we simply click anywhere on the program
monitor

and immediately
the option to write opens in.

At the same time,
a graphic clip is created on the timeline

and I will be able to modify

that clip as I want,
as if it were one more video clip.

I mean, I can change
how long it will last and move it exactly

the same as if it were a video clip.

If I can show you a little bit at once,

simply when I have selected
that graphic clip, the effects control

will open all the parameters to move that,
as I told you, as if it were.

One more video clip here.

We are going to be able to obviously

move the characteristics
of the typography as well.

There are quite a few features,
but since they want to go step by step,

I need to first explain
what defects control is like

before tackling
how to the text in the premiere.

So this would

be all about the time line
toolbar buttons.

You already have a general notion of those

that are going to be very useful for you
from now on.

Try to review all the content again

and I see you in the next lesson.

Hello people.

In this module
we are going to work on color correction.

First,
we're going to learn how to make masks

because in fact masks are the tool
that will allow us not only to do

color correction,
but also to apply an effect to an image.

So try to be patient.

I mean, there are several lessons
and I explain everything

in step by step
so that you can do it yourself.

There is something important to take
into account in terms of dynamic range.

The dynamic range of colors in an image is

the number of color tones
and gradients in an image.

As I mentioned in a previous lesson,
an image with a higher resolution

will have a greater amount
of dynamic range.

But remember, that resolution doesn't
necessarily mean a larger image size,

but a greater amount of information
for each pixel.

There are now strategies
to make the viewer feel that the image

they are watching on
the screen has more dynamic range.

For example,
if in an image we change the color

of certain objects within the frame,
we're going to create a look

or a sensation that the camera was able
to detect those colors,

those colors, variations, thereby

improving the prurience of our video
substantially.

But this will not only make the image
look better in terms of dynamic range,

but also in terms of cinematography.

I mean, the static quality
of any image itself.

So take a look at this example,
which in my opinion is excellent.

In fact, I highly recommend this film.

Is this kind of films seen in photography
seems magnificent to me.

As you can see these
the scene was shot in a beach,

which is one of the main factors
that makes the image look good

because this scene was shot
at the best time of day.

But it happens that even in perfect
conditions,

the gap to record is never too.

Therefore, the production team
will prioritize the scenes

that need the presence
of their direct sunset flight.

But what about the other?

Those that are necessary for the scene

but in which the sky is not directly
visible?

Look at this example.

This shot vigorously clean,
being a kind of hill near the beach.

But even when the sky is not there,
we must give information

in the shot
that the place is close to that beach

and that the action is taking place
at the very moment of the sunset.

So how we can do it,
We attention to the bottom rocks.

You can see the bottom's rocks are pink

as if the evening light
is projected on them.

But the truth is that in the original
the shot, surely the pink color

was not there.

Okay, You may think, well,

maybe it's a big red lamp
that is illuminating the rocks,

but it would be much more expensive
to do that today.

In this age that is no longer necessary.

That direct the color of the rocks
can perfectly be done in color.

Correction, in reality
is much easier than you think.

If the movie was recorded it in high
resolution, much easier still.

Obviously, in the case of a film
like is, it's evident

that everything was recorded
in a maximum resolution.

Now the most difficult thing
is not to change the color of the rocks

the most difficult thing is to know
when it's necessary

to change the color of the rocks
to match the sunset.

Now, to be able to know these,
you must have a great visual culture.

You must feel the visual need to add
something to an image to make it complete.

I tell you these I tell you all of these

because today's has multiple jobs.

Many of you take many courses

because you want to learn
how to do everything yourself.

But where do I want
to go with this example?

If you are giving it out to

I mean, the video files of a scene
recorded on a beach like these

and in the data
there are, for example, paint shots,

but only three of them show
the afternoon light.

You should be capable of modifying
elements, you name it,

to suggest that all the shots
was recorded at the same time.

That is your job.

So even if you are just someone
who does color correction,

you should be prepared
not only to get the image corrected

but to know
when the image needs to be corrected.

So I always insist on this.

Try to watch good movies
so that you can have

good reference sources
when it comes to doing color correction.

Let's start in

perfect who you are here.

In the first lesson about quarter
regrading or correction,

what is the first thing you must know

to have a powerful inside
of color correction in color grading?

The first thing is that what I'm going
to teach you in this lesson,

in this module, in the following lessons.

It's my point of view of this past
production stage.

I mean, every single teacher
you're going to find around,

they will have their own

point of view of how to color
grading and color correction,

because actually that point of view
is the byproduct of their experiences.

So I would say
that is like painting or drawing.

Everyone is able to develop his style.

And why I am telling you this

because I'm focused on
creating art to create in his stories.

I am an artist.

It's what I love to do.

It's what dedicate myself to.

And so from my point of view,
there are certain technical elements

that we should not follow completely,
or we can have the respect for complete.

In other words,
we must be able to break the rules

a little or bend
the arm of the rules a little.

And I'm going to start this
by differentiating

between color correction
important gradient.

What is the difference?

So from a technical point of view,
color correction is to fix

the various colors of the image colors,
to make the image match.

And the original idea that
the cinematographer had in the shooting,

I mean, the director of photography
or cinematographer

was carrying out that job in the shooting
and he had a purpose.

I mean, he had an objective,
a kind of objective

in terms of color
and illumination lighting.

So when you are shooting,
you are supposed to look over the images

in the monitor
and that monitors provides information

about what is passing
through the camera sensor.

So it's possible that in the day
of the shooting, you as a cinematographer

or film director or videographer,
you are pretty confident about.

You are watching on the camera monitor.

But it happens that by the time
you will be reviewing the footage,

you realize that the footage done match
what you were watching on the monitor.

And so, for example, in this in this image
about this gear on the pool,

you can notice there is a kind of seal
a white veil upon the image.

But it happens that that veil that you can
notice is a kind of rough configuration

that the veil has in order
to be modified in terms of color.

So it's a kind of forward configuration.

So going back to knowing what is color
correction, color correction

would be to return that image to that
look to that appearance

that the cinematographer was watching on

the camera monitor or the external monitor
in the date of the shooting.

But just at this point,
conclusions come out

because maybe the initial idea
of the original idea

that the cinematographer had was to modify
the color of the image,

the color of the video
in the post-production stage.

So in this sense, when you talking about

distorting the original colors
of the image

in order to enhance its appearance,
you are talking about color grading.

And so sometimes these borders
between color correction and go to end

are very closed, are caused and mixed.

So for me, everything all the time is
a quarter of grading because your purpose,

your objective is to enhance
the image as well as possible.

So let's start it.

The first thing we must do
is to change to quarter percent.

I personally always use the editing preset

that only because is the more efficient,
but also because is the better

in terms of performance
and computer resources.

But this time
you are going to need to research them.

You made three scopes
in this color presets and what is this?

You made three scopes to the naked eye.

It seems very complicated
because you are watching a kind of

strange waves, but they really tell you
that it's not that complicated at all.

So the lemaitre scopes is a tool to ensure
that your image

is filling
the entire spectrum of color Gamuts.

So you can notice that in this panel
in the left side of this panel,

there is a ruler or a now of a matter
that goes from 0 to 100.

And you can notice
also this wave of three colors

that is located in a specific section
of this panel.

For example,
we attention to this blue stripe.

White is blue.

This stripe is about
it happens that the 100 value

represents
the maximum amount of light in the image.

You know, the other hand is zero
represents the minimum amount of light.

So pay attention to the program monitor.

You can notice that the blue color
extends out because the pool is blue

in the water
has the maximum amount of light

and the on the other hand,
the skin has less amount of light.

And you can notice
in the center of the pale

that there is a kind of fall
in terms of light in the center

of the image in that fall is represents
in the hair.

For example, in the girls swimsuit
that is black, actually.

But the problem is that at this moment,

this wave that you're watching in
the panel is just filling

a small section of the spectrum, a section
closer to the light than to the shadow.

So we are supposed to expand and stretch
that color

range of the image to fill
as much as possible DC spectrum of colors.

But pay attention to this
because I don't mean to say that

it is imperative
to fill the entire spectrum of colors

because maybe your artistic purpose
is not to do that

in entirely these,
because maybe your objective

is to to reach a kind of vintage
look in the video.

And that look is inspired by it.

By a time where there were not
that sophisticated TVs or cameras,

I mean, there were cameras,
there were not able

portrayed
a great deal of colors and gamuts.

So if it's the case that you want
to match that, look, maybe that appearance

that you are watching at this moment
is the most suitable for you.

But let's suppose
that this is not the case.

But suppose that you want to
to a kind of equalize

in the colors of this video, to come out
this video as quick as possible.

So you're going to need to add
some video effects in terms of color.

So we need to go to the effect.

It's important to stress that

that there are a great deal of tools
in terms of color.

But I'm going to show you
those that I used the most.

So we go to the effects folder,
we go to video effects,

and this time we are going to add levels.

Also, we're going to add you may
three color and also a color balance.

RGV I have already added these effects,
but they are all activated.

I'm going to do it from scratch.

So the levels effect is located
in the adjust folder,

so the direct effect to the effect
control panel.

And then we go to the color
correction folder

and we pick the illuminated color effect.

And lastly, the color balance.

We are going to find it
in the image control

over here.

So what is the level effects used for?

I usually use this effect
to stress the black tones in the image.

I mean, for me is the first step
in order to banish

that the forge revealed in the footage.

So in levels, parameters, you are going
to find several color correctors

that are focus and adding more light
or remove light from the image, either

modifying the whole range of colors
or a specific range of color in the image.

And that is the reason why you can see
different tracks in terms of range

black input or white input,
and not only in terms of RGV,

but also for the red or green
or blue separately.

But as I told you, I use this level effect

to enhance and strengthen
the black tones in the image.

So by moving this first track,
you can enhance the black tones.

So I'm going to move this parameter
to the right

and you're going to notice the difference
in the program monitor

So you can notice a difference
and you can notice how the image

is going to the original state.

So now you're going to going back to the
you made three scopes

to review the spectrum,
so you can notice how the color wave is

to the downside of the spectrum.

I'm going to deactivate effect
so you can notice the difference.

Pay attention
where are located, the red tones.

I'm going activate it again
and pay attention to the new major scopes.

So by moving this first parameter,
this first track, adding

almost points in terms of black tones
to the entire image,

thereby increasing
dramatically its range of colors.

And pay attention that scene as tigers
swimsuit is reaching the black tones

completely in the hair.

Also,
you can notice in the center of the panel

that the color wave
is reaching zero in the spectrum.

And you know, that zero represents
the minimum amount of light.

But you can also modify
I know there are tracks of the levels.

I mean in order to fix the tones
and return the appearance

to the original state.

I mean you can add, for example, light

to the whites that sometimes are necessary
because maybe the video lacks of light

and you can fix that problem
by moving that parameter, that track.

But pay attention to that you made there.

SCOPES In this time,
since they move white input

the color wave that
which is the maximum amount of light.

But some reason I use this effect
and this little effect to equalize

the tones is the first step in terms
of color correction in color grading.

But let's move on to the following effect,

and that is that you may add three color.

And here going to add some contrast
to the entire image

in another very important thing,
saturation, the first iris

and an in saturation
is because the image is called

I mean, even though you can notice
the sunlight reflected on the pool,

I mean is an outdoor shooting.

There were a of clouds in the sky in
the clouds

were preventing
the light reaches the objects directly.

I mean, light is filtered by clouds.

So when it happens,
everything around loses color immediately.

But I'm going to modify a little bit
the highlights

in order
to decrease the amount of highlight of it.

And I'm going to level
the highlights with the whites

to this point just right here.

Now you're going to go back to the
numerator scopes to review the spectrum.

Now you can notice
how the red stripe in the color wave

is reaching almost 30 in the spectrum.

But pay close attention to this.
You don't need that.

The color wave reaches the zero 100 level.

Actually, that is not good, just like
it is is well enough to come out of video.

But it also depends on what you want
or your style.

But additionally,
we can add another effect

these color balance effect, color balance.

RGV And this effect allows you
to add a kind of extra

veil of color that covers
the entire image, not altering.

So nature, I mean, its nature
in terms of light in tones.

So you can notice that
in enhancing the blue tones and removing

also the red tones in the image in
actually it looks very nice.

It looks like
the shooting was in an indoor pool

that had some windows
where the light is coming through.

And pay attention to this.

I'm turning the image blue
and you can notice that blue veil.

But let's go back to the lumen scopes.

Now you can notice
how powerful was this color correction?

I mean, the color wave is filling
almost the entire spectrum.

But in this case, we shoot the low.

The blue reached the 100 level,

so we must try to level
the red tones and blue tones.

No reaching the limits.

So reaching the limits means that you are
saturating the image in terms of color.

So I'm going to move the blue track
a little bit.

And the red track also now pertains
to how the limiter scopes behaves.

You can notice now how the blue stripe
is next to 100, but it's not reaching 100.

And that means that it's not saturate
often.

Well, that would be what I usually do
in terms of color.

Correction the first steps.

But pay attention, which in the limits
doesn't mean that the image is

maybe your creative purpose is to do that
you're esthetic purposes.

So feel free to experiment and to play
with these parameters and tools.

So I'm going to leave you
this shot for the screen

and I see you in the next lesson.

Perfect to be here. Here again.

This time you're going to use this
another example.

It's the same film
setting with the same actress,

but this time you can notice
that the sunlight is not filtered.

And this is a perfect example to make
you understand that

even under the same conditions
in terms of production

and film setting,
just the fact that the sunlight is filter

by clouds brings about another different
look in that features in the hair.

For example,
you can notice that the highlights

reveals the brown tones
in the hair, for example.

So this time I'm not using the levels I'm

using only the new metric color
and the color balance.

RGV But additionally amusing,
another effect

called sharpen to add definition to image.

So we are going to go to the folders
to look for those effects

to do this from scratch.

Of course, we are going to continue
analyzing that you made through

while doing

these color correction.

So let's go to the new miter scopes
to analyze the spectrum.

So here you can notice that the color wave
looks differently,

I mean, differently
than the previous lesson.

And the first you can notice in
the illuminator scopes is said

there is a kind of white color
covering the color wave.

And what does it mean?

That means that the image is

I mean, the footage is burned.

I mean that the camera settings were not
more suitable for those light conditions.

And the reason why that it happened
was due to the weather

conditions,
I mean, clouds were moving quickly.

I mean, the camera was set to work
with the light filter by the clouds,

but that weather conditions
were not as stable.

But even though the video is a little bit
burned, it's not exposed at all.

But we must try to adapt
the color correction to this conditions.

So since the sunlight is reaching
the objects directly,

we must try to create that effect
of the afternoon light.

So I'm moving the temperature,
the warm tones

and at the same time
adding some contrast to the video.

So in this case we must try to focus
on the black tones in the shadows

to compensate that overexposure of light

by attention that you can notice
that these blacks track

is almost exactly the same,
that the first track in the levels effect.

I mean, remember that

the first track in the label,
this effect was two black inputs.

So you are supposed to make
the black tones of the image to reach

completely the black level, most of all
in the tones of the girls swimsuit.

On the other hand,
you must differentiate between in whites

or between shadows in black.

When you are modifying the highlights,
you are modifying in the highest levels

in terms of light
but not torching the whites in the lowest

level of light.

I mean, you can modify some objects
that are illuminated

but are not white at all.

But when you modifying the white,
you are going to modify the whites

whole range of tones in terms of light.

So for shadows in black,
it works the same.

Pay attention that since I'm

moving the black track,
only the black swimsuit is changing.

But if you modify the shadows,

you're going to modify
the whole of shades in the image.

So once you make this first step,

you're ready
to move on to the color balance.

And what we are going to do,
it's supposed that the sunlight

is reaching the objects directly,
I mean, like they're after in the light.

So I'm going to decrease the blue tones.

But additionally,
you must know that the sunlight produces

more saturation in the image
and enhancing the color of the objects.

So we are supposed to increase the color
saturation in the luminance reflect.

So we go back to the limited color
and we look for the last parameter

in the basic correction is the saturation
and we increase the values.

Pay attention to the leap's color
and also to the hair color,

so we can go back to the caller balance
and try to level the amount of blue

and removing blue actually, thereby
increasing the red tones.

You can add more or less as you want.

Remember that it depends tones
your creativity also.

And now we are going to go back to
the illuminator scopes to review the image

for pay attention that the color wave
is filling the entire spectrum.

But additionally
you can notice that every single color

a strap is located
in a specific section of the spectrum.

But you can continue modifying the color

parameters,
I mean, in order not to reach limits.

But even though
you are reaching the limits, but you like

what you are watching and the program
monitor, try to be confident with that.

And additionally, in this specific case,
I already told you

that the video was burned.

I mean, in terms of light in any way,
even though you can notice that the image

look very well, the color look very well,
you can increase the reds, for example.

I'm increasing the reds by removing blue
and for me, the video looks better.

And you can notice also
that even adding more red to the image,

the color wave is filling
more of that spectrum.

Now we are going to move on to the next
effect of this lesson that is sharpen.

The sharpen is used for adding
more definition to the image.

You can add as much sharpening
as you want.

The reason why I use this

is because most of the blades from
the users are going to your video.

The coming user is going to use the less
amount of resolution in the player.

So by adding this sharpen effect, we can
create that effect of more resolution.

Even though the video is displayed
in a player with a low resolution setting.

So is a trick very useful for YouTube
and those kind of platforms.

But you must pay close attention
that when you are working with high

end cameras, you will be able to add
a graded amount of sharpen to the

I mean, the video is going to reach
more image quality.

It's exponentially actually,
and it's related

also to the amount of information
per pixel.

But on the other hand,
if it's the case of a DSL or camera,

you cannot play with this in that way

because it will be noticeable
that you are forcing in sharpen.

Perfect. This lesson is up to here.

Remember to review all the counters,
to digest all the information better.

I see you in the next lesson.

Perfect. We are here again.

We're going to work with this
to last takes.

On the one hand,
if are going to work on this take

that is it is horse galloping.

Let me stress that this footage belong

to one of my music videos.

So on the other hand,
we are going to work on this other take,

which is the same actress
getting out of the car.

So are we going to do we are going
to start with this first, taking the horse

in this case, we are going to change
the color of the horse.

We are able to change the color
of some objects,

but not using After Effects or DaVinci,
for example.

I mean, it's not necessary
always to use those software

to change the color of objects,
but additionally,

we are going to use all their effects
also.

So we go to the VFX
folder to look for those effects.

We need to change.

The color effect is located

in the color correction
folder and also brightness and contrast.

But we are going to use
also the illuminated color.

So can check the limit for scopes
to review the image,

to review the color weight.

And you can notice that in this case

the wave located
in the middle section of the spectrum.

But the color with is a still too small.

I mean, we still need to stretch
the color wave to the whole spectrum,

but we are going to the red spheres
to change, to color effect.

So we opened effect.

We must go where it reads from.

So we must click on the dropper
and we are going to select on the screen

the exact color we want to change
and we are going to select a color

that is not visible in a greater
of sections in the horse here.

Then over here into
we are going to click on the dropper

and we are going to select the color
we want.

So you can notice automatically
the color has changed immediately,

but we must try to level
that by modifying this parameter hue.

I mean, to do right

is a more deal of color
and to the left is to decrease the level.

I'm going to change the specific tone
in the frame parameter.

I mean, we are supposed to select
the specific tone with precision.

And additionally,
I'm going to set the other color more red.

I mean, so that the change is noticeable

so we can increase the hue as we want,

But I'm going to increase it a little more
just right here.

Then we move on to the brightness
and contrast.

And here we are going to lower
the brightness a little bit.

The following effect is the Lumiere true
color.

We must go to the basic color correction

and then we go to the saturation
parameter.

If we are going to increase
the amount of color dramatically,

we can move the temperature
parameter to the warmer color,

but also you can move to contrast to level

the amount of black tones in the image.

We can modify also the black track
a little bit to bring out

all those black tones

and you can notice
how the horse hair color looks like this.

It's completely red and you can notice the
difference by deactivating those effects

that is the original
Take the original look

so we can go back to the Lumen

through scopes to review the spectrum.

And you can notice that color wave
is stretched to the spectrum.

But in the case of this video of Tears
take,

we cannot reach the highest amount
of light because this steak is also burnt.

I mean, a little bit burned.

And that is the reason why the better
the direction of photography,

the better quality of the image.

Because if the image is burnt.

It doesn't matter how much resolution
the camera has.

The sensor is not detecting
all the full colors of the spectrum,

so you won't be able expand
the color wave throughout the spectrum.

So in this case, I'm going to try to find
a specific setting to try

to fill the spectrum as much as possible
so we now add a color balance effect.

I'm going to decrease the blue range,
thereby increasing the order to ranges.

And you can notice
now that the color wave is more expanded.

But will that would be to change the color
of some objects in the image.

You can notice the difference.

The activate in the change,
the color effect,

and you can notice the change.

I think it's very nice.

But let's move on to this.

Another example, the girl in the car,
which is very interesting shot

because the image of the girl is filtered
the window.

So there is not only a veil,
which is the byproduct of the veil

settings of the camera, but a veil upon
the object in terms of production

and you can notice that veil in the made
through scopes.

You can notice that even in the darker
tones of the spectrum,

there is a wide
stripe across in the panel.

But that doesn't mean
that the cinematography is run

actually is quite well.

I mean, that is the look of a window
and there are those conditions

of that nature because those are stains
that you can notice on the window

would be the byproduct of the time.

And actually
it could be dust, for example,

or maybe that the window
is not clean at all.

And I'm telling you, these in order
not to force the camera

to detect
something that it's not noticeable

to the naked eye, most of all
to the naked eye for the human sight.

So for the moment,
I'm going to use a lumens

recorder to correct this video.

So we go to the video

set folder and we go to color correction
in select lumen through color.

So we go to basic

correction and we are going to modify
only the black tones, the shadow tones,

and the contrast
to bring out the girl's face.

We must try not to exaggerate
the black tones we can have as a reference

point, the black frame on the window,
I mean the black essence of the car.

So we can play with these parameters
until we reach the look we like.

But I highly recommend you to experiment,
to move all the parameters

with a lot of patience.

Additionally, you can notice
also that I modified the temperature

to the cold tones and also the saturation.

And now we can check the limiter scopes

and you can notice how the color wave
is more expanded.

Obviously,
image is not rich in the brighter tones

because it's caught
and it also has a kind of dark vibe.

I mean, it's not necessary
to reach the most illuminated

sections of the spectrum
and we can notice the difference.

I'm going to deactivate the effects.

It's completely different.

It looks more professional.

So for me, this is color

grading because even though I'm
not adding an extra color to the image,

I modify the major color parameters
to reach another look.

But I highly recommend you to experiment
with your footage

and with your recordings in order
to have chances to modify the corners.

I mean, if you have a very cinematography,

you will have more chances to reach
a more professional color grading.

So lesson is set here
in until the next one.

Perfect.
We are here again at the Adobe premiere.

What we are going to address
in this lesson,

we are going to learn how to create a mask
for the color correction of color,

a rating of a moving object,
a mask with motion tracking in.

What is this work?

This allows me to correct
the color of an object that is moving

or that a space
that is around that object.

I mean, I am able to correct
and the color spell with elements.

So you're going to use an example.

These are seen where these categories
moving in this room, the ship cabin.

What I want is to be able

to correct the color of the character
without altering the color

to room, or vice versa, to be able
to correct the color of the room

without altering the character in
Why do I teach you with a moving object?

Because once you learn to do it, this way,
it will be easier to master

a mask of an element
that is a static without moving,

which is much easier, obviously.

So I find much more useful
to teach you guys the hard way at once.

Be attention,
because at first it may seem that way.

It's tricky, but in reality it's not.

So let's start.

We already know that this is our scene
and we must make a mask

to isolate the character from the point
where he is walking

until the moment
he opens quarantine on the window.

So the first thing we are supposed to do
is that we need to add

a color correction effect
from the premiere effects bank

to the effects control
corresponding to this clip.

So we click on this a small tab,
and then we click on Effects,

and then we must look
for the bead effects folder.

And then the color correction folder.

So once there we must click on the color
you made through effect in bullet

to the effects control panel of the clip
in which we are working.

So when you add that effect,
it will be as if it were one more effect

and those that come in the control
panel by default.

So once we add that effect
we must pay attention to the mask patterns

that we saw in one of the best lessons,

if you don't remember it,
I'm going to remind you again,

remember that there is a circle, a square,
and the result is a feather.

And this later is used to create
customizable masks.

So let's check the first one. The Circle.

Remember that you can modify the nature

of that circle
to make it more or less oval.

So all the changes you make in that effect

will everything that is inside that circle

or what is outside that circle,
and we will be able to choose that.

On the other hand,
once we click on the Circle, for example,

it automatically creates a first mask

that we are going to see right here
in the effects control panel.

Notice that if I now click on the square
a second is created

and this time we can modify the nature of
that square however we want.

And finally,

we have the third option
that is customizable here.

We will be able to create the shape
that we want by joining

these points as if it were a cancellation.

And this is a matter that we have to use
to create masks

for regular, reshaped objects.

So we simply have to make as many points
as we think

are necessary
to match the shape of the object.

We want to isolate it.

Not only you will be able
to make the shape you want,

but even rotate the mask
in changing its position.

So I'm going to delete the three masks
I have created

so far to make it
the one we need to from scratch.

So I'm going to try to better defines
a video fragment.

Sorry one to edit.

I'm not going to use the whole clip
so I'm going to use from this point

until the moment
the character reaches the window.

So I'm going to cut a bit of video
at the beginning to work more.

Unfortunately.

So once we have defined the exact clip
in which we are going to work,

we go back to the control
panel and position the course or

the beginning of the clip

and we are going to

select the customizable mask called free
draw base here.

So automatically
I click on that little feather.

The mask is created as we are ready.

So there's something very important
to take into account before

start to create a mask,
and that is that we must assume out of it

the program's monitor
to allow us to make the points freely.

I mean, that is far enough away

so that we can either
make points outside the Monitor's frame.

So I'm using the monitor at 25%
and I'm going to start making points.

Don't worry that it's perfect.

It's just an approximation
and that you can get out of the frame

of the monitor.

I mean, the mask can be outside
the screen as well.

Obviously, when you had to draw points

in the smaller areas,
you can zoom in to try to be more precise.

But remember that no matter
how precise you are, an approximation

is more than enough for the mask to work.

So we are supposed to create
the necessary points to create a mask.

That mask be closed.

I mean, the shape
we create mass enclose a space.

It doesn't matter if it's regular or not.

We must close this shape.

So after finishing close in mask shape,

we must go to this perimeter that is here,
which is the mask bath.

So here we are going to activate
the mask automation

we need click on this little cloud.

It automatically creates a new friend

corresponding to the mask
in that specific frame.

So from now on, what we have to do is
to move the mask as the shot progresses.

Obviously, the mask belongs
to the character shape, but the character

is going to get out of the mask
as the shot progresses.

So we are supposed to change the shape
and position of the mask every few seconds

so that it matches the character
as the shot progresses.

But Let me mention that this process
for many people,

coaches and society fear
they think it's very complicated.

But the truth is that
it's not the only thing I can tell you

is that depending on the shot,
it may take more or less time,

but actually try to think how long a take
can be for this to be really impossible.

Shots always last seconds.

So approximately every half seconds
you're going to change the mask

to match the character.

You must do point by point.

Do not get stuck in too many details.

Remember that
the mask is always an approximation,

so the mask will follow
a path of changes, a type of

where it
will adapt from one keyframe to another.

But to find that gap between one
keyframe in another, The recent moment

to wear the mask loses
too much of the character's shape.

We must set an intermediate keyframe

so that we make the mask continue
to match the character.

For example, here,
due to the movement of the arm,

there are some frames were the mask loses
the shape of the character

leaving that extra space.

Those moments must be corrected

because they will be noticeable
when we do the color correction.

So we positioned the line
between the two key frames and correct

the mask in automatically
and other keyframe will be created.

So we should continue like this, I would
say, adding a change every half a second.

Actually,
I think it's less than half a second.

But creating necessary keyframe

so that the mask follows
the character as well as possible.

You should take into account that you have
the possibility of creating more points

as many as you want,
especially for those parts

where there are curves
and very irregular shapes.

On the other hand, remember that
it doesn't matter if the mask goes

out of the screen frame,
that will not affect the image.

But additionally, this mask bath parameter

gives us the possibility
of tracking movement.

I mean, by using artificial intelligence,
the software will create a mask

approximately adapted to the shape
we create in each the frames.

But the problem is that
this is never exact, so sometimes

it causes problems.

So what I recommend is to use this tool
partially.

In other words,
we press play in the tracking tool

and immediately that mirror
of the creation process will appear.

So we shouldn't let the process finish.

But as soon as we see
the blue stripe starts to advance,

we stop it because the whole process
belongs to the whole clip.

But what we need is that some moments
it does the tracking,

but not in the whole clip.

So as you can see, the software
created a keyframe for each frame.

But as you can see,
the mask is not perfect,

so we have to correct it anyway.

So I recommend using it,
but deleting all those key frames

where the mask doesn't match.

So this is the reason why I don't use
it too much because it's a lot of work.

I mean, I had to delete the key frames
that are not correct.

So I would say that this tool is useful
when the shape of the mask is regular.

I mean when throughout the whole clip,
the shape of the mask

is not going to change much.

But anyway,
I think that combining the two tools,

I mean, tracking and doing it
manually would be a good option.

So I'm going to leave this lesson here.

I'm going to finish the mask
until the character reaches the window.

And we continue in the next lesson.

To start with,
the color correction correction,

we are going to continue
knowing the mask parameters.

One of the most important
parameters is Tibetan.

That allows us to merge
the selection made by the mask

I mean, if we want the fact to change
what is inside the mask

or what is outside, by default,
the mask will affect what is inside.

But if you check this box where it's
rich inverted, you can change that.

And now the mask will affect everything
that is not inside.

The mask.

Before we continue,
let me remind you again

that you can create a mask
for any premiere effect, a meaning,

any of the effects that are down here in
the folders can add masks.

For example,
if I choose to brightness and contrast,

notice
how I can also create a mask that effect.

It's important to know these because
obviously there are hundreds of effects.

So knowing that you can create a mask on
any of them is important.

So let's continue
with the new made through color effect.

We had activated the selection inversion.

So when we do these in change example,
the exposure of the image

be attention to what happens.

I'm going to hide the mask
so that the blue guide is not noticeable

and we see the changing lighting
more clearly.

Now you realize how important the mask is.

Look how the light in the room changed
without affecting character.

Then you can imagine everything you could
do in change with this procedure.

In this case, I'm modifying the exposure
which allows me

to change the range of the light
in a more general way.

The exposure is a parameter
that mixes the brightness and contrast.

At the same time, we attention to the fact
that the is not perfect

and errors are noticeable
and we mask correct him of course,

but in general
what we should do after creating the mask

is to try to blur the edges of the mask
so the effects look convincing.

That is crucial
when it comes to creating masks.

So once we create the mask,

we must modify that important parameter
that is the feather.

That parameter
allows you to soften the edges of the mask

so that the mask is not noticeable
and blends more with the background.

Pay attention.

I'm going to hide the blue
guide of the mask so you can see better.

It works.

Pay attention that at the edges
it expands an extra guide

that widens the edges of the mask
that is the blue area.

So we are carrying out the sharpening
the edges,

and that is the reason
why we don't need the mask to be perfect,

because when we bluer edges,
it softens the hole, the shape of the mask

thereby blends in better
with the background.

No, the edges are going to be
a lot less noticeable.

I'm going to hide the Blue Guide again
and I'm going to modify the exposure.

Look how much better it looks.

It's also important not to exaggerate.

I mean that we must develop a sensitivity
to light and we cannot modify

the background lighting in a way
that is not convincing.

We must be subtitled in is static,
so we must right above all that

the modifications in the lighting
are convincing during the whole shot

from the beginning to the end.

So the next parameter can modify in
the mask is to it.

I mean, it's as if we were activating
the mask or deactivating it.

But with transparency, actually, there's

nothing complicated about that parameter.

The next parameter is expansion,
which is similar to the feather.

This parameter closest enlarge the mask
and also make it smarter.

It's not very complicated either.

It's simply help us to better land
the mask with the background.

Now you can see more of the difference
in terms of lighting in the room

using the mask.

This tool is really useful
for refining the image.

So another very important feature
when it comes to creating masks

is that we can copy and paste the same
mask and use it in all other effects.

For example, I can add another limited
three effect to the clip.

Then I select a mask of the first limit

three color,
and then we press on the key word control.

See, come and see.

And then we go to the other Lumi
three color in breast control Z

and then we will have in this new effect
the same mask above.

But for example, in this case
we could select the box

for inverting this election.

So by doing this, we can now correct

only the color in light of the character,

so we can modify,
for example, the saturation,

so you can see more or less
how the colors change in the character.

The saturation is to strengthen colors
in an image.

So pay attention
to how the color of the skin changes.

For example,
it looks more tanned with, more color.

So whenever you make a change,
you can check how it looks

with respect to the original video
by turning the effect of art on you

only had to click on that effect symbol.

I'm going to modify the color

temperature of the character
to notice the difference much more

so in the

same way that we are able
to change the color of the character

and and the background
and we could also modify

the color of that window that is there.

So all we have to do is add
another unitard color or to the clip

and this time, since the window
is at the end of the clip,

we go to the last frame of the clip
and we are going to create a mask

for the window.

But whose automation is going
to be created in the opposite direction.

So we draw the mask.

This time it's easier because the window
is a much more regular object than others.

It's a static, it doesn't move.

So once created, we activate
the automation in the path of parameter.

Then we go to the timeline of the effects
control panel

and we are going to create the automation,
but this time backwards.

So I'm going to hide the Blue Guide so

it can be seen.

So pay attention. That is much easier.

Or simply as we go backwards, we must make
the mask always stay in the window

and remember that doesn't matter
if the mask leaves the screen frame

because the window also leaves the frame,

then the mask must also do it.

So we are ready to modify
the corner of the window as we want and.

Then we return to the parameters
of the LUMI tricolor.

It's important to highlight
that we don't need to bird disinfection

because
we want to modify the window along.

So we go to the basic correction and then
we go, for example, to temperature.

And for example,
we can make the light color, for example,

if we want the light outside the shape to
be morning or to have a cold environment.

So here
we already have the window with cold light

and we can compare it
with the original color of the image.

It's important to always make
that comparison to see the difference.

But to the extent that we can modify
and colors at the start of the window,

we must be aware that this light
with that temperature

should affect the objects
that are inside the room.

In this case the character.

So we are supposed to go
to the character's mask

and modify its color and even the contrast

so that it would also be embellished
with cold colors in one.

So with the type of contrast
that matches all the lighting

that is in the place, we attention

that since the colors are colder
and we had darkened the entire room,

the contrast suits the character
very well.

We can make the comparison again.

We deactivate all the limit to reflect
and we activate them

one by one so you can see the difference.

Look at the first limit
three for the background.

Look at the difference.

The whole room is darkened the cabin.

Now look at the second limit.

Three
that of the character. It's very good.

It Makes it blend
very well with the garden lighting.

And finally
that gloomy tree of the window.

We can even exaggerate in the cold
light from the window

so that much more noticeable.

It's very important to see good movies
and paintings with good lighting

to inspire us in three
to do this work in more detail.

Notice that in fact
it seems that inside the cabin

there is some kind of artificial warm
light

and the cool light of the morning enters
through the window.

So try to practice creative masks

and we will continue to delve
into color correction in the next lesson I

perfect.

Now we go with a
more detailed process of color grading H.

S l color correction.

This tool allows you to modify the color
in a much more precise

way within the same mask.

I mean that the changes that we make to
the colors

will not only happen in the mask,
but within a specific range of colors

within the mask, that would be a more
professional step of this same process.

For example, here
you see the mask selects the character.

And what we are going to do now is correct
the colors or light of specific areas

within the mask.

So the result is much more professional.

It's one more step in

everything we had been doing up to now
in terms of color grading.

So in the previous lessons
we had created some mask to correct

different parts of the image.

But this time we are going to focus
on the mask that selects the character

because what we are going to correct

is the skin and the illuminated areas
of the character only.

So I have received

everything we changed in terms of color
in light to use this method.

So let's start then.

Once we have created our mask
in the new meet to reflect,

we must go to the following parameter
h s l secondary.

So this parameter is located
a little below the basic parameter.

So at first sight it looks complex,

but in reality it's not because in fact
we didn't have to use all the buttons.

So I'm going to hide the Blue Guide before
continuing.

So once we are attach parameter,
we are going to try to find

a neutral point
in the video clip to correct the screen.

I mean, you are supposed to find a moment

in the clipped where the character's skin
is known as well enough to correct it.

So once this is done,
we go to where it reads set

color, and we click on that little dropper
that is there.

And in this case, I'm

going to click on the cheek,
which is the area I want to correct,

then automatically defect, select
the color ranges of the cheek

and in order to check it,
if we go down here in this a small tab

and we must select white black,
and then you're

going to check the little box
that the reads show mask.

So as you can see, the software is only
selecting the area that looks white.

But in turn, this election
parameter only take into account

everything that is inside that mask
we did previously.

So since we can automate
all the parameters in the premiere,

we could also automate the selection
ranges using these three selection lines

that belong to the light saturation
and color range.

For example, remember that
the light changes as the character works.

So the selection could also change
if we automate it.

For example,
pay attention to the of light.

The light in light.

Look at how the selection changes

in the character selecting the illuminated
areas of the face in the shirt.

So this is interesting for two reasons.

On the one hand we're realized
that both the sheer and the face have

similar colors, even though
it doesn't seem that way to the naked eye.

And on the other hand, it's interesting
because in the end it's that same light

that enters through the window
that is illuminating the entire character.

And these are the kind of things
you should learn

in terms of lighting by your own,
knowing how to use the software or not.

So once we have made the selection,

it mean that we are sure
that the selection we had made is correct.

We uncheck the show mask box
and we go a little farther down

where we are going to find the doors
to make it The color grading.

We are going to find, for example,
the same parameters of the basic color

correction, such as temperature,
contrast, saturation, etc.

But there's also this wheel here,
which is very useful because by moving

the center point to either
side, the software will change the color

of those selected areas to worst
with those colors that are on the wheel.

And of course we can combine
the parameters to achieve a result.

For example,
I'm going to move the temperature,

I'm going to increase it
enough for you to notice the difference.

So look at how the light that illuminates
the character has a warm color.

And in fact, if we go back in the clip,
we realize that as the character advances,

the light becomes warmer.

So, for example,

we combined this technique
with what we saw in the previous lessons.

The result is much better.

For example, we could change
the temperature of that light

in the window to match
what we just did in the character.

So by

doing the color correction in this way
it looks much better

because notice that it really seems
that the light from the window

is illuminating the character
because we are doing gradient gradient.

But as I told you, it's
not enough to learn to use the software.

We had to be aware
of the behavior of light

and we will only achieve
by consuming quality art.

I mean, you are supposed
to go to galleries to see good paintings,

good photographs, qualified exhibitions.

Of course go to movies.

So I'm going to deactivate the effects
so that we can make the comparison

and we can see the difference
from what we have done so far.

So this is what the original image
looks like.

Then we darken the background,
then the characters color layer

and then the window layer.

So from here
we can add one more effect layer.

I mean another.

You meet the recorder
and in this last effect we can add

that contrast that affects
the entire combination of layers

to combine them much more
and make them look better integrated.

So this contrast is perfect

because it even reinforces the shadows
that are projected on the wall.

And it really seems that the light
that is coming through the window is real.

So we can do one last comparison
to see the difference.

I'm going to turn off all the effect
layers again.

So we attention to the nature
of the original image.

I would say that there is a much
more constant range of colors.

So now I'm going to activate
all the layers again

one by one.

I think the difference is amazing.

And since the video is of high quality
because it's a good camera,

actually we have the chance
that these will turn out very.

On the other hand,
we must pay attention to correct.

And those are small frames where the
general mask doesn't match the character.

Because remember that
the age as the mask works

inside that blue mask.

So this is a possible color grading,
but this could be totally different

as it was in the original color
grading of the project.

But you should always take into account
that the better the resolution

of the camera, the more possibilities
there are to correct the lighting

and the colors of the image.

So let's move on to this another example
of how the color graded was done

in the following a scene of this short
film.

So pay attention
that mainly a mask was used to illuminate

the character in the same way
as we did in the previous exercises.

So if the camera has a good resolution
in dynamic range,

this will be possible to do without my
your problem.

But pay attention to this other layer
that is almost imperceptible.

This mask is adding a warm
morning color to the shield.

Remember, the quality of the color
grading is the byproduct

of a set of small details that in turn
make the image look better.

In this case, the morning light is warm,
so the shield should adapt

as much as possible to that.

So here we can see the difference
of how it looks

with the mask and without the masks.

Another important detail of this shot
was the lighting in the place,

and this detail is quite similar to that
of the movie Portrait of a Lady on Fire.

I mean, the color of a specific part of
the image had to be modified

so the whole image would match
with a previously seen shot.

In this case,

they are those parts that you are looking
at where you can see the ball

in the background,
peeking through the trees

in those parts
where a lead to match up with these shots

in that previous take was these
these are being shot.

That tells us that the actions
are happening in the morning

here.

You can see how I deactivate
and activate the mask

so you can see how it looked for it,
how it looks with the effect.

These was all these in the exact same
grading that we saw

with the character in the cabin.

Take a look at this other shot here.

We had to do more or less the same thing
that selected part of the sky.

That part that peeks out the trees.

We had to change the color

so that somehow it seems
that the sun was speaking out there.

So we made the mask
and then we selected just illuminated

area with the secondary edge as well.

And then we added the red color so that
the color would look warm or not cold.

And here you can
the difference between the original shot

and with the mask.

But pay attention to these
other more advanced examples here.

As you can see
in the different shots of the forest,

the sunlight manages to pass
through the trees and reach the ground.

Like in this shot, for example,
The problem was

since the sky conditions
are never perfect, it is stable.

That lasts for a very short time.

So in one take
it was necessary to directly create

the light on the ground because at that
precise moment of the shooting,

the light in the ground
had almost disappeared.

So we created a mask
of the little trail of light

that was barely visible in the shot,
and we increased the light from that part.

This example is excellent
because precisely gazes like

is visual culture is necessary.

I mean that

you know about painting, for example,
we attention to this important detail.

The mask doesn't change.

Even the camera moves forward

because the camera traveling has nothing
to do with the sunlight, the light.

It's supposed to be in the same place.

So we automated the mask
to stay in the same place on the ground,

taking 80 parts of the ground
as a reference point.

Here you can see what the image looked
like before

the original image
without the light on the ground.

I think difference is fantastic.

It's a proof of how far you can go
using this technique.

In this other example,
you can see how we can use exactly this

same technique to enhance
the color of something in the image,

the blood that the character
has on his arm during shooting.

The blood on the arm
was not completely perfect.

I mean, it was not red enough.

So this had to be corrected
with color grading.

So we created a mask that selects
just a red

color
that was barely visible on the shirt.

And then when has that red color

here you can see what it looked
like before.

Here you can see it in more detail.

Look at how the color changes
as I move the color on the garment will.

But you must pay close attention
that the changes

must be subtle.

So all these are examples
of everything you can do using the color

gradient technique
that I teach you in this lessons.

But as I told you, you must practice.

You have good references to achieve it

until the next lesson.

Hello people.

In this lesson we are going to talk
about performance and cameras,

but above all going to show you
on the screen videos

recorded with different cameras
and different lenses so you can learn

to recognize the difference when it comes
to seeing the quality of an image.

On the other hand,

although in this lesson
I'm going to talk about technical aspects,

I highly recommend you to consume movies
with a good cinematography

so that you can recognize
when one image is better than another

in terms of lighting or cinematography.

And I tell you these because it's our task
to improve image quality

and we must know
what are the weaknesses of an image

in order to correct them
and to improve the appearance of a video.

This is start in

this is the Sony NEX five.

This is a medium low quality DSLR
with awesome medium quality lenses.

The image looks good
because the cinematography was good.

I mean,
it was recorded at the best time of day.

However, if we freeze the image,
we can realize the weaknesses of.

This format, first of all, everything is
synthesized in general, shapes and colors.

Maybe you don't realize it
with the naked eye,

but when you see a high quality later
on, you will see the difference.

This synthesis has to do with both

the dynamic range of the sensor
and the resolution of the camera.

And in addition to the fact

that the lens doesn't allow a large number
of light points to reach the sensor,

we can notice this in the small details
and especially in the dark areas

that lack information because they are
completely compressed by default.

This is the typical image in which
the technique of modifying the colors

of some objects
or elements like the sky, for example,

is one of the best ways
to improve experience

and quality.

This next example is a little better here.

A Canon five.

The camera with AIL
series lenses was used.

Additionally, the real footage
belonged to a Phantom four drone.

However, from my point of view,
although it looks better than the

previous video,
we can still notice signs of compression.

The image like the compression
we can notice in the hair

details.

In the case of the drone images
there is flickering

in the water areas
that have complex reflections.

This flickering can often be cleaned up
using this tool

in the effects control panel.

But the problem is that it doesn't
usually remove the flicker completely.

In the case of the Canon five D, it does
exactly the same as the previous camera.

I mean, it compresses
two colors that are apparently flat.

Additionally, you can notice
on the edge of the mountains

the lack detail captured by both
the camera and the lens.

So my take is for a video
to look really good with a5d camera.

It's necessary to use very high end lenses

to compensate
for the lack of dynamics in the sensor in.

Finally, in the same way,
changing the color of some elements

in the image or improving
them will help the quality of the image.

Now we are going to move on
to the following example A Black Magic

four key with Canon L series lenses.

Here, the appearance begins
to look more professional.

I don't mean to say that the previous
works did not look professional.

I mean that
the raw image looks more professional.

Pay attention to the gear's hair, looks.

Each strand of hair is noticeable
on the screen.

However, even under these conditions,

I mean that
the black magic sensor is better.

The kind of lens blur in the background,
Not the best of all

because it seemed that this is too much

in the

following example, which is in fact
in the same work

we used a rare two Scarlett with a Canon
L series lenses.

The most noticeable difference
is the dynamic range.

It's better than the black magic.

Pay attention to the rough color.

The neck arrangement
is a kind of pearly white

that you can only notice
with a good sensor like that.

Obviously there is a great light

in the place as well,
but even under this conditions,

the red helps to improve that blurred
background, to look really professional.

This is another example
with the black magic, but with all other

rocking and lenses that I personally don't

like so much
because they are not very bright.

But even though it looks professional
because of the lighting and the color

correction, for example, that green color
you see in the grass in the branches

below was modified in the color correction
to make it look greener than normal.

So in this way it appears that
the image has a higher dynamic range.

The same with those fainter
blue lights in the background.

They weren't originally like that,
but where it turned

blue in the color correction.

Not to mention that the color of the skies
was also modified to make

them look like these.

Look at this other example here.

The quality of the image
becomes completely professional,

but it's not because
of the quality of the camera

that because the lenses that were used
where a completely professional

Carl Zeiss lenses look at the way
the background is out of focus,

you get the distance
in which those horses are in.

It's even out of focus.

At that distance
you can see that they are horses.

And not only that, but you can notice
the strengths of the horses hair.

Additionally, pay attention
to the outlines of all the shapes.

They don't look like that
outline of the mountains

in the first example with the kind of five
to pay attention to this frame.

Look the drops of water on the grass AMI

and look how good
the blurred background looks

in this last example is the work
we are going to use

in the color correction lessons,
and that every camera was used here,

which has the best dynamic range
of all the ones I had shown you so far.

But nevertheless,
the lenses used here are not half as good

as they once in the previous music video.

However, will use this video
because it's the camera with the best

dynamic range.

There is something important
to take into account

when trying to discover
how a scene was shot

or what was the format to use in a short
film or a movie or a music video.

Take a look at the next example.

This To a layperson, we sit with you.

If you pay attention, you can notice that
since the videos is shot

in France, in Paris and in France,

there is an obsession, a kind of obsession
with the independent look.

I mean, that independent movie type look.

So the video of Dua
LIPA is inspired by that.

So those images of Dua
LIPA sharing tonight with another girl

or another singer
as if she where her friend,

it seems that
they are totally spontaneous, random,

as if it were a simple camera
and they are recording random moments

on one single night.

But it turns out that despite the fact
that the music video is representing

almost a kind of documentary project
of that night,

the camera they are using not as cheap
as most of believe.

In fact, suffice it
to say that there are shooting at night

and the lenses are so good that they
capture details of the blurred background.

And it tells you this
because there are naive filmmakers

in naive videographers
who think they can take any camera

and record the same video
and it will look at the same.

And it doesn't work like that.

And in the same way, there are also video
editors who think there is a plugin

or a filter that can replace a car
sized lens, for example,

and they tell you this
not to discourage you,

but because one of the most
important things in terms of film

production is to note and recognize
the nature of a film production,

this is necessary to be sure of how far
the color correction can go to have

a quality resort that the client requires
an advertisement, for example.

So independent films in Europe
are very expensive, not as expensive

as Hollywood ones, obviously not, but
they are more expensive than most believe.

Believe me, what I tell you,
I studied cinema here

and I tell you with certainty
you get noted

was a clip in French custom.

The same things happens
when in a production

we use a cheap camera, but with a super
expensive, very high down lenses.

For example, this video 30 seconds

desperate and

broken, the

sound of many people will be shocked

to realize that many of the shots
were recorded with a can of five.

The the use of our camera.

But what is the reason
why the image looks so good?

Because it's evident
that they used a high down lens

which goes to thousands
and thousands of dollars

no matter how it all the camera
is, the image coming through the lens.

Sensors will be beautiful.

So try to be aware of all of this
and have a world and get fooled

by supposed plug ins
that are supposed to give your videos

a completely cinematic look.

That is impossible.

So. Well, thank you very much.

And until the next lesson

or hello people.

In a previous lesson, I was talking about
the blurred backgrounds

and scenes that feature related
to the quality of the lenses.

Obviously the ideal scenario
would be to work with the best lenses,

but if this is not the case,
we must be able improve this feature

on the videos when it comes to improving
the visual quality of the project.

So let's start in perfect

because here again in the premiere,
what are we going to do this time?

First
of all, I want you to see a comparison

between a shot recorded with an iPhone
and one with a cinema camera.

Obviously,
they are shots of the same object.

There are the same conditions.

It's an exercise.

So the objective of showing you this

and the goal of this lesson is that by
using the premier camera real effect,

we can try to approximate the cinematic
look of a movie camera.

So I'm going to start by showing you
the shot of recorded with the iPhone.

So here we have this shot of this bust

recorded with an iPhone 14
that I would say that using a DSLR

camera would average lenses,
I mean, normal lenses would look more

or less the same.

Of course, the exception will be
that we were using scene lenses

with a D SLR, but this is not the case.

So an average DSLR looks more
or less like a last generation iPhone.

But anyway, in this shot
you can relevant details

like, for example, that there is a slight
blurring of the background.

But pay attention now
to an image recorded with a movie camera

of the same object
with more or less the same conditions.

Okay, obviously it looks much better,
especially for the dynamic range.

I mean, the amount of tones,
the whites and grays.

But look at the nature of the blur
in the background

as they get closer to background changes
in a more cinematic way.

Obviously more to focus
than in the previous image

because the lenses allow more light
to enter the camera sensor.

And this is one of the reasons
why I have always said

it's very difficult
to try to imitate this quality

with a plug in effect
because it will never look the same.

But nevertheless we can get closer,

we can get closer to that look

and we are going to do it using the blur

because that parameter,

that characteristic tells us
about the depth of field

in the lenses as well as the sensitivity
they have to light.

So we are going to click on our clip

and we are going to look
for the V defect folder.

And in that folder
we are going to look for the blur

and sharpen.

And here we are
going to choose the camera blur.

So this effect allows me to imitate
that look of a cinema lens.

Pay attention that it
not only blurs image, but

also stretches the image
slightly to the sides.

So we must to the effect parameters
and we are going to decrease to

and the percentage
in the percent of layer parameter.

Now we are going to look
for a midpoint of the clip,

I mean, not at the beginning
or at the end, more or less in the middle.

So now we must create a mask to select
a region that should be more out focus in.

What would the region be?

Well, the entire area of the canvas
in the background

and everything that is at that distance.

So we the option to create
customizable mask and we create a mask

that selects all of that
with the great care and patience.

It's always so point by point we created.

Remember that the mask can get out of the
frame and nothing happens.

You can
zoom in or out the program monitor.

I see. Once

perfect.

We already have our mask ready.

Now we have to do
is activate the automation of the mask

so that the first keyframe is created.

Then we complete the mask
in the other parts of the clip.

It's not necessary
to make mannequin frames

as the forward movement of the shot.

It's not very strong.

The mask will not get too
out of the shape of the bust.

Therefore, we just have to adapt.

What has changed, especially in the past,
in the candle on the right.

So we are going to try
to make some more keyframes,

but it's not necessary to make too many,
as they told you.

Just do a few throughout the entire clip
paying attention, above

all to the main objects.

Perfect.

We already have
our mask made throughout the entire clip.

Now we simply have to to the blur effect.

We must determine which is the appropriate
torch for each part of the clip.

Because at the beginning of the clip,
the background should be less blurred.

So pay attention
that only raising three points in the Blur

parameter
is more than enough to improve the Blur

and make it more cinematic right
At this point, at this moment in the clip

so we

can see how it looks with effect
and without the effect.

Here at eight,
you can notice the difference.

Now it's not activated.

I'm going to activate it again
and look at the difference.

So since the clip continues
a little farther forward,

we must be aware that 18
it must be more out of focus.

So I think that the race in three
more points would be good.

Reaching six.

It's important to note
that when comes to improving the flowers,

we must be very delicate, precise.

I mean, not exaggerate with the blur
because it looks unreal.

I mean, a slight changes are perfect.

You should also remember
to bring the feather up a bit

to soften the edges of the mask

so we can automate the lower percentage.

Now, if we already know
what the final point of maximum blur

is, we add the first one at the beginning,
which should be less blurred

and that's it.

So with the crease of LA Beat,
yes, right here.

And that is enough.

Now, we rendered the clip
to see it more fluently.

And here we have our shot.

With the blurred background,

it looks more

because as the shot advances,
the background becomes more blurred.

You can notice it in the edges
of that canvas and that kind of canvas.

Obviously, this shot is just an example.

If you were working on a similar one
with a person in the middle,

the closer you get to the person,
the more blurred the background will be.

Obviously we cannot tolerate
like in the example with the movie camera,

because although they are different lenses
in terms of quality,

they are also different
in terms of millimeters depth of field.

So you have to take that into account.

Now pay attention,
this blurred background,

we can combine it with a slight flaw
in the front part of the chair

making that slight blur noticeable
when the camera approaches it.

Here we simply have to add another camera,

a blur effect to that clip.

Obviously at the beginning
you must decrease

the percent blur to zero

and you are supposed to create a mass

that only occupies
the front area of the chair.

But we must find a maximum approach
point of the camera towards the tier

and we must create the mask
right at that point.

Now, the mask is supposed to only affect
front parts of the tier

because that part
is the one closest to the camera.

So we can make a kind of polygon
that only focuses

on that part of the chair.

So we must raise the feather

to soften the edges,

and then we add the lower

we can use expansion if we want. It's

always trying to not overuse the fact,

try to make it real.

So from now on we can create the keyframe.

I mean,
to activate the outer lines in The Blur,

we already have the last Keyframe.

You only had to create the first keyframe,

and you must know that defining

the blah shouldn't be noticeable.

And they would say that

before the beginning is simply
when the chair moves away from the camera.

You should no be out of focus.

So I'm going to render it again.

So you're really have the image
with more blur, both

in the back room
and in the front part of the chair.

All the it doesn't look like a film lens.

It looks more professional.

In addition, additionally,
if we were working

with two cameras, for example,
a film camera in a D SLR

or a film camera in a knife,
and we could combine

the two formats in the same work
and he would look pretty good.

But obviously the idea to also be aware
of the differences between the formats

to understand

why one format
looks better than the other,

especially when it comes

to working with lenses
that are slightly better than others.

And I think that this is the most
difficult thing to be aware of that

of course, in this example,
I don't think the difference

is difficult know which is evidence.

Well, you know how to blur the backgrounds

and let's move on to the next lesson.

Hello, everyone.

What we're going to do in this lesson.

In this lesson, we are going to learn
how to create a shot out of another shot

because eventually you're going to have
to reframe a shot in order to fix it.

I mean, in terms of cinematography

and the byproduct of that process brings
about the creation of another shot.

And this is going to happen to you

when you didn't have enough footage
for your editing.

For me,
it's a very common thing in terms of

so we are going to use this
take of this camera.

You can notice that it has a color
correction, a kind of color correction.

Let's a quick review.

There is a little effect
limit recorder and also sharpen.

But before addressing the creation
of another shot,

we are going to talk about something
first.

When you are an editor, you're supposed
to become sensitive with the changes.

And those changes could be in terms
of color, violence, etc..

For example, in this shot and there is
a kind of wickedness in terms of balance.

I mean, you can notice
that when the cars approach the camera,

there is more space in that gap between
the car and the frame in the right side,

and we must try to fix that to level
that so we can.

Sumi in the image modifying the scale and
then move the take slightly to the right.

So when I was talking
about being sensitive,

I mean, to be aware that the take needs
to be fixed

in other words,
you're supposed to detect that in balance.

You must also be aware
that that imbalance could be related

to a specific point
of to take moving to take it.

There is a kind of traveling
in a movement.

For example, here there is a tilt up,
but once the shot reveals the windshield,

the take seems to be moving
too much to the left.

So in order to solve that,

we can create a kind of automation
in the position to fix that movement.

The take in this example seems to be

not that complicated
because the camera is in a tripod.

So just by automating
the movement in the position

parameter is enough to fix that problem.

But anyway, as I told you,
you must have a great deal of references

in order to know
if a shot is violence or not.

But let's move on into the creation
of the other shot.

First of all, we misled a photographic
moment into take in, for example.

That moment could be when the car stops
once we have selected that moment,

we are ready to focus on one single object
in the picture.

I'm going to tell you these changes
here in the automation for example,

this headlight on the right,
we are able to zoom in the image,

move in this scale
in order to find that balance

taking into account,
that headlight, for example,

because actually the travel rules
are a kind of constellations.

But even though this is not a travel
in itself, there is a movement

the passage of time.

And that movement has moments
where the picture, the image is balanced.

I talk about these in a lesson
of my filmmaking course.

It's called anchor point.

So you can notice that from the moment
the car stops, I'm

moving to take to the left,
right to the left headlight

to create
a kind of artificial movement in the take.

So I haven't automated the movement yet.

I'm trying to discover at those moments
those anchor points

that I can use to create entire movement.

So let's go back again
to the first anchor point.

I mean, at the beginning of the shot.

So once we find that moment, we can create
a keyframe in the position parameter.

We must create a keyframe
for the scale too.

But that's just right.
Here comes a problem.

And it happens that when the car stops
and the camera stops, also,

that movement created by editing
will be more noticeable.

So we are supposed to place the keyframe.

That keyframe related to the position
just before the camera stops.

I mean, in this way
you will be creating an

that the camera has a longer movement
because the take will be in motion

just before the camera stops, thereby
deceiving the viewer a little bit.

And there you are.

You have another
take out of the original take.

And it looks great because it seems that
that movement to the left

is part of the entire take movement.

Now I'm going to show you
how you are not supposed to do it.

Pay attention to these.

Take a movement.
It begins in just right here.

The movements created
in the software begins.

So the audience will notice
that the movement is a strange

you can notice just right here,
the artificial movement begins.

So you already know
what is the difference.

I'm going to show you again the right way.

You can notice that yes, at this moment
that, movement to the left is softer

and you are supposed to place
that keyframe related to the position

just before the camera stops.

On the other hand,

wanted to mention
something important related to the scale,

and that is that when you want to
to create that sensation of interest

in the audience but in the shot
you are working with is as static,

you can add a slide zooming in or zoom out
to create that effect.

But in cinematic terms, this zooming
or zoom out has two functions.

First of all, when you have a sequence
which has several shots,

a most of the shots have traveling,
and additionally

the shots are passing
one after another very quickly.

So in those cases, they recommend you
to add a little zoom in into the shots

to match with the rest of the shots
I mean, it's a visual feature,

so the audience will come for it
while watching the sequence.

So on the screen you can see an example.

The unit on shot has a slight zoom in

and the other function is
when you want to represent the injuries

that the character is experiencing
about an object or something that he

is looking at carefully in general terms,
that interest is represented

by zooming in on the character's face
to represent the thoughts.

Generally.

This is done and said,
I mean, with Adaline example.

But additionally
you also have to add a slight zooming in

to the object
or theme or landscape that the character

is looking at here on the screen
you can watch an example.

The character is looking at that arrow
stick on the tree,

but there is assuming into the arrow,
but is an artificial zoom in created

editing in that Sumi is representing
that the character is thinking deeply

about that I wrote that he is looking at
this is another example.

There is a slight
zooming into the landscape

because this scene is a flashback
out of the previous scene.

And he was remembering when he saw
that family on the farm that day.

But this also works for dialog scenes
to finish the lesson.

I'm going to leave you a complete scene

where two characters are interacting
in dialog and assuming works.

Get into their thoughts.

All this up till some eons of thesis scene
were created in editing.

So I'm going to leave you
this scene and until the next

to know

during that point

when the images it

it it also

makes note

perfect.

We are here again at the premiere.

What we are going to do now

we are going to stabilize
image a shot take in

this case is a sequence shot
but I'm going to tell you this

from scratch from the beginning is
stabilization is not that magic at all.

It stabilization
can help us a lot to fix a shaky image.

But if the image

if the sequence is really shaky,
we are not going be able to fix that.

I mean, if that were possible,

Steadicam would not continue to be used
today, as simple as that.

So I think that with this example,
you're going to how to do it

and get to understand
the stabilization tool.

So this is a take we are going to fixed.

It was shot with a Steadicam.

But due to the nature of the ground
where the assistance where

it was impossible
for the shot to be completely stable.

So just at that moment where the camera
slowly approaches the character,

the camera shakes, spoiling the sequence

so the destabilization
could be even higher.

But this example is quite good.

In fact,
the image shakes during the whole shot.

So we are going to repair all this
with the tool that the premiere gives us.

So I'm going to select
a portion of the sequence shot to fix.

I would say that this part
where the camera

gets closer to the character is the best
and I'm going to tell you way.

So I'm going to

drag the video portions
of the timeline, as always,

and I'm going to open
the program's monitor.

So here we already have the take
on the timeline, the shot.

So the problem is that sometimes we as
editors are going

to have to grab the frame
to get closer to the character.

I mean, we are going to have to do this
either by decision of the director

or by ourselves, because we think that
the cinematography looks better like this.

But pay attention now.

How The destabilization in the sequence
is much more noticeable.

And since many of you are videographers
or filmmakers, I will tell you something.

This is the reason

why it's not recommended
to use a lens larger than 50 millimeters

on a Steadicam, because this kind of lens
is sumi of the image and the camera.

It still a long away
from what we are capturing.

Then each millimeters of movement
will be much more noticeable.

But anyway,
we must go to the video effects folder

and then we open the store to folder.

So here
we're going to find RGB stabilizer.

So we are going to drag this effect
to our clip and it so now the software

will automatically begin
to analyze this shot

frame by frame to try to fix it.

Here we can see in Effects control panel
how the analysis process is displayed.

So depending on the length of the shot,

this analysis will take more or less time,

but the software will do it
automatically in the background.

And once this is done, the effect will
automatically stabilize this shot.

But now we must be close attention
to some fundamental parameters

so as not to fail. Stabilize in the shots.

First of all, is the smoothness
of the stabilization.

We will be able to modify it
with dispersant age.

It can be higher or lower.

It's important to mention that the effect
will not analyze the image again

unless we stretch or squeeze the clip
we are working with, but dive right below.

We are going to have the method parameter,
which is by far

the most important of all in effect.

So here we are going to find four methods
position,

position, a scale and rotation
perspective in the formation.

There.

Something you have to know
from the beginning.

I don't know why these last two exist
perspective in their formation.

In my opinion, they should not exist.

They are completely useless
when it comes to stabilize

in a professional shot for a movie
or a commercial or a short film

because no one would like to see a shot

work like a jelly as an option
to stabilize that shot.

So if it's an Instagram or Tik-Tok reel,
it's fine.

You could use it, but I wouldn't use it
anyway.

Even in smartphones nowadays.

Stabilize the image enough so you didn't
have to use these two options.

Obviously, these last two options are
often used when the image is too shaken.

If these were the case,
then the software would leave.

The character is stabilized,
but the entire background that we see of

that forest would be deformed like a tele
which is actually terrible.

So position is scale and rotation
is the best option to stabilize.

So this option, instead of distorting
the image, will change the rotation.

It will zoom in and out.

It will change the position.

All this automatically until the shot
is stabilized as well as possible.

So for me, is the best option

to stabilized
without altering the nature of the shot.

So pay attention to how it looks like
the most interesting thing

is that I can even zoom in on the image
much more

as if it were a median shot
and it will look

perfect.

So let's do a comparison.

I'm going to deactivate the effect
to see the original shot again

so we

can notice that it was enough
with radiation

to spoil the scene.

So I'm going to activate, in effect, again
and we're going to check the take again.

So pay attention below
in the parameters of defect.

We will have the possibility
to make a detailed analysis.

In other words, instruct
the program to do everything possible to

stabilize the shot.

It's spoiling image as little as possible.

So in this case, it's
not necessary to do it.

But we can do it.

The only thing that will happen is that it
will consume more computer resources

and also in turn,
it will most likely crop the image more.

So if we check that little box,

it will start analysis again,
which will take a little longer.

Just below you will find this parameter
that allows us to choose

between two options. To the right.

The image will be more stable, paste
into to the left,

less stabilized,
but will crop the frame less

so we can play with that parameter
however we want.

On the other,
I think that this issue of stabilization

using
Premiere is a last resort to solve this.

I mean, as videographers or filmmakers,
we should do everything possible

as not to need to stabilize
the image in those begins

by choosing the most appropriate lens
to record with the camera in hand

and with a Steadicam generally, that lens
cannot be more than 35 millimeters.

And if we are shooting camera in hand
even less because in fact, even under

perfect conditions, we are going to need
to stabilize the image.

I mean, sometimes we are using Adobe,
for example, and for some reason

at some point the image shakes due
to some small operator error, etc.

And for those cases,
these are stabilizer issues.

So pay attention.

How it took to do
the detailed analysis much more.

But the result would be the same
because in reality that first analysis

was more than enough to repair the image

I'm going to get the monitor bigger,
to see the shot better,

and I'm going to increase
the resolution of the monitor to.

So in summary,
you can use these as stabilizer.

But remember that
if the image cannot fixed

with the parameters
position of scale and rotation,

the image doesn't qualify to be stabilized
professionally.

So take all this into account

and until the next lesson.

Hello people.

In this module, I'm going to show you
the technique that I use to add

visual effects to my latest works,

to my stories, effects
like sparks, fire, etc.

I basically made it by using videos
recorded on green screen.

These consist of and videos, a studio
or outdoors

of any elements
such as fire, sparks and fake blog, etc.

But using green background
that is later removed

with the Adobe premiere Chroma key tool.

In this context, there are packs
that are sold on the internet.

We'd already recorded videos
that include these elements.

The Action
Essential Pack is a good example.

So what is the advantage of this box
that they make our work easier

when it comes to creating a short
or a video for YouTube?

The downside
is that when it comes to producing

a movie or school is to be the best movie.

These facts are going to be good enough
to win you an award

for special effects, for example,
not because they don't look good enough,

but because they are going to recognize
that you are using those effects.

So I'm going to use two very simple videos
to explain how the action

essentials work so you can use them
in the future in whatever videos you want.

An example of these was the sparks
which we used

in the lesson
about how to add the letters.

The other more professional example
would be how use it in my last short film.

So pay attention.

It's not very complex,
but you need to pay close attention

on the other hand, and going to leave you
some videos of Sparks and Fire

previously recorded with green screen

so that you can download them
and use them as you wish.

Let's start then.

You know

perfect what you're going to do now
in the Adobe premiere.

We are going to learn to use the fire
element by using Action Essentials.

This is a very useful tool
to make really entertaining various,

but actually is the same technique I use

to create visual effects
for my short films.

So in order to teach you
how to use the fire

action essential,
we are going to start with this video.

And in this video
I'm supposed to set my hand and fire.

So what we are going to do
is add the action

essential to make it look like a
you actually set fire to the hand.

So the first thing we are going to do
is look for most

appropriate fire action essentials video.

I mean, for this hand, obviously,
one of the factors that affect

the resort is to the size of the fire
resembles that of the him.

So here you can see that
there are many types of fire

and you will be able to use
whatever you want.

Editing under this same principle that I'm
going to teach you at this moment.

So pay attention
that there are fires of different sizes

and even with different winds,
all fires were recorded

in a type of a studio
with a green screen in the background.

So I'm going to choose this one
that is like a kind of torch.

And I would say that is a size
similar to that of the hand.

But there are many types of fires anyway.

It also depends on your own creativity
to choose the appropriate.

I mean, it doesn't

have to be exactly the way they choose
the one that will look better.

However, I'm going to choose this
specific one, and I'm going to add

this video above the video clip
we are working on.

Pay attention. That is a perforated video.

It's as if it were opinions filed
only the fire is seen

because the process of removing
the background was already done.

I mean, this was recorded
on a green screen

and the background was removed.

So the first thing we are supposed to do
is to blaze the fire video

just when the candle
makes contact with the hand.

And that would be the first step

here.

It seems to me that it's fine.

So once we had done this,
we must proceed to move the fire

to the exact point where the hand is.

And for that we must click on the fire
clip and go to the fact

control panel and use the position
parameter to move it to the hand.

So we simply try to put the fire
on the hand

at the beginning.

But obviously once
we find the right place, we must adjust

the size of, the fire to really make
it match with the size of the hand.

Then we must use a scale
to adjust the size

and here we can continue
adjust in the exact in which the candle

makes contact with the hand
so that it looks more convincing.

But obviously this is not enough

because the hand will have a movement,
a kind of movement.

So what we should do is automate
the movement of the fire to make match

with the movement of the hand
throughout the video clip.

And this is interesting.

It's much easier to put a fire in a house
or anywhere.

It's more complicated
to place it in a blaze that moves

or a moving object,
and that is way I showed you this way.

So we are supposed to go back
to the effect control panel.

We go to the position parameter,
then we go to the beginning of the clip

and we activate the automation,
by clicking on the a little plug in.

As you know,
the first keyframe will appear

and that keyframe belongs
to the at first position.

But as you may notice, there is a moment
the word to hand begins to move.

I'm going to zoom in the programs, monitor
a bit perfect.

And now we are going to look for the exact
moment before the hand begins to move.

I would say that is right here.

So I create a new keyframe.

So as the hand moves to the right,
I will move the horizontal

value of the position parameter
to follow the hand.

Obviously, I'm doing this a little later
to create a new keyframe.

Of course, the attention
I also moved and the vertical position.

So pay attention to the
fact that in the gap between the two key

frames, there is a point
where the fire doesn't match.

Then we must set just that moment to in
another keyframe will be created.

So with a lot of patience,
we are going to continue

creating key frames
throughout the entire clip.

The fire masks
follow all the movements of the hand.

In all these must be automated.

So at this point we realize
that the clip is longer than the fire is,

so we must duplicate the fire clip
so that the fire follows and all the way.

So we select a clip and we press on our

keyboard, come and see or control see.

So here we have the fire clip again,
but we must delete

all the automation of the new one
because we must create a new automation.

But we are supposed to leave
only the last keyframe belongs

to the last position
that the fire had in the previous clip.

And you're going to move that keyframe
to the beginning of this new clip.

So from
we are going to continue making the fire

match the movement of the hand
from keyframe to keyframe.

Little by little, perfect.

Despite the fact that the fire follows
the movements of the hand,

there are still things to fix.

We must fix the perspective of the fire,
because when they bring the ham

closer to my body,
the fire must move away a little.

So there are several moments
where the fire approaches the body,

so its size must change at those moments.

Because even though if the fire gets
just a little bit closer to my body,

those are small details of perspective
that change in perspective are

what make the visual effect convincing
or at least look good.

Therefore, we are supposed to go
to the effect control panel again

and we go to the scale parameter.

So in that parameter we are supposed to
activate automation line,

but we must pay close attention
that in those moments

where we change the scale,
the position will also move a little.

So we must continue correct
in all those details little by little.

For example,
here we can activate the automation line

by adding a keyframe and we can add
another keyframe just before the hand

starts to approach my body.

So we can create another keyframe
when the hand is done

approaching the body,
and then we can move the scale

in the values of the scale parameter
or directly in the programs.

Monitor As we have already learned,

I'm going to hide the Blue Guides
simply when we select the parameter.

The guide disappear.

So look at how good
the fire looks like now

in terms of perspective and movement.

But since I had moved
the size of the fire,

the position is always
a bit out of adjustment.

So we must correct those moments.

Pay attention that here
the fire moves away from my body again.

Therefore, it's necessary
to increase its size again a little

because it's closer to the camera.

So once we have adjusted the scale
and the position, we can

then see what we have far.

So the process of making it look
real is about going forward and forward,

correcting those small details
with a lot of patience.

This requires seeing it several
times, many times,

until we realize
that the movement looks real.

I mean, if you pay attention,
there are still details

that need to be corrected
to make it look perfect.

For example, when the hand goes up,
there are some moments

where the fire gets out of the hands.

But I think the biggest problem is
the transition between the two fire clips,

and that shouldn't be noticeable,
or at least

we should try to hide as much as possible

so we can fix transition
by making an automated transition

between the two clips
by using the capacity parameter.

So we overlap the fire clips

to make that transition
as we learned in a previous lesson.

And then we must adjust
to movement of the fire In the rest

of the clip that we moved

or so

we can delete all the automation
that we have in the clip that we moved in.

Do it again after overlapping
the clips are perfect.

So now we do have all our fire counter
units

terms of position in the scale.

So we're going to move on
to the next lesson where we are

going to make the corner of the fire
look like a real fire.

And in a next lesson or

perfect, we are here again.

Now the challenge is to make the fire
in my hand look the candle fire.

And this has to do
with the color correction.

I mean, using the candle fire
as a reference, it's clearly the best.

So the first thing we are going to do
is nest the fire clips

to join them into one single clip type.

So we must select all of them.

We click on the right mouse button
and then we click on Nest.

We had to type a name over here,
so we press K

and this kind of clip
will automatically be created,

which will contain the two fire
clips inside.

And now these new nest
clip will be clickable

and we can add effects
just like any other video clip.

But you had to be careful because if you
guys store will click on the nested clip.

It's going to take you inside

where the two clips
that we previously nested will be here.

We can check them. They are isolated,

but we
are going to work on the nested clip.

So we do a single click on this clip
and we are going to add a lumi

three cutter to that clip

and this is going to be very easy.

We're simply going
to the basic correction.

And if you can notice the candle fire,

you can realize
that the color is more desaturated.

I mean, it has less color.

Then we must modify the saturation
of the fire that is in the hand

so that it matches the fire of the candle.

We can also move
the other parameters related to light

and the amount of white
to get a much closer.

There is no criteria to move
each of these parameters.

I mean, what works for one image
may not work for another.

So if someone tells
that the white parameter must always

be in only one way, they are wrong,
that is not possible.

We must develop sensitivity to notice
what is necessary or not.

So you can already see
how the fire color looks much better.

It resembles that of the candle.

I'm going to add a little more saturation.

I think It's better that way.

Always tried to take the time to get it
right color.

But on the other hand, there

another element that is crucial
to make this fire look real,

and that is that we must make these fire

interact in some way with the environment.

For example,
when they bring the fire close to my face,

the fire is supposed to light up my face
somehow.

So this type of detail
takes effect to the next level,

I mean, it's the same official factors
that gives rise to a good visual effect.

The light of the fire
has to interact with the face.

So we must go to the video clip below
and we must create a mask that illuminates

the face at the specific moment
the fire approaches my body,

we must set a new meter color
and create a customizable mask.

The mask is supposed to illuminate

a part of face and torso, and in this case
it wouldn't be very difficult

to automate it because the face
practically doesn't move or hardly move.

So we simply have to check
if the face moves

while the fire is close
and adjust the mask position.

So here you can see the mask
and you can notice that

at this moment, at this point,
the face moves away from the mask.

And in the previous frames.

We also have to check that
the mask is in the right

position.

Additionally, we must create the fact

that the mask is only noticeable
when fire approaches the face.

So what we must do
is use the capacity parameter.

To achieve this.

We must automate the capacity so that when
the fire approaches the face, he said.

100% in just when the fire is moving
away, it's at 0%.

So at this point
we have the capacity at 100%.

But just at this moment
before we are going to set the capacity

at 0%,

but it's necessary to do it not only in
the moments before, but also after.

So I'm going to set again the opposite
parameter to the minimum level.

But obviously, since what
we are doing is a light, we must modify

the feather parameter a bit
to soften the edges of the mask.

So from here
we can modify the color temperature.

We could start in another parameter,
but we are going to start with this one

so that you can notice the difference
in now the face color looks warmer.

We can check the full

video and you can see
when the fire gets closer to the face.

The color of the face changes.

So I have increased exposure of it to

here.

The light is much more noticeable. Right?

It looks good.

I'm going to exaggerate all the parameters
a little more

in case you don't notice it too well.

I'm going to raise the temperature
and also the exposure.

And let's kick it out again.

I think it's a bit exaggerated,
but I do it like it is.

So you can notice the difference.

This is a principle that you should use
when creating visual effects

with action essentials.

The first factor is that the action
essential follows movement we want.

Secondly, that it has the correct color.

And thirdly, the defect that in this case

it's the fire interacts
in some way with environment,

just like we did here, that
the fire lights a face when it approaches.

But as I always tell, try to

experiment because in this experimentation

we can improve all these visual effects.

In fact,
you can combine different types of fire

to have more random reactions
of the same effect.

Well,
since you know how to to add the fire

by using the action essential,
we can move on to these and other

more professional example
If we are going to do

a kind of dissection of what we did here.

First of all,
you may notice that the shot in itself

has a blurred background
due to the nature of the lens.

So we were supposed to match that look

that are produced
by adding a blur to the fires.

So there is a blur is in Spanish
because that is the original project.

But anyway, that is a blur.

And you can notice that I am activating
the blur and.

You can notice how different it looks,
but that blur is interesting

because since the Blur is diffuse

in the image,
that Blur make us take the fight for real

because we are not able
to look at the fire in detail.

So that strategy really pays off
in terms of filmmaking.

If you're supposed to add some

effects to your shots,
anything that prevents steals is to detect

that those effects are artificial, are not
real, will be your best ally.

We also modify the saturation parameter
in the lumen through color

to make the fire match
with the lighting of the scene.

Because you can notice
that the scene is almost in the night

and the colors are supposed
to be desaturated.

It's also the nature
of the short films look,

but you can also

take into account
that to make an effect based for real,

you're supposed to add
masks to the nearby songs.

I mean, that ground, that grass
is supposed to be illuminated by the fire.

So this mask works for that.

So you can notice I'm
turning off an effect

and you can notice the difference.

It's an essential feature
in terms of lighting.

Remember that we did it in the example
of the of the hand with the fire.

We illuminate it in the face
when the fire was approaching it.

And obviously this effect,
this mask is on the clip of the shot.

These are the depths of color gradient

and they are not related to how powerful
the is your computer,

but rather that to be sensitive
to these changes,

to the nature of the light,
the nature of the picture, etc., etc..

On the other hand, you must also take
into account that when it comes

to creating visual effects, it's crucial
that stage of color grading.

I'm going to deactivate the fire
to check the color grading.

I'm going to deactivate
and you may add to color.

There are several layers.

They are in a Spanish color.

The luminary bat is the elementary color.

And in this shot we did applied everything
I have taught you so far

in every layer is a very subtle detail
I'm looking for.

The most important layer,
I think, is death

is the following.

So pay attention how different it looks.

This is the raw look of the image,
the original lighting of the shot.

But due to the high dynamic
range of the camera,

we were able to modify the colors
in this way.

So we did modified its posture
where it creates exposure on its exposure

in Spanish and just by moving that
parameter, the image looks so interesting.

But obviously the illumination,
the lighting up on the character

is decreasing too.

So in this another layer,
we added another mask

that was compensating
that absence of light.

I mean, we did just the same process.

We did
that previous lesson in the ship cabin

and you must pay close attention
that we not only modified

the lighting of the character,
but also the temperature,

because since the light was different
and it representing a kind of night,

a cold night, the temperature was supposed
to match that.

So we did move the temperature
to the cold tones a little bit.

You can notice here
I'm exaggerating the temperature,

but is for you to notice the difference.

And that was all for the character.

Additionally,
we did also modify the grass color.

I mean, in order to bring out

more colors of the shot, thereby
increasing its dynamic range,

you can notice difference
when I deactivate the made to color.

I think it's not that subtle,
but it increases the color of the

entire picture.

I think that detail makes
the image looks beautiful

and that was created by using the H
as old secondary effect.

You can notice the selection
when I check the box.

Only the

grass is selected
and since the grass is wholly selected

we were able to modify
the color of the grass in detail.

We did raise the temperature

actually here and moving the temperature
to the cold tones.

So you can notice that is a
whole set of details that makes the shot.

We prepared for.

The visual effects in the last Lumiere
record

or later
was to decrease the light dramatically.

So you can notice it looks amazing.

We did modified all these parameters
that you already know

to reach that kind of lighting.

I'm going to activate again.

The light produced by the fire.

You can notice them over there
on the background

and I'm going to activate again the fires.

I would say that the most important thing
when it comes to creating visual effects

is the lighting, because the lighting
will help you to deceive the audience

all the time.

And even though
you didn't have the best visual effects,

even in the cases
that you are using animations

and 3D objects, for example,
the lighting is fundamental

because you are supposed to make
those elements blend with the background.

A blend with the shot in the audience
is supposed to take those elements

as one more part of the environment
and the scene.

So this lesson is up to here.

I hope you enjoyed it.

And until the next lesson.

Perfect. We are here again.

This time we are going to use
a spark action essential

in this subject that is actually a sword.

What I want to do

is to create that effect of a spark
along the length of the sword,

where the sharpening
in the sword with the object.

So we are going to use the sparks again.

Last time we used it with the letters, but
this time we will do it with the sword.

So I'm going to look for the Spark video.

I'm not going to focus too much on that.

I will just use one that I already had
in mind and I'm going to add it to.

The timeline.

So it's basically the same spark
we used the last time,

but this time we must take a good look
at the nature of the spark.

But above all, we can see in the video
the place where the sparks come from

and the direction in which they came out,
because we have to make the spark cam

from the contact zone and also the sparks
go downwards or forwards.

But I insist you can experiment.

It doesn't have to be exactly
as I told you. Maybe.

Does it make sense
that the sparks come out like this?

But I think in that way they could look
good for the exercise we are doing.

So the first thing to do

is place
a spark in the right place on timeline.

In this case, the spark should start.

Just when I start to rub the object
against the sword.

Then in the control panel,
we must change the scale of the spark

and also the position
so that it's right in the contact song.

But additionally,
we must change the rotation because

as we know,
the spark originally goes to the right.

So we must change that.

But we have two to do that.

We have the option to change the rotation
in the control panel

or also add a horizontal flip effect.

So this time I'm to use effect.

So we go to the video effects folder
and then to the transform folder,

and then we choose flip horizontal.

So we that effect to the spark clip

and now the spark
will come out to the left side.

But since the direction
is not completely perfect,

we are going to modify the rotation a bit

so that the spark goes
exactly where we want it.

So the idea is
that you can use the two tools,

the horizontal flip
and their rotation to achieve it.

So we just

go to the effect control panel and change
their rotation a bit so that the spark

is not completely horizontal to the left

but is slightly tilted downwards.

We can correct again
the position of the starting point.

So the next thing is to determine how far
the spark will be seen in the clip.

I mean, to cut the spark clip when
the object finishes torching the sword.

So I think it's right at this moment.

Then right after here it disappears.

But you know that the spark has moved
towards the tip of the sword.

So little by little we are going to look
for a point in the path where.

We can make
another keyframe of this automation.

So we go on and on and on.

And I think that over here it's okay.

So we move the mask towards the tip,

placing it just right here.

So a beginning, it will not be perfect.

We must go long correcting it.

So here you can really see the spark move
in, but it's moving faster than the hand.

So we must adjust that
by creating other key frames

in between.

Remember that you can create
as many keyframes as necessary.

So I think it's ready.

Let's remove the Blue Guides.

So it happens that also,
because of the position of the sword,

the spark must also
be affected by the perspective.

So we must correct that too.

When the spark starts near the hilt,
it should look slightly smaller,

so in this case, in order

not to exaggerate
with the size of the spark,

the best option is to keep
the size of the spark a down of the clip,

and we simply the size of the spark
at the beginning of the clip near degree.

So I'm
going to reduce the size of the spark.

Had to begin in
by at least three or whatever

it's necessary.

So as we modify the scale,
I think the position of the spark

was misaligned a bit during the traveling.

We must correct it.

So you had to be very patient,
incorrect everything

until it looks perfect.

Uh, but

there is still something else missing,
and that would be the color correction.

So We must add the lumi tricolor
to the clip, and here we change

the color saturation to make it the spark
look more real.

So you could perfectly combine
these effect with a source sound effect

that is part of this process.

You know, the sound also makes the picture
look more real.

So now you know how to add
the spark effect to a sort in

now you can try it in other context gowns
or as we did in the previous lessons.

So thank you very much.

And until next lesson

for this
lesson, I used a digital drawing tablet.

You could get one if you want to achieved
what I did in this lesson.

Digital Drawing tablets
are not that expensive, but the resort

of what I'm going to teach you in
this lesson is really worth it.

So once you really have
your drawing tablet connected

to the computer,
you simply had to record the

computer screen
while you are writing what you want.

I mean, specifically
that phrase signature or title

that you would like to appear
in your video here at the premiere?

I already have the video where I recorded
the screen when writing on the tablet.

The only thing that can be a little
difficult is the calligraphy,

the handwriting.

But in fact,
you didn't have to be the one to write.

You could ask someone who has a good
handwriting to help you and write for you

what you want, what you need, or simply
you make your signature.

For example, all these drawing tablets
come with a default software

that you can use,

but there are graphic designers

who use their own tablets
directly in the Photoshop.

I mean, that's not a problem
because these tablets are all and play.

So I recorded the screen
and I spent some time writing.

I confess that it costs me a bit
because every time I was run.

But since the screen was being recorded,
I recorded all the attempts.

But among all these attempts, evidently
some of them stand out and work.

I was writing.

May I tell you something
very important to remember is that in

writing software you must choose
dark colors for the background

and wait for the letters or whatever
you are writing or drawing.

Try to make it the background,
always black, blue or green,

but just being black or dark is enough.

So we already our video portion
on the timeline,

the part
where we write our based on the timeline.

So what we had to start doing is that
the video clip only shows what we wrote.

So we must have started by cropping
the ages of all that part of the upper

section of the software types
and also below where the toolbar.

And there are two ways to do it.

And the first is in the passage parameter,
we simply make a mask and that's it.

We have cropped in the whole section
of both and below,

and I think this is the most suitable way
because you can crop

just to where you want it
simpler and easier.

It all depends
also on what you have written

or if it's a drawing
or a relatively irregular shape

in which you need to isolate
that irregular shape.

But there is also another way to do it.

You had to go to the effects folder
and then to view the effects

and then to transform
and there you will select crop.

So you must add defect to the clip.

I'm going to deactivate what we did in the

So in the crop effect, we are

going to modify, in this case
the top and bottom parameters.

I mean, to be able to cut
all those sections

that I don't need in the image.

So as I told you,
you can cut the image however you want.

It all depends on what you need.

But well, the opacity tool is free,
more useful, I think.

So once the edges of the video
has been cropped,

the next step is to delete the background
color in this case, that gray color.

And to be able to do it,
we must go to the chroma key effect.

So we go to the effect folder.

Then we click on gain folder

and then we choose the color key effect.

So we add the effect to the video clip.

In the first parameter
you're going to find is the key color.

Here you will find this small dropper
where you are going to the color

that we want to eliminate.

In this case,
we are going to select a gray background.

Basically, this is the same way we do
a chroma key, you know,

in which we remove green backgrounds
or someone dressed in green

to pierce the video and show
what is on the right that video.

So here
we already have the perforated video.

I mean, the atelier signature
is the only thing visible in the video.

And now I can add that signature of all
any other

or image and put it whatever I want.

So this is very useful.

If you want to make a YouTube channel
or you are editors for a YouTube

or any brand, you can embellish the videos
a lot to use in this technique.

Now I'm going to add a background image
so that you can see

what the signature looks like,
and that's background.

So obviously at first
it will not always look perfect.

So we must modify these parameters
over here and play with them

and especially at thin an edge feather.

So both parameters
allow me to soften the edge.

In the case of the feather
is directly to soften.

And the thing is to increase
or reduce the size of the edge.

So pay attention to how well I am of it.

The edges are seen more
I mean, they are more noticeable.

Obviously, the objective
is that these edges disappear.

I'm going to render this

now pay attention to how the

layers appear as if they were an animation
kind of animation.

Actually making an animation of layers
like this is complicated.

Not to mention that if you get a software
that makes animated

of this type,
they are not going to be unique.

And if there is something you need
in social network or to identify

a personal brand or whatever you want
is that this element is unique.

So the only way you can do something
unique is to do it yourself.

I mean, draw in it or writing it
yourself is the best.

Additionally, since these letters are also
one more clip, we can move it as we want

and increase its movement
and improve its animation also.

So I'm going to do an example

of what it would look like
if we added movement to those letters.

For example, we can make the

letters leave the screen
once they finish appearing.

So in the position parameter,
we put a key frame

when the letters finish appearing
and maybe have a second later.

We put another keyframe
in which we change the position.

Now look how interesting it looks like.

I mean, as if it were all an animation
made in a special software for this.

So it is quite useful
because it's cheap in the end.

There are very cheap
drawing tablets out there.

And additionally you
then need a very advanced software

or a very powerful to make animations.

So I think the only difficult thing is
having the ability to draw or write well.

But in fact I think that the letter is
done.

Need to be beautiful, to be unique.

Everything will depend on the style
you have.

So take all these into account
and until the next lesson.

Hello people.

In this module
we are going to work on sound design.

Sound design is one of the most important
stages of the editing process,

but at the same time it's
also one of the most underrated stages

for a large part of the film makers
I have met during my career.

It seems that not important
to create with detail and creativity

this sounding mention of a story
of any audiovisual work.

But the truth is that half of what we are
filling in, the information

we are receiving from any movie
or any short film enters through our ears.

Additionally, in many current films,
the immersive capacity is related

to sound design.

On the other hand, in the same way

that there are video editors
who only focus technical aspects,

there are also sound
engineers and sound designers

who only focus on technical aspects
related to mixing in.

For example, which we are going to see
also in this module.

But the truth is that nowadays
tools give us many possibilities

when it comes to solving
technical problems,

but it's precisely the creative part
that we have to address,

especially generally in the projects
you are working on a beginning.

There will not be good sound designers,
so you had to be able to do that

job yourself.

But above all, show the producer
or the director of the project

that you are really of doing that
job saving production costs.

Of course, all of these would mean
that you are a worthwhile professional

for the production team.

So going to show you an example
of how important it is to use

sound design creatively in a scene,

I'm going to show you a scene
from the movie Hair in Scene,

the main character is finishing up
divorcing his wife.

But the truth is that deep down
he didn't want to get divorced.

So they are sharing one last coffee

where she is
finishing signing her divorce papers.

But pay attention to the sound
design of the story, to the sound design

of this scene. I, I

think that

this could.

Wow, here we are.

We could do this in person.

And then you've been traveling a lot.

No, I'm really,
really glad you suggested it.

I signed all the papers

for you to sign.

What's the rush?

Yeah,
I know. I'm. I'm a really slow signer.

I realize it took me three months
just to write the letter.

Anyways, it's marked in the very design,

so you know, you have to do right now.

I can just.

It's just going another way easier

with you Realize how important the sound

design was in the emotional structure
of the scene.

Basically, in the scene they show us
the memories of the protagonist,

those memories
about when he was happy with his ex-wife.

But actually the scene
shows those memories

without sound in silence,

only leaving the sound of the restaurant
of the cafeteria.

Just like your memories are in real life,

we usually the images in our minds,

but we continue to hear what we are
hearing, whatever we are.

So even if we did remember the sound,
the sound that we remember in our mind

is not louder than the sound
that we are hearing at the moment.

So this decision is not something
that has to do with technical aspects.

It's something completely creative
that goes by

knowing how to equalize the audio mix
or adding sound effects to the mix.

It's something that serves
as a storytelling.

It's a sound narrative element.

Another important element is in music
selection, in filmmaking.

This stage is done by the music editor,
but the music

is that person who works with a composer

and the director of the film
to select those musical pieces.

That best represents
the idea the film director has in mind

to be

able to know what is
the most appropriate music for our work.

We must ask ourselves the right questions.

First of what is the target
audience of our project

if it is a commercial film
or is it an independent film?

For example,
if it's the of the independent short film

or an independent film,
you have to be aware

that you should use
as little music as possible

because the target audience is not common
people.

It's a group of critics who need to see
this cinematographic language

in its purest level without anything
that can deceit our emotions.

I mean that according to them.

Music often
does that job that the story cannot do,

which I don't always agree with that,
but well,

that is the of critics of specializing
in independent cinema.

On the other hand,
if it is an advertising or a commercial

or the target audience is also important,
I mean, how

old is the target audience
That is important to know?

If it's a video for Instagram,
you could ask ourselves

the question of whether or not the music
you are listening to is trending.

So try to take all this into account
and let's move on

to working on the sound design
and the premiere.

Perfect.

We are here again at the Adobe premiere.

The purpose of this lesson
is to be able to do professional audio

editing regardless
of whether we an adult or not.

I mean a professional digital audio
workstation individual premiere can do it

because in terms of audio editing,
we have all the tools to make it.

So this time I'm going to use a scene
from one of my best short films.

So the idea is to edit
all the sound of a scene,

I mean to create this sound design.

So I'm going to start using only the video
of these is in to add to the timeline.

So let's check the scene

on the programs, monitor

The scene starts right here.

The character is running
for a very long way.

And in fact, in that part,
there is no sound but a soundtrack.

But where we are going to create
and this sound design is right from

the moment the character crosses the river
and then he crawls and crawls

until comes across the corpse
of another character in the story.

So we are supposed to add
every single sound

effect of that environment.

So obviously,
most people are very afraid of this

because generally we are filmmakers
who know how to use the camera.

We are interested in video editing,
but when it comes to sound,

it seems that it's
a completely different world.

But the truth is that this knowledge
is very important and since the tools to

the sound are available at the premiere,
we must know how to do it.

So the following thing we must know
is that we need some sound sources.

I mean, we must find each of the sounds
that should be playing in the scene

and we must find them separately.

There are two ways to get them,
the first in the most

difficult way is recording them directly,
either on set using

a portable recording device
like the one you see on screen.

And the other way is looking for
the sounds on the.

So this later process

would be the cheapest,
but that doesn't mean that it's the worst.

It's simply the cheapest.

I mean, it turns out that there are many
sound effects of anything on the internet.

We can find them on sound pages
or on YouTube itself.

So we simply put the name of the sound
we are looking for

in the YouTube search engine,
and many of them will appear.

Then we simply have to download them
and use them in the editing.

Another important thing to know
is that we are going

to have to change the premiere
layout several times.

I mean that preset layout for with you

because we are going to have
to add effects to the tracks, mix them.

Remember that the mixer will appear
in the audio preset the mixer console

which corresponds to each of the all
the tracks that we have on the timeline.

Remember that the timeline is divided
into sections one sections

for the tracks above
and the section for all the tracks below.

So pay attention to the fact

that each one of the failures
of the mixing console are identified

or the one or the two of the three
and below

in the of tracks we see a18283.

Of course, the result is a master track
where the general mix comes out.

So the most interesting thing is

that we are going to need to change
from 1% to another because.

Actually, the editing preset is much more
suitable to create the sound composition

and we are going to use the audio preset
only when we go through the mix

in a stage.

Everything will also depend on how
comfortable do you feel with each preset.

But personally, from my experience,
the audio preset consumes

more computer resources than the percent.

So I think that this is an important
variable when it comes to choosing

one or another.

On the other
hand, returning to the issue of sound

sound sources, it's important
to create a kind of sound bank,

a sound backup that we can resort to

when it comes to doing sound design.

For example, here I have all these folders
organized for different types of sounds.

There are environments, footsteps,
sounds of water

or fire or sounds, shots, etc., etc., etc.

And the most important thing is that
some of the sounds were recorded by me

or by my production
with a portable recording device

and others were downloaded
from the internet,

as I told you, from YouTube
or all their pages.

So knowing all,
what do we need to produce a scene?

Obviously the scene takes place nearest
stream, okay, now of a smaller river.

So we need to add that background
sound to the whole.

Anyway,
it's important to know when it comes

to recording a river,
the sound of that river, for example,

What we record
doesn't have to be exactly that.

It could be a little louder, for example.

That doesn't matter because we can correct
that imperfection in the sound design.

But in any case, this time
I'm going to use a river sound

that I downloaded from the internet
so you can convince yourself

that it can be done with
sounds from internet.

So on this folder,
I'm going to pick this sound

that I have here called
Distant River Ambiance.

So I'm going to drag that file
to the Premier.

Additionally, since it was a short film
produced by my team, I have the sound

of the actor who was myself,
but that sound was recorded Later.

A dubbing was done
to have the acting of the scene

because during the shooting of the scene
it was impossible to the sound

because Steadicam was generating noise
and it came through the microphone.

So we had to double the performance later.

But what else do we need
in terms of sound?

We need the sound of the contact
of the hands to grasp.

For example, the sound of crawling on
the ground is also important,

but we also need the of contact
with the water splashing sounds.

So that sound is important
for this scene? Yes.

When the character crosses the river,
I already have.

That's in my sound backup,
so I'm going to use it.

So I'm going to direct that

sound all at once into the project.

So when it comes to selecting the sounds
to make it the sound

design of the character crawling
through the grass, we don't necessarily

need the sound of some hands in the grass.

We could use other sounds
that could represent that.

For example
I'm going to use some sounds of footsteps,

some with Earth, and also steps on sound
to create the sound of hands on the grass.

And I tell you this
to motivate you to your creativity

when it comes to creating sound
environments.

In other words,
don't let limitations prevent you

from developing a project of this nature.

And I have always come across this.

I have come across good filmmakers
who are afraid to get involved

with sound design just because they don't
know what it's really.

So I'm going to add
the sounds that I told you I have put in

in their respective folders.

So the first thing I'm going to do
is add this sound of the distant river

to the timeline
which would be like the sound background.

So I'm going to select a piece of audio
from the river and drag it onto

the timeline

so you can

modify the volume of the clip
on this line here.

And you can also automate

data volume on deadline
using the pen tool on the toolbar.

I mean, you can automate the volume
in the same way as we did

the opacity in those previous lessons.

So we already have that distant river
sound next to the image and can start

contemplating the image next to the sound
to see

if it starts to match.

Pay attention that with that ambient
sound the scene begins to come to life.

Obviously The rest of the
sounds are amazing, but that ambient sound

helps me to have a point of reference
regarding the volumes

that each of the sounds in the scene
should have, because it's

not just about choosing the sounds well,
but about knowing the exact volume.

They should have the exact reverberation
index that's panning.

So I'm going to start by adding the splash

sound to create the moments
when the character comes out of the water.

So I'm going to search for the sound
and I'm going to select a splash of water.

Good enough for that moment.

We have to take into account
that the character

comes running.

I think this part sounds interesting

and remember that not only the splash
sound, it's necessary,

but also what comes after,
I mean, a bit of the water movement

so that the sound we choose
must have all of that.

So I'm going to drag it to the track
under the river

and now we have to position it
right at the moment where the character

comes out of the water.

Note that here I had automated
the beginning of the sound with the band.

I had created a kind of fade
in because character crosses the river

and then steps into the deeper water.

Another important element of these,
a scene, is that if you look at the scene,

the scene starts with an overhead shot
from above where the character looks

very small, and then we see a closer
shot of the character crossing the river.

So That visual difference should also be
noticeable in terms of sound.

And in fact, this shouldn't only be noted
in terms of the splash sound,

but we should also turn up
the volume of the distant river

so that difference is felt.

Also, you can turn up the amount of volume
you want to write.

You feel the scene until you feel it
matches.

These elements are too important.

At first glance,
it seems that it's something

that the audience is not going to notice,
but believe me, that they will notice it.

They will have the feeling that the scene
is more real than the scene is better.

But pay close attention to this.

If you look at here in the splash sound

here in the corner,
there is an effects symbol.

If you click here,
you will be able to change the automation

line to another parameter,
like, for example, panning.

So in this a scene,

the characters moves from the left
to the right, he comes from the left,

and that sensation must be created
in the sound into mention.

Even though we are the character
from the front of the screen.

In our main, his movement, his traveling
in has been understood in 360 degrees.

So we need to represent that.

So the splash sound
should also play from the left.

So pay attention that after words,
the camera follows the movement

of the character in turns to the right
precisely to create that sensation.

I highly recommend
never pan completely to one side.

This is a recommendation
from my experience

recording with my band in a studio.

I mean, if we panned completely to one

side, the steering
sensation of the sound is lost

because every single of the clip
must always sound on

both sides, simply that when we pan
it's to the place we want.

The audio clip will sound from that side
to a greater

extent.

Perfect. This lesson is up to here.

We are going to move on to the next one
where we are going to edit the sound

produced by the contact of the hands
and the body with the grass.

Perfect. We are here again.

We are going to edit

the sound of the contact of the character
with the ground, with the grass.

We are going to use the sound
running on descend.

It took it out,

but we are also going to use
this other one working on the sound.

This sound is very interesting
because you can feel the water a little

in every step.

Perfect.

We are going to start with the sound
about walking on the sand.

We are going to cut a portion of the sound
and we are going to drag it

to the timeline down here.

So first of all, we must level the volume.

We are going to increase the volume

than we are consuming on the timeline.

Until we see in detail that sound
you're going to need pay attention with.

I'm going to do I'm going to separate
each of the steps with the research tool.

One, two, three, four,

to have each step separately.

So in this way, we will be able to place
each of these cuts

where we want to create that
effect of contact on the grass.

This is very important.

Trust me.

I know a lot of good film directors
who don't know this

and it's really useful.

It's not as complicated as it seems.

So we need to make each cut to match the
movement of the character on the screen.

If while we are editing, we feel that
those sounds need more volume, for

example, we simply have to select them all
and then click with the right button

and then delete all the train
and race to gain of the clips.

So here we can
raise the amount of decibels we want.

So we need a lot of patience.

Little by little, we are going to place
each of the cuts taken take on that.

If at some times

we see that some of the character's
movements are stronger than others,

we can increase the volume of the clips
in that specific

moment.

Pay attention here to how I am increasing
the volume little by little

until it matches the image image.

I personally love it when the scene starts
to come alive like this.

This really takes the scene
to the next level.

Additionally,
remember that we can also find

every single cut that we are adding here.

I mean, in the same way as a river.

Also, the sounds of the character
come from the left.

The most interesting thing about this
is that in Cubase or ProTools

or example, which are a professional sound
editing software, these is done

exactly the same way.

But pay attention to this.

When the camera turns to the right,
the character leaps the frame,

but his footsteps
have to continue to be heard somehow

because are still close to the character.

So I'm going advanced his work a bit.

I'm going to add
the rest of the sound cuts.

So the lesson is no so long
and we continue in the process

of creating this sound
in this same lesson.

Perfect.

I have already made

each of this sound catch match
each of the character's movements in.

This is the result.

We can add more volume
to these last steps of the character

even more because we are

seeing the character from much closer.

So what we are going to do
is mix the sounds of the footsteps

that we have already added
with the older sound effect that we had.

They went off running and descend
because that sound is slower.

So the byproduct of the end of the
two sound effects

will be of fair quality.

So we select a portion of this audio
and then we drag it to the timeline.

But pay attention that I have run out
of all the tracks

in the timeline
so I can add another track in two ways.

The first is that we can add a track
by simply going

to the sequence step and add track.

But there is another easier way
we can simply drag

the audio portion to the space below.

The last sequence in note two Magically,
the software will create a new sequence.

I'm going to put the audio clip here
on this track that we already have.

So pay attention
that if I drag it to the space below,

look at how the new sequence created.

So what we are going to do is separate
each of the sound heads

to have the cut separates
it as with the other sound.

And then we put in right where?

The ones we added previously are
so they are

mixed.

It's important that the way

you are doing this whole process,
you can experiment with the sounds.

I mean, try them.

I mean change their place
to see how they sound.

Because sometimes we discover random things that we never imagined would sound good

or you can now hear how each contact
with the grass hats

match my body in terms of sound.

Now we are finally going to add
the sound of the actors

expressions
which were recorded separately.

So we search for it in the folder
and drag it to the timeline

in the same way as with the other sounds.

So obviously

the sound of the actor's expressions
belongs to the part where we are ready?

See him up close.

So we must make it match
the image of the character

so if it's necessary to increase

the audio gain would simply do it

right?

Ideally, each painting
should match each movement of the arms

so we can even add binding as well
to the character spent in.

We can make a curve.

I mean, at the beginning
it starts from the left

and at certain moments
we automated change towards the center.

So it's heard that the sound moves
with the character,

for example, here
the character enters the frame again.

We can move the pan to the center.

You realize how good everything
sounds, right?

So we are going to leave this lesson here
and you're going to move on

to the next one.

So the first thing we are supposed to do

is to check
the reverberation of each track,

because we must make all the sounds
seems as if they were in the same place.

Sometimes this is something
almost imperceptible,

but dose small details
make the difference.

For example, we could start by recognizing
that the bass sound here is the river.

I mean the rest of the sounds

should be congruent
with the reverberation of that river.

For example,
let's start with the splash sound.

Not only does it have to match
the reverberation of the river,

but the action of colliding with the water
is happening a certain distance

from the camera so the reverb can generate
that distance for us.

So we are supposed to go to the mixing
console at the top of the tracks.

We are going to find this vinyl.

So right here we are going to be able
to add effects to each of the tracks.

In this case,
the splash sound is on the second track.

Pay attention
that there is a very thin gray line.

The divide is the panel above the line.

We will be able to add defects
below the line.

We can route the tracks
to play on group tracks.

But I would say the most important

thing is labels where you can add
the effects to the tracks.

So we must click on these small tabs
and there we will look for there

with their effect.

You can notice that there are three types
of reverberation

going to select this surround reverb.

So here
you're going to find several parameters.

I know it seems complicated,
but it's much easier than you think.

This step,
you're going to find several presets.

It's like in the reverb style
that we are going to use,

but we will also be able to change all
the parameters to customize those presets.

For example,
I'm going to use these cathedral presets.

So of all
the parameters we are going to find here,

the most important
is this one where it creates mics.

So this little fader indicates
that it's a 100%.

The sound will be completely affected
by the reverb, but as we lowered

the percentage, it will sound like
the original audio without reverberation.

So this is the main tool

where you're going to add
more or less reverb to the track.

Keep in mind
that this reverberation in the track

will affect all the audio clips
that are on that track.

But there is something important
regarding reverb, and that is

that as we add
the effect to any audio gain is lost.

So that is the reason why this other fader
is next to it, where it rates

gain, that is very important
to take into account.

We also have another fader
that belongs to the feedback

in another one
that belongs to the violence.

We can make the reverse sound
more to the right or to the left.

There is also the first failure
that is to increase

the wetness of the effect,
which is like intense city.

Basically, these are the most important
feature of this output panel.

But pay attention that over here there are
other parameters that you can change.

You can modify, for example, the room
size, you can modify the reverberation

bounces over here in bridge delay

and also the width of the reverberation.

In fact,
these last two parameters are to control

that how the reverberation
expands to the sights.

But I highly recommend
you try the effects, try to experiment.

I'm just giving you an overview of
the main parameters of the reverberation.

So the splash starts to sound better.

I'm going to isolate in the track to test

the reverberation better,

so I'm going to add even more reverb,
but also increasing the gain.

So remember how to do it by raising
percentage and also raising the gain.

Fader

Now, it sounds much better because now
the splash can be heard at the distance

the design suggests, because obviously
nothing is happening next to the camera.

I mean, there are meters away.

So let's listen to how it sounds together
with the rest of the sounds.

So once we had added
the reverberation to the tracks, mostly

we are ready to move on to the music
because these are singles music.

I mean, at least one part of the scene.

And additionally adding music
will allow me to explain to you

something important
related to audio editing.

So in order to do this, I'm
going to use two files.

On one hand,

there is an audio that contains the music
with this sound design

at the same time, but you know that
we are doing the sound design.

Therefore there is another audio
that only contains the music.

So first of all, what I'm going to do
is to extract a cross section in the file

that contains both the sound design
and the music, a cross section

where only plays the music.

And I'm going to try to mix
this portion of audio with the other audio

that contains only
the music obviously is the same music.

So this part of the scene where there is
overhead shot, only the music plays.

Originally I that was the original idea.

But once we get closer to the character,
the sound design is starts to play.

So what I'm doing here is trying to
to cut that part into sound design.

It starts to play in.

Obviously in that part
I'm going to add the audio file

that all the good taste in music
I'm doing this.

I'm using the original audio
mix of the short

film.

So this audio clip

that I'm moving at this moment,
trying to get it closer to the older

only contains music, of course,
since it's the same music, I'm

trying to match the correct point opinion.

So the purpose of teaching you
this is for you to learn that you can add

all the effects to the clips
and also all the transitions to the clips.

And they are old, exactly the same effects
that we can add to the tracks.

I mean, those
we are able to add to the tracks.

So we just go to the effects folder
and we look for the all the effects

in these folder contains
all the effects you can try.

For example,
there is amplitude and compression,

there is also delay,

modulation, noise, etc. etc.

For example, compression
and is very useful for voices.

So for example, those acting expressions
that we added to the sound

design are likely to sound
better with compression.

So my purpose is also encourage you
to lose the fear of using these

or the effects.

For example, you must know that for voices
in also voiceover

single band
compressor is the most suitable compressor

when we are talking about a voice
that is playing in a monitor.

Like for example,

we can also add equalizer
to stressed the most suitable frequencies

for a specific type of voice,
but this time for the music.

We are going to use
audio transitions in the premiere.

There are three kind of transitions
constant

gain, constant power and exponential fade.

They are all almost the same.

I would say that
the only difference the blending mode,

but it will depend on the nature of
the audio and most of all with the nature

of that specific part of the audio clip

that you want to mix with another clip,

I'm going to use the constant gain
that is the most natural of all.

You had noticed that I had added
this transition

just right in the union.

So for me it sounds perfect,
that transition I had to match this hit

that sounds here
with that action of race in the face, I'm

of course

that hit was representing that impact

of coming across dad that gear.

So I'm going to unmuted the track
where the sound design is playing

the rest of the sound of the scene.

I'm going to fix a little bit
the volume of the music

and I'm going to try it again.

I'm going to raise the volume
a little more.

So now I'm going to add that compressor
that I had mentioned before

to the actors performance.

So we just go to the audio effects folder
and we look for dead

and we look for the single band
compressor.

I have already mentioned
that it was the most suitable

when the Voice
is playing in a monitor track.

So it's over here.

So once we have added that effect,
we can go to the effect control panel

and we are going to find that effect
over there.

So we must click on custom setup and
then edit In the parameters window opens.

You can notice that the effect control

works the same for audio
under the same principle.

You can automate any feature in the audio
clips.

Actually, you can notice that
since I have automated the volume,

the automation line in the volume
is activated.

But let's continue with the compass
here In the set up,

we must select the voiceover over here

and let's

check it out.

And you can notice that
it has more presence and more definition

in general.

But actually we can improve that sound,
that quality by using an equalizer.

So we go to the all effects folder
and we pick a graphic

equalizer of 20 bands.

And you must remember that equalizers
go always on top of the compressors.

So we open the custom setup
and since it's a voice pantin,

most of all, you're supposed to raise

the mid high songs on the equalizer.

This is very important not only for this
case, but also in dialogs, for example.

But do not exaggerate.

This changes
you are supposed to be subtle, modifying

the frequencies.

It sounds so much better actually,

and it was not necessary to raise
the volume of the clip or the track.

For example,

so you can notice
how far you can go by doing sound design.

India premiere
because actually Adobe Premiere provides

all the tools to to create a sound design,
to create a professional mix,

not use in ProTools or Cubase.

Even though I have another course
related to sound design

in Cubase Focus
and how to use Cubase professionally.

But I could say that
it's almost the same process.

Try to remember everything,
the transitions, the equalizers

to compress saws.

You must also take into account
that when it comes to audio mixing

in the final tracking and the general
track, you can also add effects.

I mean you can add multi band
resource and equalizers

to create that effect of mastering
as a friendly reminder,

you must also take into account
that when adding tracks

you are able to add as many video tracks
you want in all the tracks you want

and you can select the placement
where you want.

The track is located
and also the track configuration.

If it's mono example,
these little symbol will appear on

the minor track is a very small speaker
that you can notice over here.

So if you using an interface
and interface,

the microphone will be connected
to one single line, one single input line.

So the track where you are supposed
to record that voice

or wherever you want
must have also one track.

So just by clicking on that microphone

symbol,
you can start recording a simple asset.

I'm not able to record anything
at this moment because the software

is connected to another software
in order to to record the lesson.

So my interface is connected
to that another software.

So it doesn't work at this moment,
but since you are going to be recording

lesson, you will be able
to record the voice as you want.

So, so far, so good.

I highly recommend you to take that
another course.

Have sound design because I really teach
you there about how to master A.U.

mics.

I'm talking about surround
mixing many subjects

to sound design, and most of all, always

from the point of view of a filmmaker
that is the most important of all,

because most of the courses related to

sound design are related to sound mixing

rather than the creative process
behind crafting a sound design.

So lesson is have to hear
and until the next lesson

or perfect.

After having learned
the subject of reverberation,

I want to teach you how to add effects
and transitions to the audio clips

because not only we are going to be able
to add effects to the tracks,

as in the last lesson,
but we are also going to be able

to add them to each one of the clips
we are using.

After all, they work like a video clips
in which we can add effects.

So I'm going to start explaining these
by adding music to these as seen

in the particularity of this whole
the file that I'm going to use,

which is in fact the that the scene
originally has,

is said this audio contains
not only the music

but also the original sound
design of the short film.

So I need to subtract from this audio only
the part where the music sounds alone,

which is the part where we see the
character running from the shot overhead.

But since I also have another file,

the music alone,
I'm going to mix it with that audio

so that only the music sounds all the way

because we have already made it
the sound of the scene.

So here I'm trying to join the two
audio clips just at the moment

where the sounds of the scene
start to play and obviously

I have to match the same part of the music
in both

audio clips.

So here we are pretty close
to almost matching the two audio clips,

but obviously it's not perfect.

I mean, it's noticeable
that there is a cut.

We must delete that cut.

We must smooth the transition
between one clip and the other.

So using this tape that we already know,
we go to the premiere effects folder.

So here
we will be able to add to the audio clips,

those same effects
that we can add to the tracks and.

It will be exactly the same
as when we add in effect to a video clip.

For example, here there are noise reducers

that are very useful
for cleaning up the voices.

You can also add
that compressor to the voices.

They sound more
clearly on the rest of the mix.

In fact, that there is a very useful
one in this folder,

which is the single band compressor
which works. Yes.

For that there are also equalizers
which are very useful too.

But what we need
right, are all the transitions.

And in this folder
we will find three types of transitions,

game power and exponential.

In reality,
more than in a technical issue.

To choose the right one,
you simply have to listen at it

and listen to which one
sounds more similar to what you need.

So I'm going to choose
the game transition.

I just select it and drag it
to the junction of the two clips.

So this allows me to smooth out
that change from one clip to another

so that you don't notice
that cut that we did.

So now it sounds like
the original music complete

without the sounds of the scene.

So I'm going to move the music a bit
because when this low beat took place

in the music, the character is supposed
to be facing forward. I'm

now pay
attention how it all sounds together.

I'm going to unmute the rest
of the sound of the scene to listen to it

together with the music
and feel the magic.

We can turn up
the gain of the music in general.

I think I exaggerated a bit.

I'm going to lower it a bit.

Perfect.

Now we can add a compressor
in an equalizer to the voice,

I mean to the performance
to improve its sound.

Actually, we could add this to the track
where the voice is playing,

but I want to show
you directly in the clip.

So we go to the audio effects folder

and look for the single band compressor.

So we selected and drag
it to the voice of the clip.

So now when you

click on the audio clip,
it will appear in effect control.

And here
we will be able to modify its parameters.

So then we click on Edit
and the Compressor Parameters panel.

Oh three Attention
to this important detail.

I almost forget this notice
that appear divided in panning parameters.

Have the automation
clock activated precisely

because we have modified
the automation line in the clips.

I mean, they tell you this
so that you can see

that it works
the same as with video clips.

So going back to the compressor here
in this a small tab,

we select the preset that the compressor
will have.

In this case,
we are going to select the voiceover.

Listen to how the character's voice
sounds now with more Bresson's.

But we can even improve the voice

with an equalizer
so we can add a 20 band equalizer.

You should always pay attention
to the equalizer always goes

before the compressor.

This must be so because the compressor
must work on the frequencies

that we are going to reinforce
with the equalizer.

So we add it, we click on edit,
and we must raise the frequencies

a bit where the voice is playing.

For example,
this gap between 1005 thousand hertz,

it's generally where these kind of voices
sound.

You listen to how the voice sounds now
with more clarity and presence.

I'm not increasing the voice volume, only

improving its equalization.

So basically this is what making a sound
design is about

the same that I had done in The Voice.

For example, you could do it
in the general output track,

in the mixing console.

I mean, you can add an equalizer.

And then for example,
a multi band compressor

to give more volume
to the whole sound design.

On the other hand, remember well that
you can download sounds from the internet

and make a completely professional
sound design without any problem.

And also remember the issue of transitions
that in fact

you are going to have to use it a lot,
especially with voices.

On the other hand,
there is another very useful

and important tool
when it comes to sound design,

and that is that you can record directly
on the timeline, record audio

if you go to the sequence step and then
add track and then you add a MONA track.

For example, actually here in this panel,
you can also add

a video track
or another track of any nature.

I mean,
if you want it to be stereo or mono.

So if we had them on a track,
we will be able to record what

in through the input line
where the microphone is connected

to your interface in the case that you are
using an audio interface, of course.

So this little white you see here
is what identifies

the Mona tracks on the timeline.

And those Mona tracks are
where you should record when you are using

a microphone with the interface.

So this is great

because we don't need any audio
editing software to record anything.

But anyway, you must record on the Mona
tracks because the audio input is minus.

If you did it on the stereo track, it
would be recorded readily on the one side.

I mean, it wouldn't make sense.

So you simply had to press these little

that is here and the software will start
recording immediately.

At this moment,
I can record anything because everything

is connected to the software
that allows me to record lesson.

But this is not too complicated.

Just press there and it will record.

Well, I think

the most important thing is
that you lose your fear of editing.

Now you don't limit yourself.

It's not as complicated as it seems.

Yes, try it.

This is very useful for videos on YouTube
and obviously to create fiction projects.

Sharp films, movies, etc..

But I think that today is useful
for everything, including some documentary

video.

You could improve the audio
using this entire procedure

and do not forget that important detail
of their reverbs

that work
very well to create the soundscapes.

Well, this lesson is up to here
and until the next one.

Well, this video
editing course comes to this hand.

The most important thing is that I'm going
to update eventually with more lessons,

especially concerning the understanding
of cinematographic language.

I believe that this is essential
to become better editors,

better
filmmakers, better videographers also.

So put everything into practice.

As I told you, you consume quality.

You are to develop your own sensitivity

to moving images
and also the sound dimension.

Well, if you like this course,
you can leave me a review

because it will help me a lot to create
even better courses than this one.

Until next time.