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These are the user uploaded subtitles that are being translated: 1 00:00:14,800 --> 00:00:15,633 Hello, everyone. 2 00:00:15,633 --> 00:00:18,566 Welcome to this great chance to learn about film editing. 3 00:00:19,033 --> 00:00:22,233 We are going to start with this first model in which we are going to see 4 00:00:22,233 --> 00:00:27,466 in detail the fundamental narrative tools that you must know to start editing. 5 00:00:27,733 --> 00:00:30,833 Additionally, this is a course in which we are going to learned 6 00:00:31,100 --> 00:00:34,900 how to use Adobe premiere, so it's necessary to address 7 00:00:34,966 --> 00:00:39,566 those main tools that, from my point of view, are the ones necessary 8 00:00:39,566 --> 00:00:42,800 to tackle any editing project, any film 9 00:00:42,800 --> 00:00:48,100 project, film editing and video editing. 10 00:00:48,366 --> 00:00:50,733 It's not a mere technical issue. 11 00:00:50,733 --> 00:00:53,700 So as we learn to use Adobe Premiere software, 12 00:00:54,000 --> 00:00:57,800 we will learn important things related to editing and filmmaking. 13 00:00:58,100 --> 00:01:01,400 So in this same model, we are going to learn about the process 14 00:01:01,400 --> 00:01:02,833 of assembling shots. 15 00:01:02,833 --> 00:01:05,933 I think that for fiction it's fundamental. 16 00:01:06,233 --> 00:01:10,100 And during this first model, we are going to see several lessons related to this 17 00:01:10,133 --> 00:01:14,300 where we will review the same concepts, but in different examples. 18 00:01:14,333 --> 00:01:17,633 I mean, professional examples that we will be tune into Premiere 19 00:01:17,633 --> 00:01:20,500 Software and other professional examples on the screen. 20 00:01:20,866 --> 00:01:24,133 All this knowledge is part of what I learned in my script 21 00:01:24,133 --> 00:01:28,700 writing Master Degree as the best film school in Spain is CCAC. 22 00:01:29,233 --> 00:01:31,666 So don't miss the chance to learn this. 23 00:01:31,833 --> 00:01:37,333 So let's start once and for all with this theoretical lesson. 24 00:01:38,200 --> 00:01:41,633 So the first thing you should know is that in the editing process 25 00:01:41,966 --> 00:01:45,566 there are three fundamental concepts or narrative tools 26 00:01:45,866 --> 00:01:49,500 that you should use when editing, when dealing with a film project, 27 00:01:49,600 --> 00:01:51,166 with a fictional project. 28 00:01:51,166 --> 00:01:54,833 Basically, film editing is one more stage of a screen writing 29 00:01:55,300 --> 00:01:57,300 because it happens at a script. 30 00:01:57,300 --> 00:02:01,366 It's written to be able to record all the shots that represent 31 00:02:01,366 --> 00:02:04,633 that script, or at least come close to that script. 32 00:02:05,100 --> 00:02:06,466 But in the editing process, 33 00:02:06,466 --> 00:02:10,066 we are going to join the shots to tell what is in the script. 34 00:02:10,433 --> 00:02:13,433 So in that process, problems and challenges will arise 35 00:02:13,833 --> 00:02:17,466 that we're not possible to see the filming on during writing. 36 00:02:17,933 --> 00:02:20,266 Additionally, is the latter stage of writing 37 00:02:20,566 --> 00:02:23,933 because the script is not a movie, but the editing is a movie. 38 00:02:24,266 --> 00:02:26,400 So pay attention to how important it is. 39 00:02:26,400 --> 00:02:30,600 So these three comes after ellipses, time and corner. 40 00:02:30,866 --> 00:02:31,700 This is stored in 41 00:02:35,400 --> 00:02:37,266 the ellipses is a narrative tool 42 00:02:37,266 --> 00:02:41,233 that allows you to summarize information in a story. 43 00:02:41,266 --> 00:02:45,166 I mean, I mean, amid moments in a chain of events 44 00:02:45,500 --> 00:02:48,900 to shorten the duration of the film, it allows you to skip 45 00:02:48,900 --> 00:02:53,466 certain moments that do not interfere with the understanding of the story. 46 00:02:53,600 --> 00:02:56,366 And this is going to happen for a very simple reason. 47 00:02:56,700 --> 00:03:00,133 The audience sees a scene and already understands 48 00:03:00,133 --> 00:03:02,600 what could had happened between the time jumps. 49 00:03:03,000 --> 00:03:06,100 I mean, what could have happened in that information 50 00:03:06,100 --> 00:03:09,266 that I'm not showing you because it's understood. 51 00:03:09,766 --> 00:03:11,433 So let's see this example. 52 00:03:11,433 --> 00:03:13,133 That is a very good one. 53 00:03:13,133 --> 00:03:17,233 In the movie 12 Years a Slave, there is a moment where Solomon asks for 54 00:03:17,233 --> 00:03:20,700 help from a man who is working as a carpenter. 55 00:03:21,100 --> 00:03:23,166 The actor is Brad Pitt, Indeed. 56 00:03:23,166 --> 00:03:25,633 Let's watch this scene and then I will tell you. 57 00:03:26,333 --> 00:03:29,233 Originate from Canada. 58 00:03:29,433 --> 00:03:30,400 I guess where that is. 59 00:03:31,366 --> 00:03:33,900 I know where Canada is. 60 00:03:34,133 --> 00:03:37,033 I've been there myself. 61 00:03:40,766 --> 00:03:42,600 Montreal and 62 00:03:42,800 --> 00:03:44,066 Kingston and Queenstown. 63 00:03:44,066 --> 00:03:45,700 And a great many places. 64 00:03:45,700 --> 00:03:48,000 We'll travel a slave. 65 00:03:48,000 --> 00:03:50,833 How came you here? 66 00:03:51,200 --> 00:03:53,833 That's too bad. 67 00:03:55,166 --> 00:03:56,400 Have justice have been done? 68 00:03:56,400 --> 00:03:59,233 I never would have been here. 69 00:04:03,366 --> 00:04:04,633 How was this 70 00:04:05,833 --> 00:04:06,133 coming? 71 00:04:06,133 --> 00:04:08,233 Your. 72 00:04:12,266 --> 00:04:15,966 I'm afraid to tell you. 73 00:04:15,966 --> 00:04:17,600 And the word you speak is profound. 74 00:04:17,600 --> 00:04:27,400 She. It. 75 00:04:29,100 --> 00:04:30,700 It is amazing. 76 00:04:30,700 --> 00:04:37,500 And in no good way. 77 00:04:37,500 --> 00:04:39,000 Do you believe 78 00:04:39,300 --> 00:04:41,866 in justice, As you said, 79 00:04:42,200 --> 00:04:43,700 I do. 80 00:04:44,066 --> 00:04:46,500 Slavery is an evil that should befall. 81 00:04:47,200 --> 00:04:51,066 As you could see by that time, the movie is almost over. 82 00:04:51,300 --> 00:04:53,466 I think there are minutes left to finish. 83 00:04:53,700 --> 00:04:57,266 I mean, there is not case in telling this Solomon's story again. 84 00:04:57,466 --> 00:05:00,900 So Solomon is supposed to tell his story to that man. 85 00:05:01,300 --> 00:05:03,366 That is story that we already knew. 86 00:05:03,600 --> 00:05:07,266 That is everything that we saw in the movie until that moment. 87 00:05:07,266 --> 00:05:11,233 And that is why there is a direct narrative jump from the moment 88 00:05:11,233 --> 00:05:15,533 Solomon's asks for help to the moment where Brad Pitt's character tells him. 89 00:05:15,800 --> 00:05:21,100 That is an amazing story, you know, not in a good way that is passes. 90 00:05:21,400 --> 00:05:24,700 We don't need to show Solomon telling the other character the story. 91 00:05:25,100 --> 00:05:27,666 But since we are so audience know the story, 92 00:05:27,666 --> 00:05:29,966 we can imagine what he told the other character. 93 00:05:30,100 --> 00:05:34,600 So this narrative strategy allows you to reduce the length of the mandate. 94 00:05:35,033 --> 00:05:40,333 In any case, we will see another practical example later on. 95 00:05:42,466 --> 00:05:44,400 The other important element is time. 96 00:05:44,400 --> 00:05:47,900 The length of a shot changes the meaning of a shot in itself. 97 00:05:48,366 --> 00:05:50,900 This is a very important we are going to see a very quick 98 00:05:50,900 --> 00:06:24,700 small example in one of my works, 99 00:06:24,700 --> 00:06:27,400 22 plus 100 00:06:33,733 --> 00:06:34,366 three 101 00:06:40,333 --> 00:06:41,100 in this a scene 102 00:06:41,100 --> 00:06:44,300 which is actually a flashback, I mean a memory. 103 00:06:44,500 --> 00:06:48,800 We notice that the character is history, not the family, the indigenous family, 104 00:06:49,100 --> 00:06:52,600 but especially the character stares at the family's daughter. 105 00:06:52,833 --> 00:06:55,900 The baby in the scene last a long time. 106 00:06:56,333 --> 00:07:01,066 The change of glances lasts a long time, but it happens that this process 107 00:07:01,066 --> 00:07:05,000 of looking for seconds generates expectations in the audience 108 00:07:05,666 --> 00:07:09,266 because the character is not simply looking at something to recognize it, 109 00:07:09,733 --> 00:07:14,433 but rather that he is looking at the child for a long time for maybe two reasons. 110 00:07:14,800 --> 00:07:18,966 The first is that maybe the character is moved by what he's looking at. 111 00:07:19,333 --> 00:07:22,866 I mean, the family with his daughter seems really tender to him, 112 00:07:23,133 --> 00:07:28,200 but on the other hand, maybe he wants to have a family or maybe it's his daughter. 113 00:07:28,200 --> 00:07:29,166 I don't know. 114 00:07:29,166 --> 00:07:30,933 So many things you can imagine 115 00:07:30,933 --> 00:07:34,766 just from the fact that he is looking at something for a long time, 116 00:07:35,066 --> 00:07:40,933 because the more time the audience passes, the more questions will be asked. 117 00:07:43,200 --> 00:07:45,266 The other element is the caller. 118 00:07:45,266 --> 00:07:46,600 The caller results important. 119 00:07:46,600 --> 00:07:48,233 In this same scene. 120 00:07:48,233 --> 00:07:52,500 You can notice that since they are flashbacks in order that those scenes 121 00:07:52,500 --> 00:07:56,300 were taking as a flashbacks, it's necessary to use a different kind 122 00:07:56,300 --> 00:08:00,366 of correction in those moments to get more information to the audience. 123 00:08:00,700 --> 00:08:03,633 I mean, they must be aware to the fact that those two scenes 124 00:08:03,633 --> 00:08:08,833 are a different moment from the ones they were watching before. 125 00:08:09,300 --> 00:08:11,500 Here there is another example of a flashback. 126 00:08:11,966 --> 00:08:15,300 It suppose that the character is remembering the best moment 127 00:08:15,533 --> 00:08:20,100 with detonated with whom he has come across in a As you can see, 128 00:08:20,100 --> 00:08:24,266 the memory has another color correction, another color grading. 129 00:08:24,866 --> 00:08:28,066 Additionally, the color is also related to the emotions 130 00:08:28,066 --> 00:08:30,466 and lighting in the court of correction. 131 00:08:30,466 --> 00:08:33,400 You are not supposed to select a color for a scene 132 00:08:33,700 --> 00:08:36,566 that could be detrimental to the emotion of the scene. 133 00:08:37,066 --> 00:08:39,500 So as you could see, these are very important elements 134 00:08:39,500 --> 00:08:41,866 when it comes to telling these stories by editing. 135 00:08:42,366 --> 00:08:45,466 It doesn't matter if it's a movie or a commercial. 136 00:08:45,700 --> 00:08:47,733 It doesn't matter if it's a YouTube video. 137 00:08:48,000 --> 00:08:51,600 All these tools are used to tell a story properly. 138 00:08:51,900 --> 00:08:54,733 Later on, we will see another important elements related 139 00:08:54,733 --> 00:08:58,600 to the assembly of the shots, which is the ordering of the shots. 140 00:08:58,933 --> 00:09:01,866 But we will see that in another lesson until 141 00:09:01,866 --> 00:09:28,333 the next time. 142 00:09:31,800 --> 00:09:32,400 Perfect. 143 00:09:32,400 --> 00:09:33,900 We are here again. 144 00:09:33,900 --> 00:09:37,300 I know there are important elements related to this toolbar. 145 00:09:37,300 --> 00:09:39,966 Are those buttons that are over here 146 00:09:40,500 --> 00:09:44,000 and take these buttons as an extension of these toolbar. 147 00:09:44,466 --> 00:09:49,166 And we are going to start with this magnet symbol snapped to timeline. 148 00:09:49,400 --> 00:09:51,333 And what is this used for? 149 00:09:51,333 --> 00:09:54,666 This magnet is directly connected to the racer tool 150 00:09:54,933 --> 00:09:57,800 because it's very difficult to be precise in the cuts 151 00:09:57,866 --> 00:10:01,433 and sometimes we need to cut matches the blue guideline. 152 00:10:01,466 --> 00:10:05,266 So when activated the magnet helps that the cut sticks to line. 153 00:10:05,333 --> 00:10:08,333 But the magnet not only sticks, the guideline, 154 00:10:08,333 --> 00:10:10,733 but also the borders of the clips. 155 00:10:10,733 --> 00:10:14,700 For example, for example, when we need a clip to get closer 156 00:10:14,866 --> 00:10:16,533 to other clip, for example, 157 00:10:16,533 --> 00:10:19,966 I'm going to add a cross section of this short film to the timeline, 158 00:10:20,333 --> 00:10:23,966 and I'm going to get it closer to the older clip that is in the timeline. 159 00:10:24,266 --> 00:10:27,033 It happens that since we usually zoom in 160 00:10:27,033 --> 00:10:30,400 and zoom out the timeline in order to work, unfortunately, 161 00:10:30,400 --> 00:10:34,300 and sometimes we need to join two clips, not biting in any clip. 162 00:10:34,466 --> 00:10:39,200 So in those cases, the magnets help us that the clip sticks the border. 163 00:10:39,600 --> 00:10:43,800 So if this wasn't enabled, we might be biting off a bit of the other clip. 164 00:10:44,000 --> 00:10:47,700 On the other hand, when we need to move the clip to the precise place 165 00:10:47,700 --> 00:10:52,300 we want, for example, when we really zoom in, the timeline is better for us. 166 00:10:52,300 --> 00:10:54,433 That is not activated. 167 00:10:54,433 --> 00:10:56,666 So you already know how it works. 168 00:10:56,666 --> 00:11:01,033 It's not that complicated and is one of the most useful tools for us. 169 00:11:01,266 --> 00:11:06,500 You know that when activated, the magnet helps us to stick to the guideline line, 170 00:11:06,500 --> 00:11:11,333 to stick to borders, to be more precise and have a better workflow. 171 00:11:12,000 --> 00:11:14,900 On the other hand, there is an important detail to regarding the cuts 172 00:11:15,300 --> 00:11:17,833 and it's related to the cuts in the audio section. 173 00:11:18,233 --> 00:11:22,466 I have already told you about the time code in the timeline, 174 00:11:22,566 --> 00:11:25,666 and I was talking about that when I was creating the sequence 175 00:11:25,800 --> 00:11:29,500 and it was related to how the time will be displayed in the timeline 176 00:11:29,600 --> 00:11:34,133 and you can follow the time code or follow the frames per second. 177 00:11:34,366 --> 00:11:37,866 But it happens that we used to mean the timeline completely 178 00:11:38,100 --> 00:11:40,066 and you move the blue line guide. 179 00:11:40,066 --> 00:11:42,966 That line is moving from one frame to another 180 00:11:43,200 --> 00:11:46,000 and that it's a problem when it comes to editing audio 181 00:11:46,366 --> 00:11:50,166 because the order itself is more continuous than that frame rhythm. 182 00:11:50,566 --> 00:11:52,600 I mean, you can notice the older jumps 183 00:11:53,100 --> 00:11:56,166 and this is very tricky when it comes to cutting all the clips. 184 00:11:56,666 --> 00:12:00,600 So in order to solve this, you must click on the ruler of the timeline 185 00:12:00,900 --> 00:12:05,566 with the right mouse button and select show all the time units. 186 00:12:05,566 --> 00:12:08,366 So by doing this, you can move the blue guideline, 187 00:12:08,633 --> 00:12:11,100 not jumping from one frame to another, 188 00:12:11,433 --> 00:12:13,833 but following the continuous all the time. 189 00:12:14,133 --> 00:12:17,433 Therefore, you're going to be more precise when cutting all the clips. 190 00:12:18,033 --> 00:12:20,600 You must remember that the audio is more accurate. 191 00:12:21,000 --> 00:12:24,100 I mean, when you are using a 48 caid resolution 192 00:12:24,266 --> 00:12:28,766 that means that there will be a 40/8000 recordings for second. 193 00:12:28,766 --> 00:12:30,900 You can notice this in the time error 194 00:12:31,366 --> 00:12:34,800 that at this moment is display in the audio samples. 195 00:12:34,800 --> 00:12:38,400 I mean, every single second is counting 88,000 hairs. 196 00:12:38,633 --> 00:12:42,100 But as you know, you can also change these to milliseconds. 197 00:12:42,533 --> 00:12:46,666 But this is a good reminder for you when it comes to cutting audio clips. 198 00:12:47,500 --> 00:12:51,700 So the following button is this the link selection button? 199 00:12:52,333 --> 00:12:56,700 It happens that sometimes when with rock a cross section of a video 200 00:12:57,133 --> 00:13:02,400 from the reference monitor to the timeline with the act, that section with its 201 00:13:02,400 --> 00:13:08,400 respective audio as in this case, for example, this portion of it is a film. 202 00:13:08,700 --> 00:13:13,133 So when we activate the link section, when we click on the video clip, 203 00:13:13,166 --> 00:13:15,200 we are going to select the audio clip as well. 204 00:13:15,400 --> 00:13:18,733 I mean, it's important when it comes to be in TV editing. 205 00:13:18,733 --> 00:13:22,133 So when we deactivate that tool, if I click on the clip, 206 00:13:22,366 --> 00:13:25,966 I'm going to select only the video clip, as simple as that. 207 00:13:26,300 --> 00:13:27,466 So I'm going to do it again. 208 00:13:27,466 --> 00:13:32,366 I'm going to activate the button in to select a video clip 209 00:13:32,900 --> 00:13:36,300 and select both the video and audio at the same time. 210 00:13:36,633 --> 00:13:39,966 The following button is the tool for inserting sequences, 211 00:13:40,300 --> 00:13:43,166 and this tool allows me to do that in two ways. 212 00:13:43,566 --> 00:13:47,400 So I'm going to use as an example these and other sequence that I have here. 213 00:13:47,700 --> 00:13:52,100 You can notice that inside that sequence I have selected this clip, 214 00:13:52,400 --> 00:13:54,833 but put in an and out. 215 00:13:54,833 --> 00:13:57,300 So we go back to the sequence we are working with 216 00:13:57,933 --> 00:14:00,900 and I'm going to drag that sequence into this one. 217 00:14:01,266 --> 00:14:03,566 So when this button is deactivated 218 00:14:03,933 --> 00:14:07,833 and we are going to drag a sequence into this one, it will happen 219 00:14:07,833 --> 00:14:11,533 that all the files inside that sequence will appear in the timeline. 220 00:14:12,100 --> 00:14:15,800 I mean, it's as if it were moving all the clips inside that sequence, 221 00:14:15,900 --> 00:14:17,733 into the sequence we are working with. 222 00:14:17,733 --> 00:14:21,900 Of course, we are moving also the editing, but with the clips separately. 223 00:14:22,500 --> 00:14:26,533 But on the other hand, if I activated this button, it will work differently. 224 00:14:27,000 --> 00:14:31,100 So I'm going to drag this sequence again into this sequence we are working with. 225 00:14:31,366 --> 00:14:34,500 And you can notice that I'm moving a kind of nested clip, 226 00:14:34,800 --> 00:14:39,266 and this nested clip contains everything inside that sequence. 227 00:14:39,500 --> 00:14:44,766 Regardless if you have marked mean or an out, the entire sequence will be moved. 228 00:14:45,000 --> 00:14:49,833 So it's a very useful tool when it comes to creating a huge project, for example. 229 00:14:50,000 --> 00:14:54,266 So you are able to insert as many sequences as you want into a sequence. 230 00:14:54,266 --> 00:14:56,933 So I'm going to open this sequence again. 231 00:14:57,466 --> 00:15:01,233 You can notice that there is a need and now a selection. 232 00:15:01,800 --> 00:15:04,866 So I'm going to go back to the sequence we are working with 233 00:15:05,466 --> 00:15:13,466 and I'm going to drag the other sequence into this one. 234 00:15:13,466 --> 00:15:17,600 So since the button is activated, the entire sequence is inserted 235 00:15:17,933 --> 00:15:20,733 and you are able to select the portion you want of 236 00:15:20,733 --> 00:15:23,633 that sequence as if it were another clip. 237 00:15:23,966 --> 00:15:27,400 And actually if you click on that clip, you're going to return to 238 00:15:27,400 --> 00:15:28,366 the other sequence. 239 00:15:28,366 --> 00:15:32,233 So I'm going to deactivate a button again and I'm going to drag the sequence 240 00:15:32,233 --> 00:15:33,300 into this one. 241 00:15:33,300 --> 00:15:36,666 And you can notice that only the selection was taken into account. 242 00:15:37,100 --> 00:15:40,166 I mean, everything that was between the end and out 243 00:15:40,466 --> 00:15:43,433 and additionally and moving the clips inside a sequence. 244 00:15:44,033 --> 00:15:46,400 So the following button is the marker tool. 245 00:15:46,800 --> 00:15:49,733 Basically, they are reminders that you are able to add 246 00:15:49,933 --> 00:15:52,433 to the editing to remind you something important. 247 00:15:52,733 --> 00:15:56,633 I mean, when you're editing a huge project or a sequence that is too long, 248 00:15:56,700 --> 00:15:59,233 you are likely to miss things in the editing. 249 00:15:59,233 --> 00:16:02,800 Most of all, when you are working day after day back to back, 250 00:16:02,866 --> 00:16:05,833 you are doing many changes in the editing, in the sequences. 251 00:16:06,000 --> 00:16:09,666 So this reminders are very useful so you can add reminders, 252 00:16:09,666 --> 00:16:12,300 you click on them and you can put a name if you want, 253 00:16:12,433 --> 00:16:16,400 and actually you have a comment section below when you are able to to type 254 00:16:16,400 --> 00:16:19,666 comments related to the sequence or changes. 255 00:16:19,666 --> 00:16:22,800 And also you are able to change the color of the marker. 256 00:16:23,400 --> 00:16:26,100 So I use this a lot because huge 257 00:16:26,100 --> 00:16:30,000 projects involves many hours of work. 258 00:16:30,000 --> 00:16:32,833 The next tool is this spotter here, 259 00:16:33,200 --> 00:16:37,700 and this tool allows you to select what you want to be displayed in the timeline. 260 00:16:37,966 --> 00:16:40,433 I mean, the timeline has several features. 261 00:16:40,933 --> 00:16:44,866 You are able to select which one you want to be displayed as simple as that. 262 00:16:44,966 --> 00:16:48,600 So you can deactivate, for example, to show audio waves 263 00:16:48,900 --> 00:16:53,066 or the audio key frames, for example, whatever you want in the timeline. 264 00:16:53,400 --> 00:16:56,866 I would like to stress something important related to the shortcuts, 265 00:16:57,033 --> 00:16:59,966 because I have never been keen on using shortcuts 266 00:17:00,266 --> 00:17:04,733 because most of the editors that I know that use shortcuts are not that good. 267 00:17:05,033 --> 00:17:08,666 But if you want to know the premiere shortcuts, go to the edit tab 268 00:17:08,666 --> 00:17:11,800 and then keyboard shortcuts just right here. 269 00:17:11,800 --> 00:17:15,433 The software provides you all the information about the shortcuts. 270 00:17:15,866 --> 00:17:19,633 I don't like shortcuts at all because the brain has limitations. 271 00:17:20,233 --> 00:17:22,333 The brain has boundaries, 272 00:17:22,666 --> 00:17:27,066 and I'm not keen on a spend in my memory in that kind of information. 273 00:17:27,233 --> 00:17:27,466 I mean, 274 00:17:27,466 --> 00:17:30,800 when you are a professional editor, when you are a professional filmmaker 275 00:17:30,800 --> 00:17:35,233 or a professional artist, you're going to have to remind a lot of things 276 00:17:35,233 --> 00:17:38,066 related to general culture, to art, 277 00:17:38,300 --> 00:17:40,866 to philosophy, etc., etc. 278 00:17:41,133 --> 00:17:43,733 And you are supposed to do that in order to bring out 279 00:17:44,033 --> 00:17:47,100 the best of the best of your artistic references. 280 00:17:47,100 --> 00:17:50,166 And that is a complicated process in your mind and in your brain. 281 00:17:50,233 --> 00:17:52,233 So I'm not spending my time. 282 00:17:52,300 --> 00:17:57,200 I'm reminded that you can activate this racer tool by pressing C on the keyboard. 283 00:17:57,200 --> 00:17:58,366 For example, a minute 284 00:17:58,366 --> 00:18:01,100 I simply click on the racer and I'm going to use the racer. 285 00:18:01,366 --> 00:18:05,300 But anyway, try to remember what is this magnet tool used for? 286 00:18:05,733 --> 00:18:09,600 And also this linked tool that allows you to select either 287 00:18:09,600 --> 00:18:12,966 the video clip or the video and know the clips and together 288 00:18:13,166 --> 00:18:15,633 remember, it is tool for in certain sequences 289 00:18:16,000 --> 00:18:20,633 that allows you to insert a nested clip or the clips separately. 290 00:18:20,900 --> 00:18:24,633 Remember also the markers in this last one and the spanner 291 00:18:24,900 --> 00:18:28,033 that allows you to display the timeline features. 292 00:18:28,266 --> 00:18:58,433 So this lesson is up to here and until the next one. 293 00:18:58,433 --> 00:18:59,466 Hello, people. 294 00:18:59,466 --> 00:19:03,833 One of the most important challenges when it comes to editing movies or editing 295 00:19:03,833 --> 00:19:08,166 any other visual work is to understand the true meaning of the images. 296 00:19:08,600 --> 00:19:11,466 In my filmmaking course, I talk about these in depth 297 00:19:11,466 --> 00:19:14,900 semiotic lessons where I explain how important it is. 298 00:19:14,900 --> 00:19:16,933 The figure ground concept. 299 00:19:16,933 --> 00:19:20,166 I mean, that concept that tells us that not only the characters 300 00:19:20,166 --> 00:19:23,833 tell us about the story, but also everything that surrounds them. 301 00:19:24,033 --> 00:19:27,666 But there is a crucial element when it comes to understanding this. 302 00:19:28,100 --> 00:19:33,066 This element is time, time and the image time and the contemplation. 303 00:19:33,266 --> 00:19:37,066 The problem today is how the visual world is that everything is too fast. 304 00:19:37,233 --> 00:19:41,066 We want to communicate as fast as possible and perhaps some some place, 305 00:19:41,066 --> 00:19:44,666 for instance, works very well by the very nature of these platforms. 306 00:19:44,666 --> 00:19:47,166 I mean, Instagram, YouTube, Tik Tok. 307 00:19:47,700 --> 00:19:48,766 The problem is that 308 00:19:48,766 --> 00:19:52,500 cinema works differently, especially when it comes to making quality cinema. 309 00:19:52,833 --> 00:19:54,200 That kind of movies in which 310 00:19:54,200 --> 00:19:57,966 we want to tell them things and to be able to tell deep things. 311 00:19:58,166 --> 00:20:01,333 It's necessary that the communication process between the author 312 00:20:01,333 --> 00:20:04,000 and the audience is accurate and correct. 313 00:20:04,466 --> 00:20:07,800 So we must always ask the following question to ourselves. 314 00:20:08,166 --> 00:20:11,366 The audience is really understanding what the script means, 315 00:20:11,833 --> 00:20:14,766 and in this sense, the process of editing is fundamental 316 00:20:14,766 --> 00:20:17,633 because in that process we are going to determine 317 00:20:17,633 --> 00:20:21,500 not only the order but also the duration that every single shot will have. 318 00:20:21,500 --> 00:20:25,633 In the story I always use as an example the action of taking the time 319 00:20:25,633 --> 00:20:29,366 on any clock, how long it takes you to check the time, a brandy clock. 320 00:20:29,366 --> 00:20:31,466 I mean, when you see the time in your clock, 321 00:20:31,566 --> 00:20:35,500 I would say the number of the 3 seconds are taken to see the time. 322 00:20:35,500 --> 00:20:38,866 But if we see the same clock, the same shot of the clock 323 00:20:38,866 --> 00:20:42,166 for a longer time, it starts something else in our mind. 324 00:20:42,466 --> 00:20:46,266 We begin to question what we see on the screen, to ask ourselves 325 00:20:46,266 --> 00:20:49,200 questions about the meaning of what we are watching on the screen. 326 00:20:49,400 --> 00:20:52,533 And that is where things begin to happen in our minds. 327 00:20:52,800 --> 00:20:56,966 That is where we start using the image for another type of reading. 328 00:20:57,133 --> 00:20:58,700 I mean, the amount of time 329 00:20:58,700 --> 00:21:02,666 that an image is on the screen changes the meaning of the image in itself. 330 00:21:03,266 --> 00:21:08,100 So since determine the duration of an image on the screen will be our job, 331 00:21:08,266 --> 00:21:11,133 we must be prepared to understand when necessary or not, 332 00:21:11,133 --> 00:21:12,900 when it's convenient or not. 333 00:21:12,900 --> 00:21:14,833 Stretch or squeeze a shot. 334 00:21:14,833 --> 00:21:18,666 So I will show you a short film in which I work with my film school. 335 00:21:19,233 --> 00:21:22,000 I worked specifically to end the music, 336 00:21:22,500 --> 00:21:25,100 but the thing is that this work has problems 337 00:21:25,100 --> 00:21:28,300 related to the creation of the shots, but at the same time, 338 00:21:28,633 --> 00:21:31,933 there are valuable shots precisely due to its duration. 339 00:21:32,066 --> 00:21:34,333 So let me give you a little context of the story. 340 00:21:34,700 --> 00:21:36,866 In this short film. 341 00:21:36,866 --> 00:21:39,300 The story is about a girl who is an actress 342 00:21:39,500 --> 00:21:43,466 who was sexually abused by someone, but she doesn't want to say 343 00:21:43,466 --> 00:21:45,066 anything to her mother. 344 00:21:45,066 --> 00:21:46,866 The girl behaves strangely. 345 00:21:46,866 --> 00:21:48,666 She's always in a bad mood. 346 00:21:48,666 --> 00:21:51,166 But at some point in the story, the girl's mother 347 00:21:51,266 --> 00:21:54,300 finds a sweater of her daughter with a bloodstain. 348 00:21:54,533 --> 00:21:57,866 And finally the mother understands that the girl suffered 349 00:21:57,866 --> 00:22:01,700 some kind of abuse and manages to understand her daughter. 350 00:22:01,700 --> 00:22:07,066 At the end of the story, this short film has evident 351 00:22:07,200 --> 00:22:11,533 screenwriting problems, including that, for example, the girl is an actress 352 00:22:11,900 --> 00:22:16,633 and the spectator or the audience fails to know that she is an actress, actually, 353 00:22:17,166 --> 00:22:21,033 because the director and the screenwriter of this work simply use as a shot 354 00:22:21,333 --> 00:22:26,266 where there is a kind of calendar as a mechanism to inform the audience. 355 00:22:26,266 --> 00:22:29,166 The bigger has a shooting on a specific date, 356 00:22:29,866 --> 00:22:33,600 and that is not enough information to understand that she's an actress. 357 00:22:34,333 --> 00:22:37,000 But pay attention to the shot in the first place. 358 00:22:37,000 --> 00:22:40,600 The shot doesn't last enough time to see it in detail. 359 00:22:40,933 --> 00:22:45,933 And secondly, the word shooting, which in the calendar say is rolled 360 00:22:46,033 --> 00:22:50,100 that in Spanish is not close enough to be properly read. 361 00:22:50,566 --> 00:22:53,866 An editor could have perfectly solved this, for example, 362 00:22:53,866 --> 00:22:58,733 if the shot had been recorded with enough resolution simply by zooming in 363 00:22:58,733 --> 00:23:03,800 and the shot would have been enough to get the word shoot in the word road ahead. 364 00:23:04,233 --> 00:23:07,400 And additionally, if the shot doesn't last long enough 365 00:23:07,500 --> 00:23:12,200 simply by taking a screenshot of the last frame of the shot, we could lengthen 366 00:23:12,200 --> 00:23:15,800 that shot using that photo as if it were part of the video. 367 00:23:16,600 --> 00:23:19,633 On the other hand, at the beginning of the short film, a shot 368 00:23:19,700 --> 00:23:23,000 where we see some flowers with cars on a table. 369 00:23:23,733 --> 00:23:27,300 It is the first shot after seeing the gear in the bathtub. 370 00:23:27,600 --> 00:23:30,533 And I must confess that the first time I saw that shot, 371 00:23:30,733 --> 00:23:33,866 I thought it was a coffin with some flowers above. 372 00:23:34,100 --> 00:23:36,766 I mean, that kind of made me real flowers. Arrangements. 373 00:23:36,766 --> 00:23:38,800 It turns out that they are congratulation 374 00:23:38,800 --> 00:23:42,966 gift for the girl for having acted in a play. 375 00:23:42,966 --> 00:23:46,500 But actually even the traveling of the shot to the left, 376 00:23:46,500 --> 00:23:50,000 plus the fact that we don't see the table itself before 377 00:23:50,400 --> 00:23:53,600 the first thing that comes to your mind is that it's a coffin. 378 00:23:53,600 --> 00:23:56,766 In addition to the order of the shot into assembly for yields. 379 00:23:57,100 --> 00:24:00,433 I mean the short films, it begins with a war with Gore at the beginning, 380 00:24:00,833 --> 00:24:03,733 as if she were thinking about something deeply. 381 00:24:04,100 --> 00:24:06,533 So when you see the image of an in long gate, 382 00:24:06,533 --> 00:24:09,766 it would object with flowers about what do you think? 383 00:24:10,300 --> 00:24:25,033 What can you think? 384 00:24:25,033 --> 00:24:28,633 So you said that you had to realize that the game of things because 385 00:24:29,166 --> 00:24:32,433 if in the data there is another shot of the same table 386 00:24:32,666 --> 00:24:36,500 from a more distant point of view, for example, where it's clear 387 00:24:36,500 --> 00:24:41,033 that is a table to the naked eye, you are supposed to choose that take 388 00:24:41,466 --> 00:24:43,300 or to remove it. But under the illustration of 389 00:24:46,766 --> 00:24:52,133 Columbia Girl, to look 390 00:24:52,333 --> 00:24:55,233 really? MM 391 00:25:01,433 --> 00:25:04,200 But not everything is failing in this short film. 392 00:25:04,566 --> 00:25:09,966 For example, the last great shot of the last scene where the mother enters 393 00:25:09,966 --> 00:25:13,800 the room and lies in front of her daughter and observes her. 394 00:25:13,800 --> 00:25:17,733 For a long time, both the director and the editor were able 395 00:25:17,733 --> 00:25:20,833 to take another decision, such as you decide on their shots, 396 00:25:21,333 --> 00:25:25,000 shoulder or make cuts to summarize the scene, for example. 397 00:25:25,300 --> 00:25:26,733 But they didn't do that. 398 00:25:26,733 --> 00:25:29,100 Simply, the scene is long enough to allow us 399 00:25:29,100 --> 00:25:32,466 to contemplate the two characters for a long time, 400 00:25:32,966 --> 00:25:36,900 to immerse ourselves in the emotions in their emotions 401 00:25:36,900 --> 00:26:29,033 in a deeper way. 402 00:26:29,033 --> 00:26:32,033 So try to see all these as an example, because it's like 403 00:26:32,033 --> 00:26:34,533 the fact of contemplating a painting. 404 00:26:35,100 --> 00:26:37,900 Let's use as an example these minutes painting. 405 00:26:37,900 --> 00:26:39,400 Let the genius live. 406 00:26:39,400 --> 00:26:41,266 Let's suppose this is a shot. 407 00:26:41,266 --> 00:26:44,600 If the duration of this take where 4 seconds for example, 408 00:26:45,100 --> 00:26:49,033 would that time be now to contemplate in the background, for example, 409 00:26:49,433 --> 00:26:54,300 to notice that in the background there is another woman who obviously is with them. 410 00:26:54,766 --> 00:26:57,500 It's enough time, 4 seconds to detail 411 00:26:57,500 --> 00:27:01,266 that there is even on a small wooden boat in the background, 412 00:27:01,500 --> 00:27:05,966 that is surely the means of transport by which they arrive at that place. 413 00:27:06,433 --> 00:27:10,666 Surely a magical place where they wanted to escape, to be alone. 414 00:27:10,666 --> 00:27:21,600 Those to France with their lovers. 415 00:27:21,600 --> 00:27:26,300 So do you realize that that is the only way to deepen the audiovisual language, 416 00:27:26,400 --> 00:27:30,300 to write, to contemplate art, to become a real gifted artist? 417 00:27:30,300 --> 00:27:56,033 Until next lesson. 418 00:27:56,033 --> 00:27:58,500 Perfect. We are here in the Adobe premiere. 419 00:27:58,733 --> 00:28:03,266 In this lesson, we're going to start learning how to interpret a movie script. 420 00:28:03,333 --> 00:28:08,900 When it comes to film editing, I mean how a screenplay looks on the screen 421 00:28:09,566 --> 00:28:13,300 and in turn, how a script page that represents 422 00:28:13,366 --> 00:28:16,200 60 seconds in a movie also looks like. 423 00:28:16,733 --> 00:28:21,400 The tip tip is that we learn to interpret a film script when it comes to editing, 424 00:28:21,833 --> 00:28:25,733 or at least have an idea of what the script wants to convey. 425 00:28:26,166 --> 00:28:30,166 I'm going to divide the screen and I'm going to show you this a scene in this way 426 00:28:30,166 --> 00:28:35,733 shot where everything is going to happen in one single shot, and at the same time 427 00:28:35,800 --> 00:28:39,333 I'm going to read the script page responding to this scene. 428 00:28:39,600 --> 00:28:44,766 You must also know that a screenplay page represents 60 seconds on screen. 429 00:28:45,066 --> 00:28:48,433 But pay close attention to this lesson, because in fact, 430 00:28:48,666 --> 00:28:51,000 it will not always be like that. 431 00:28:51,000 --> 00:28:54,300 We must be aware, even when a script is badly written. 432 00:28:55,066 --> 00:28:58,833 So as filmmakers or editors, we are supposed to know 433 00:28:58,833 --> 00:29:02,366 how long the actions in a film script really last. 434 00:29:02,833 --> 00:29:03,800 This is start and 435 00:29:04,800 --> 00:29:09,300 end gave in shape day no begin to arm hangs 436 00:29:09,300 --> 00:29:11,866 over at the edge of the bed as he is leaps, 437 00:29:12,500 --> 00:29:14,766 an open suitcase lies on the floor. 438 00:29:15,266 --> 00:29:17,733 A music book is in the suitcase. 439 00:29:17,733 --> 00:29:22,200 A soft light illuminates the young skin of innovation, design 440 00:29:22,833 --> 00:29:26,433 innovation to sleep soundly on the bottom of a bank. 441 00:29:27,000 --> 00:29:31,800 He wears a green shirt and pants that are not comfortable for sleeping. 442 00:29:32,400 --> 00:29:34,800 The sheets and pillow are very wide. 443 00:29:35,400 --> 00:29:39,366 The sounds of some seagulls is heard in the distance. 444 00:29:39,366 --> 00:29:44,100 They seem to get closer at innovations as a sleep, since not to be disturbed, 445 00:29:44,700 --> 00:29:48,900 the noise of the seagulls increases and wakes up never kitchen to 446 00:29:49,633 --> 00:29:52,800 no vision to wipe sea sighs to try to wake up. 447 00:29:53,266 --> 00:29:58,033 He seems to want to go back to sleep, but he makes the effort to take his eyes 448 00:29:58,033 --> 00:30:02,966 off the morning light indicates that he must get over 449 00:30:03,700 --> 00:30:06,000 the which intercedes on the edge of the bed. 450 00:30:06,633 --> 00:30:10,566 He steals, feels tired though, which into wipes his eyes. 451 00:30:10,566 --> 00:30:14,900 He seems to be somewhat worried, but he makes it easy for it to muster 452 00:30:14,900 --> 00:30:20,333 the strength to finish standing app the morning light enters through the small 453 00:30:20,333 --> 00:30:26,033 round windows, typical of a ship from the early 20th century Norwegian. 454 00:30:26,066 --> 00:30:30,366 The finishes close in his suitcase has already put on his shoes 455 00:30:31,000 --> 00:30:34,000 and then walks slowly towards the cabin windows, 456 00:30:35,166 --> 00:30:36,266 approaches the cabin 457 00:30:36,266 --> 00:30:38,666 windows while he fixes his braces, 458 00:30:39,300 --> 00:30:42,400 knobby chin to watch through one of the cabin windows. 459 00:30:42,400 --> 00:30:44,700 His seems very thoughtful. 460 00:30:44,700 --> 00:30:46,866 There are cutouts of the walls of the cabin 461 00:30:47,200 --> 00:30:50,233 like someone who has been there for quite some time. 462 00:30:51,066 --> 00:30:53,500 The cabin lights turn on, indicating 463 00:30:53,500 --> 00:30:55,966 that the ship is about to dock at the dock? 464 00:30:56,500 --> 00:30:59,700 No. Seemed to realizes that it's time to leave. 465 00:31:00,200 --> 00:31:04,400 He begins to look around to see if he has nothing left in the cabin. 466 00:31:04,866 --> 00:31:08,066 They'll be chained to, sees every detail and turns to a bench 467 00:31:08,400 --> 00:31:14,166 where there are some loose sheets, which obscures the sheets and reflects deeply. 468 00:31:14,766 --> 00:31:17,533 Lubitsch into approaches to change and sits down. 469 00:31:18,133 --> 00:31:22,600 He then takes the sheets and goes through them one after another. 470 00:31:23,400 --> 00:31:26,366 The sheets seems to remind him of something 471 00:31:26,600 --> 00:31:30,000 nobody center is nostalgic, his stirs into infinity. 472 00:31:30,000 --> 00:31:31,066 Very thoughtful. 473 00:31:32,400 --> 00:31:33,400 Obviously what we 474 00:31:33,400 --> 00:31:37,600 see on the screen is always an interpretation of a movie script, 475 00:31:38,000 --> 00:31:41,033 an interpretation that can come from a script writer 476 00:31:41,200 --> 00:31:44,200 or can come from the film director himself. 477 00:31:44,766 --> 00:31:49,933 In this context, a question arises, Does this script page really belong to the 478 00:31:49,933 --> 00:31:51,900 is this in the true these 479 00:31:51,900 --> 00:31:55,800 that in general terms that is read in the units of actions. 480 00:31:56,000 --> 00:31:59,266 It seems to be the script that corresponds to this shot. 481 00:32:00,000 --> 00:32:02,900 However, the first thing we should take into account 482 00:32:02,900 --> 00:32:08,466 is that these are scene the take last almost two and a half minutes 483 00:32:08,666 --> 00:32:13,600 and we have just read this great page which only represents 60 seconds. 484 00:32:14,133 --> 00:32:16,900 So pay attention to the importance of this knowledge 485 00:32:17,433 --> 00:32:20,466 because we can already see the deficiencies in the writing. 486 00:32:20,866 --> 00:32:24,266 This knowledge allows us to know the real duration of the actions 487 00:32:24,266 --> 00:32:27,233 that are happening in the script page. 488 00:32:27,233 --> 00:32:31,533 It allows us to know how long the actions of a character in a scene last. 489 00:32:32,033 --> 00:32:36,200 This knowledge is priceless, and it's only possible to understand it 490 00:32:36,300 --> 00:32:41,533 through practice because in fact we read the scene and reading it to me 491 00:32:41,533 --> 00:32:46,533 more or less the lapsed time that is two and a half minutes. 492 00:32:46,533 --> 00:32:51,566 But try to imagine that we were 1890 pages script that has this problem. 493 00:32:51,900 --> 00:32:56,100 Then the movie would not last an hour and half, but 3 hours 494 00:32:56,233 --> 00:32:59,866 in that it really is a problem in terms of production. 495 00:33:00,300 --> 00:33:03,100 On the other hand, there is an element that stands out 496 00:33:03,100 --> 00:33:06,700 above all in terms of this written version of the script, 497 00:33:07,233 --> 00:33:11,133 and that is that a large number of details are described 498 00:33:11,500 --> 00:33:15,600 that it's not possible to portray them, or at least it's difficult 499 00:33:15,600 --> 00:33:17,000 to represent them. 500 00:33:17,000 --> 00:33:21,000 From the point of view of these take the shot is a wide shot. 501 00:33:21,300 --> 00:33:23,266 Okay, Now I've only been shot. 502 00:33:23,266 --> 00:33:24,800 And what does this mean? 503 00:33:24,800 --> 00:33:28,833 It means that in reality, the shot that we must use to tell 504 00:33:28,833 --> 00:33:31,500 what is happening in the cave in our shoulders, 505 00:33:32,133 --> 00:33:35,366 for example, pay attention to this line from the script. 506 00:33:35,366 --> 00:33:39,966 A soft light illuminates the young skin of snobbish enzyme. 507 00:33:40,433 --> 00:33:43,533 It's not possible to see this detail in the distance 508 00:33:43,933 --> 00:33:48,600 as well as the detail of the book on the suitcase, the line where it's read 509 00:33:48,600 --> 00:33:52,166 that nobody is worried about something in the distance. 510 00:33:52,166 --> 00:33:56,200 It's also difficult to see the details of the no vision does face. 511 00:33:56,666 --> 00:33:59,333 What I'm trying to say is that all these details 512 00:33:59,333 --> 00:34:02,566 are essential to be able to determine which are the shots 513 00:34:02,566 --> 00:34:06,200 that we are going to use from the data that the production team gave us. 514 00:34:06,900 --> 00:34:11,400 And unless there are specific instructions for choosing which takes to use, 515 00:34:11,766 --> 00:34:15,166 we should to be able to use the script as a guide in the script, 516 00:34:15,166 --> 00:34:19,333 suggest in its write in which are the most appropriate takes. 517 00:34:20,033 --> 00:34:22,566 For example, the detail of the Vicenza Psalm 518 00:34:22,566 --> 00:34:26,500 and the book on Suitcase that could be in a single closed shot. 519 00:34:26,900 --> 00:34:29,833 So if in the data that we have that there is a shot 520 00:34:29,833 --> 00:34:34,000 that portrays those lines in the best way, for example, 521 00:34:34,000 --> 00:34:38,000 this closed shot, we are supposed to choose that shot. 522 00:34:38,466 --> 00:34:41,766 So what we have to do is select the parts of the video clip. 523 00:34:42,000 --> 00:34:45,633 Remember that I told you how to do it earlier using the 524 00:34:45,633 --> 00:34:50,300 I and oh, the entrance and the exit in direct defeat. 525 00:34:50,300 --> 00:34:54,266 You fragment it to the timeline. 526 00:34:54,266 --> 00:34:59,066 It's important to note that we are always building our point of view of the script, 527 00:34:59,400 --> 00:35:03,266 but we are supposed to professionally read the script in order to best 528 00:35:03,333 --> 00:35:04,800 represent it. 529 00:35:04,800 --> 00:35:07,466 It's pay attention to how this shot is read, 530 00:35:07,766 --> 00:35:12,100 although here it's not exactly noticeable that the work is in fact a music book. 531 00:35:12,633 --> 00:35:16,800 The book looks much closer in the same way the skin of the arm of David Chin, 532 00:35:16,800 --> 00:35:19,533 though Additionally, we can see in this shot 533 00:35:19,833 --> 00:35:22,200 what the Norwegian two clothes are like 534 00:35:22,600 --> 00:35:25,233 as well as how soundly asleep he is. 535 00:35:25,766 --> 00:35:29,600 We can even better notice the specific white color of the pillow. 536 00:35:30,233 --> 00:35:32,666 In fact, by combining this close shot 537 00:35:32,900 --> 00:35:36,766 with a meeting shot of novitiate on the bed, for example, in this shot 538 00:35:37,266 --> 00:35:40,500 we can see in more detail how no which and stressed 539 00:35:40,800 --> 00:35:44,666 remember that the script tells that now we tend to wear clothes 540 00:35:44,666 --> 00:35:47,800 that are not that comfortable at all for sleeping. 541 00:35:48,000 --> 00:35:51,066 Additionally, we can see more detail the paper cuts 542 00:35:51,133 --> 00:35:54,666 that are stuck on the world, so this shot is quite useful. 543 00:35:55,000 --> 00:36:00,333 So we can then select the video fragment that we want to use and the I and oh, 544 00:36:00,733 --> 00:36:04,266 and added to the timelines, there is something very important 545 00:36:04,266 --> 00:36:07,533 to take into account when it comes to mixing different shots, 546 00:36:07,866 --> 00:36:10,233 different takes of the same action. 547 00:36:10,733 --> 00:36:13,533 We must pay close attention to the guarding actions. 548 00:36:14,133 --> 00:36:17,400 Cutting actions are those where we were going to go from one, 549 00:36:17,400 --> 00:36:21,033 take it to another so that it feels like you are having 550 00:36:21,033 --> 00:36:23,900 multiple cameras and set at the same time. 551 00:36:24,600 --> 00:36:27,133 For example, here to correct your turn still worst. 552 00:36:27,133 --> 00:36:29,400 The light, in fact, is still light 553 00:36:29,400 --> 00:36:32,833 in the sound of the sequels that the wakes up between until. 554 00:36:33,400 --> 00:36:36,200 So this action is repeated in different shots 555 00:36:36,500 --> 00:36:39,966 and it's perfect to generate that sensation in the montage. 556 00:36:40,433 --> 00:36:43,866 So if we turn to respect these consecutive elements 557 00:36:43,866 --> 00:36:48,100 when it comes to moving from one take to another, we will generate another 558 00:36:48,100 --> 00:36:52,866 narrative Meaning in video editing, we are going to create an ellipses. 559 00:36:53,400 --> 00:36:57,133 Ellipses is a narrative leap of time in the editing, 560 00:36:57,500 --> 00:37:01,266 and those time jumps can be short time or a long time. 561 00:37:01,666 --> 00:37:05,900 In any case, we will see that a specific element later in another lesson. 562 00:37:06,366 --> 00:37:10,300 But since this is not the case, we must find those cartoon actions 563 00:37:10,600 --> 00:37:14,133 that allow me to properly join one shot with another. 564 00:37:15,500 --> 00:37:16,133 Now I'm 565 00:37:16,133 --> 00:37:19,866 going to look for another take to continue building the scene. 566 00:37:19,866 --> 00:37:23,500 In this case, I'm going to use the action of putting on the bullets 567 00:37:24,100 --> 00:37:28,200 as I cut action to be able to properly combine the two takes. 568 00:37:29,066 --> 00:37:32,400 So as I told you, we are going to select the video fragment 569 00:37:32,533 --> 00:37:35,233 that we want with the eye and oh, 570 00:37:35,433 --> 00:37:45,900 and then drag that video to the time line. 571 00:37:45,900 --> 00:37:48,100 So look at how the cutting action looks. 572 00:37:48,433 --> 00:37:50,333 Creating the sensation 573 00:37:50,333 --> 00:37:53,866 that there are several cameras in the scene is very important. 574 00:37:53,866 --> 00:37:59,733 It is so to the extent that with balance in the editing of a specific script, 575 00:38:00,066 --> 00:38:03,000 we are going to discover things from the Datsun, things 576 00:38:03,000 --> 00:38:06,300 that Indian will allow us to enrich the editing. 577 00:38:06,533 --> 00:38:09,400 For example, in this script there is an important description. 578 00:38:10,000 --> 00:38:13,700 The morning light enters through small round windows. 579 00:38:13,700 --> 00:38:17,466 Typical of a ship from the early 20th century. 580 00:38:18,000 --> 00:38:21,666 Despite the fact that this detail can be seen in the general shot 581 00:38:22,100 --> 00:38:26,666 in the script that is written separately in a small paragraph 582 00:38:26,833 --> 00:38:31,566 which suggests that this shot is a specific shot for dead or dead. 583 00:38:31,566 --> 00:38:35,100 Some details of that element of mass be seen. 584 00:38:35,533 --> 00:38:39,433 So I'm going to create a space here between the shots that we have added 585 00:38:39,433 --> 00:38:43,300 to the timeline to try to add a shot of the windows. 586 00:38:43,300 --> 00:38:47,100 We attention now to this in one of the shots that was recorded. 587 00:38:47,333 --> 00:38:51,733 Now we can do is sit in reflecting on the music sheets that he's reviewing. 588 00:38:52,300 --> 00:38:56,100 But if we realize at the end of the shot, Norwegian distance 589 00:38:56,133 --> 00:38:59,700 out in practically leaves the windows exposed 590 00:39:00,166 --> 00:39:03,000 as if it were a shot of the windows. 591 00:39:03,000 --> 00:39:06,566 So we can use those seconds where navigation does not seen 592 00:39:06,833 --> 00:39:08,533 as if it were a take. 593 00:39:08,533 --> 00:39:12,833 I call these taking shots of the shots themselves. 594 00:39:12,833 --> 00:39:15,833 The interesting thing about this is that it forces 595 00:39:15,833 --> 00:39:18,966 us to also create a connection with the other shots. 596 00:39:19,500 --> 00:39:23,400 So there we must also find a cut in action that help us to combine 597 00:39:23,400 --> 00:39:24,766 the shot with the others. 598 00:39:25,833 --> 00:39:28,733 For example, there is a moment where now between two turns 599 00:39:28,733 --> 00:39:33,233 still worst at windows, so that could be the cut action perfectly. 600 00:39:33,466 --> 00:39:36,200 Remember that a natural action of the character 601 00:39:36,533 --> 00:39:40,566 he turns still worst light because the light is what walking up 602 00:39:41,000 --> 00:39:44,666 beside that It's the connection of the character with the outside. 603 00:39:45,133 --> 00:39:48,100 So this little window shot is crucial. 604 00:39:48,400 --> 00:39:52,100 It allows me to describe the space in more detail. 605 00:39:52,100 --> 00:39:55,533 It's necessary that we compare all the information that we perceive 606 00:39:55,533 --> 00:39:56,933 in a close shot 607 00:39:56,933 --> 00:40:01,466 with respect to that first general shot that we saw at the beginning. 608 00:40:01,466 --> 00:40:05,700 The reading of this shot is very important, and only by comparing them 609 00:40:05,700 --> 00:40:09,533 can we feel how the information reaches us in a better way. 610 00:40:09,933 --> 00:40:13,033 Pay attention that even though it's the same action that is, 611 00:40:13,033 --> 00:40:16,566 the action units are contained both in the close shots 612 00:40:16,866 --> 00:40:20,100 and in this general shot, the reading is different. 613 00:40:20,700 --> 00:40:24,200 So this is very important to take into account when it comes to editing 614 00:40:24,200 --> 00:40:28,200 because there are details that cannot be shown in an open shot. 615 00:40:28,566 --> 00:40:32,166 But the most important thing is that there is not a one single way to do it, 616 00:40:32,600 --> 00:40:36,600 simply that we must be open to find in creative possibilities 617 00:40:36,933 --> 00:40:39,800 within the data that the production team, gypsies 618 00:40:40,433 --> 00:40:43,933 and, especially since many of you come from my screenwriting course, 619 00:40:44,300 --> 00:40:47,700 and this is another great example to see what a screenplay 620 00:40:47,700 --> 00:40:49,600 really looks like on screen. 621 00:40:49,600 --> 00:40:54,400 And I would say that it's one of the most difficult challenges for a screenwriter. 622 00:40:54,933 --> 00:40:58,300 The most valuable thing about this knowledge is that many times 623 00:40:58,300 --> 00:41:03,000 they will give us projects that don't even have a formally written script, 624 00:41:03,333 --> 00:41:07,400 but instead they recorded a story with some back a guide, 625 00:41:07,666 --> 00:41:10,466 and we must build a story in the editing so we would 626 00:41:10,466 --> 00:41:13,233 practically be writing the story ourselves. 627 00:41:13,566 --> 00:41:15,900 Well, let's continue with this example. 628 00:41:16,333 --> 00:41:20,600 Let's pay attention to the last paragraph where the following is read. 629 00:41:21,500 --> 00:41:24,266 Nobody approaches the bench and sits down. 630 00:41:24,800 --> 00:41:28,866 He then takes the sheets and goes through them one after another. 631 00:41:29,300 --> 00:41:32,566 The music seems to remind him of something 632 00:41:32,966 --> 00:41:36,700 no bitchin doing systematic he is stirs into infinity. 633 00:41:36,733 --> 00:41:38,366 Very thoughtful. 634 00:41:38,366 --> 00:41:43,066 So in this wide shot an object is seen looking at the music sheets. 635 00:41:43,633 --> 00:41:45,333 But can we really see that now? 636 00:41:45,333 --> 00:41:49,566 Bitchin is thinking deeply about what he's seeing The truth 637 00:41:49,566 --> 00:41:52,600 is that in the opening shot we only see the character 638 00:41:52,600 --> 00:41:56,033 reading the pages, but we don't see his face in detail. 639 00:41:56,200 --> 00:41:58,700 But look now at this shot here. 640 00:41:58,700 --> 00:42:03,300 We can see the face close enough to represent what is written in the script. 641 00:42:03,833 --> 00:42:07,200 Here you're seeing the face up close, and there is no doubt 642 00:42:07,466 --> 00:42:10,533 that now we can do is thoughtful in affected by what 643 00:42:10,533 --> 00:42:14,500 he sees on the pages so we can do exactly the same. 644 00:42:14,533 --> 00:42:18,433 We are going to select a cross section of video that we want to add it 645 00:42:18,500 --> 00:42:21,933 to the timeline and be able to better described 646 00:42:22,166 --> 00:42:27,600 that emotion that is read in the script. 647 00:42:27,600 --> 00:42:30,333 And in the same way we must find the cut action set. 648 00:42:30,333 --> 00:42:32,966 It looks very well mixed with the other shots, 649 00:42:33,433 --> 00:42:36,566 the attention to each of the movements in the performance 650 00:42:37,166 --> 00:42:40,000 so that ellipsis does occur in the editing. 651 00:42:40,333 --> 00:42:43,666 Remember that ellipsis is something that we will see later on. 652 00:42:44,733 --> 00:42:47,166 For example, we can use any of the moments 653 00:42:47,166 --> 00:42:50,300 we're now we tend to relaxes this head back 654 00:42:51,600 --> 00:42:54,866 associated works of this nature over and over again. 655 00:42:54,966 --> 00:42:56,733 You will develop a sensitivity 656 00:42:56,733 --> 00:43:00,933 to editing because your brain will automatically read into shots. 657 00:43:00,933 --> 00:43:08,233 In this way. 658 00:43:08,233 --> 00:43:12,300 So now we can notice that the character is thinking about to something 659 00:43:12,600 --> 00:43:16,333 he's leaving something because we are seeing him on the screen. 660 00:43:16,700 --> 00:43:19,800 What is not seen on the screen doesn't exist. 661 00:43:20,400 --> 00:43:23,366 This is a basic principle of film writing. 662 00:43:23,566 --> 00:43:26,800 If we are not seeing or hearing something doesn't exist. 663 00:43:27,300 --> 00:43:30,133 But let's suppose that we wanted to represent this. 664 00:43:30,133 --> 00:43:35,233 A script with a single sequence shot so the camera would have to travel 665 00:43:35,233 --> 00:43:39,433 through each of the details in a kind of traveling with a Steadicam 666 00:43:39,533 --> 00:43:43,166 that would allow us to see the details that are written in the script. 667 00:43:43,300 --> 00:43:47,466 So that would be something very different from the general shot that I showed 668 00:43:47,466 --> 00:43:50,866 you at the beginning, where we cannot see close details. 669 00:43:51,266 --> 00:43:53,833 Let's see it one more time to analyze it. 670 00:43:54,466 --> 00:43:59,133 You already realize that, first of all, the small details are not feasible. 671 00:43:59,400 --> 00:44:01,000 Secondly, it's important 672 00:44:01,000 --> 00:44:04,600 that we know what a script belonging to this shot would be like. 673 00:44:05,200 --> 00:44:07,833 I mean, in order to have chosen this shot 674 00:44:07,833 --> 00:44:10,666 instead of the composition with different shots 675 00:44:11,100 --> 00:44:13,166 that describe the details, etc., 676 00:44:13,700 --> 00:44:16,200 the script had to have another nature. 677 00:44:16,200 --> 00:44:20,733 First of all, the first thing is that the paragraphs would be much longer 678 00:44:21,300 --> 00:44:22,933 when the paragraphs are long, 679 00:44:22,933 --> 00:44:26,400 the writer is suggesting us to make a few cuts as possible. 680 00:44:26,700 --> 00:44:30,700 On the other hand, obviously there would be no detailed descriptions 681 00:44:30,700 --> 00:44:34,933 of the objects, but a general description of the actions in time. 682 00:44:35,900 --> 00:44:36,866 On the other hand, the 683 00:44:36,866 --> 00:44:41,100 scripts are written in the actions unit each period in continue 684 00:44:41,100 --> 00:44:45,066 it is a different action or a different element to describe. 685 00:44:45,500 --> 00:44:48,266 Additionally, although the ellipses almost always 686 00:44:48,266 --> 00:44:52,033 of course in that jump from one paragraph to another with a full stop, 687 00:44:52,533 --> 00:44:55,466 there are not always time jumps in full stops. 688 00:44:55,966 --> 00:45:00,500 Sometimes these forces are simply made to consume pages in the script 689 00:45:00,866 --> 00:45:05,400 and indicate to the production team that the scene last for a specific time, 690 00:45:05,700 --> 00:45:08,433 especially when they are expert writers 691 00:45:08,600 --> 00:45:11,466 who really know how long human actions last. 692 00:45:12,000 --> 00:45:14,466 So take these into account so that you know how 693 00:45:14,466 --> 00:45:17,666 to interpret the scripts that are presented to you. 694 00:45:17,866 --> 00:45:21,366 And unless the director himself has other instructions, 695 00:45:21,666 --> 00:45:24,866 we must follow what the script is suggesting to us. 696 00:45:25,500 --> 00:45:29,033 On the other hand, film directors generally make a new version 697 00:45:29,033 --> 00:45:33,366 of the script, especially when the film director is not the writer. 698 00:45:34,000 --> 00:45:39,000 But even if the same director is the writer, there are always modifications 699 00:45:39,000 --> 00:45:43,133 because the scripts are always in a constant process of improvement 700 00:45:43,733 --> 00:45:46,933 until the end, until the last editing stage. 701 00:45:47,633 --> 00:45:51,800 So it's important, if he prefers it, that there is an effective communication 702 00:45:51,800 --> 00:45:57,633 process between the film director into editor of the film or the short film. 703 00:45:58,366 --> 00:46:00,800 So I'm going to leave you the two versions 704 00:46:00,800 --> 00:46:05,566 of these scenes in two PDF files so that you can review them 705 00:46:05,566 --> 00:46:09,733 and get to know what a movie script page really looks like. 706 00:46:09,733 --> 00:46:11,900 So that is for this lesson. 707 00:46:11,900 --> 00:46:45,133 And until the next one, Perfect. 708 00:46:45,300 --> 00:46:47,500 We are here again in the topic premiere. 709 00:46:48,033 --> 00:46:50,433 What the purpose of this lesson. 710 00:46:50,700 --> 00:46:51,733 I want to show you 711 00:46:51,733 --> 00:46:55,400 what the ellipses is about so that you can use this narrative tool. 712 00:46:55,800 --> 00:47:00,500 Whether you are editing a short film, movie, a video or any stuff, 713 00:47:01,100 --> 00:47:03,666 because in fact it's a tool that can be used even 714 00:47:03,666 --> 00:47:06,733 in videos for social networks can mean those videos 715 00:47:06,733 --> 00:47:11,100 for TikTok or Instagram, whose purpose is to tell a story. 716 00:47:11,366 --> 00:47:15,433 So I had told you that ellipsis is a time jump in the narration 717 00:47:15,700 --> 00:47:19,366 whose purpose is to be able to summarize a story because obviously 718 00:47:19,366 --> 00:47:22,133 the time of now do these sorties is limited 719 00:47:22,400 --> 00:47:25,266 and sometimes we want to tell a longer story, 720 00:47:25,266 --> 00:47:29,600 I mean, longer than the video, because if we want to tell 721 00:47:29,600 --> 00:47:33,266 a story of a person who lived 50 years, for example, 722 00:47:33,266 --> 00:47:36,900 we didn't have 50 years to tell it, then we need to collect 723 00:47:36,933 --> 00:47:40,200 the most important moments to tell those 15 years. 724 00:47:41,100 --> 00:47:43,233 So I'm going to use this same example. 725 00:47:43,233 --> 00:47:46,366 We are editing the which into in the ship's cabin. 726 00:47:47,100 --> 00:47:51,200 So we can notice that there is a mini story behind the scene. 727 00:47:51,533 --> 00:47:55,066 I mean, the which Indra is lying in the bed and then he wakes up, 728 00:47:55,466 --> 00:47:59,466 then he checks the music book, then he gets up and walks 729 00:47:59,466 --> 00:48:02,033 to the window, etc., etc.. 730 00:48:02,033 --> 00:48:08,000 But all these shots we are watching in this montage have, a continuity 731 00:48:08,133 --> 00:48:13,600 that is they are explicitly connected to each other, directly connected in time. 732 00:48:13,933 --> 00:48:17,500 Actually, I mentioned that there were certain cartoon actions 733 00:48:17,766 --> 00:48:20,700 such as when I begin to turn towards the light. 734 00:48:21,366 --> 00:48:24,600 That is important because there were two shots in a row 735 00:48:24,966 --> 00:48:28,800 and also the action of Putin on his is very important. 736 00:48:29,233 --> 00:48:32,600 Also when he looks towards the windows, well, he is seated. 737 00:48:33,000 --> 00:48:37,366 There is an explicit continuity in the Haldeman's edge and in that sense, 738 00:48:37,366 --> 00:48:42,233 a sensation is created as if there were several cameras on the shooting set. 739 00:48:42,833 --> 00:48:45,766 But what would happen if I eliminate that connection 740 00:48:45,766 --> 00:48:49,166 that it seems to be in one shot, in another, that connection 741 00:48:49,166 --> 00:48:52,166 that generates continuity, that continuity, 742 00:48:52,600 --> 00:48:54,900 I mean, that I choose some random shots 743 00:48:55,200 --> 00:48:57,900 in the scene inputs in one after another 744 00:48:58,233 --> 00:49:01,366 by doing that and the narrative becomes something else. 745 00:49:01,666 --> 00:49:05,733 And usually the ellipsis appears because it reads as if there are narrative 746 00:49:05,733 --> 00:49:09,566 timestamps between what is happening in one shot in another. 747 00:49:09,666 --> 00:49:13,800 So I'm going to show you a piece of man dictionary just doing this 748 00:49:14,166 --> 00:49:17,033 that is altering the continuity of actions. 749 00:49:17,466 --> 00:49:20,233 I'm going to show you where I read the script 750 00:49:20,266 --> 00:49:22,900 corresponding to those narrative elements, 751 00:49:23,433 --> 00:49:26,533 and I'm going to show you how it's written right from this moment. 752 00:49:26,533 --> 00:49:27,766 We're now begin to begins 753 00:49:27,766 --> 00:49:31,700 to look around to make sure that he has not forgotten anything. 754 00:49:32,300 --> 00:49:34,833 And let me mention that he had added some music to it 755 00:49:34,833 --> 00:49:39,033 to even enhance this, which in two begins to look around 756 00:49:39,033 --> 00:49:42,500 to make sure he hasn't forgotten anything in the cabin. 757 00:49:42,766 --> 00:49:46,266 There'll be a sentence laying underbank reading his music book, 758 00:49:46,266 --> 00:49:49,600 The Witch, into walks from one side to the other in the cabin. 759 00:49:49,966 --> 00:49:53,300 We tend to sit it on the bench reading some music sheet 760 00:49:53,633 --> 00:49:57,466 that we tend to sit in, and the bank he proposes as he thinks deeply 761 00:49:57,666 --> 00:50:03,100 that we tend to sit in on the bench reviewing the music sheets. 762 00:50:03,100 --> 00:50:06,900 So as you can notice in the script, each of the final actions 763 00:50:06,900 --> 00:50:10,433 are written in a single small paragraph because the script 764 00:50:10,433 --> 00:50:13,200 is telling us that they are different action units. 765 00:50:13,500 --> 00:50:16,933 This is typical of ellipsis, but that is not enough. 766 00:50:17,133 --> 00:50:20,900 Rather than your actions that don't have an explicit connection 767 00:50:20,900 --> 00:50:26,466 with the other, I read a connection in Generation Dad means time jumps 768 00:50:26,800 --> 00:50:31,900 and those time jumps are the leap sees Amy and this set of different actions. 769 00:50:31,900 --> 00:50:35,400 So one after another indicates that more time has elapsed 770 00:50:35,766 --> 00:50:38,266 than what we are seeing directly in the film. 771 00:50:38,800 --> 00:50:41,266 Obviously, this is not done randomly. 772 00:50:41,466 --> 00:50:43,400 That is, there is a context 773 00:50:43,400 --> 00:50:47,033 where we see the characters in a sort of wait in the cabin 774 00:50:47,333 --> 00:50:50,866 and then we see that set of units of different actions. 775 00:50:51,566 --> 00:50:54,233 I mean, if different shots one after another, 776 00:50:54,466 --> 00:50:58,266 in that context of waiting in the cabin, help us understand 777 00:50:58,366 --> 00:51:02,600 that the differing shots in a role represent the passing of time. 778 00:51:03,233 --> 00:51:06,600 For example, try to imagine that the character could be changing clothes, 779 00:51:06,866 --> 00:51:11,600 exercising different actions one after another in that will represent 780 00:51:11,600 --> 00:51:15,566 the passage of time, not to mention that the lighting in each shot 781 00:51:15,566 --> 00:51:19,100 could change to represent different moments of the day. 782 00:51:19,533 --> 00:51:21,833 But that would be even more explicit. 783 00:51:21,833 --> 00:51:23,100 I suppose that you have seen 784 00:51:23,100 --> 00:51:25,166 these in movies and this is that in there 785 00:51:25,166 --> 00:51:29,100 it's a device that leaps is in fact the character could be doing other things, 786 00:51:29,100 --> 00:51:33,633 perhaps thinking here in the cabin, then having dinner with his mother, 787 00:51:34,033 --> 00:51:37,233 then on public transport, etc., for example. 788 00:51:37,666 --> 00:51:38,866 We could do that. 789 00:51:38,866 --> 00:51:41,433 But of course we must give a slight previous 790 00:51:41,433 --> 00:51:44,133 context that justifies all those moments. 791 00:51:44,700 --> 00:51:49,100 So everything will depend on the context in which the editing is made and obviously 792 00:51:49,100 --> 00:51:52,000 on the information that the viewer has before seeing the scene. 793 00:51:52,766 --> 00:51:54,900 But in general terms, that LEAP says assist. 794 00:51:55,200 --> 00:51:57,166 It's those spirits at the time. 795 00:51:57,166 --> 00:52:02,100 Another perfect example would be when a girl is getting ready to go to a party, 796 00:52:02,333 --> 00:52:06,400 she's bathing and then put a make up and then dressing, etc. 797 00:52:06,833 --> 00:52:09,100 Their time is Besson. 798 00:52:09,100 --> 00:52:11,600 So as I told you, it's a very good strategy 799 00:52:11,600 --> 00:52:15,333 to tell these stories in all current communication formats. 800 00:52:15,833 --> 00:52:19,266 But on the other hand, if it were the case that you cannot give the viewer 801 00:52:19,266 --> 00:52:23,266 prior information that makes them understand that the different shots 802 00:52:23,266 --> 00:52:27,633 or actions represent the passage of time, we could add a voiceover 803 00:52:27,633 --> 00:52:31,300 that would allow us to finish understanding that time is passing. 804 00:52:31,700 --> 00:52:35,600 So I'm going to show you the same scene, but with a voiceover, a the character 805 00:52:35,600 --> 00:52:39,133 with thinking about things in his mind while time passes. 806 00:52:39,733 --> 00:52:42,666 So it would be an extra tool that you could add when it comes 807 00:52:42,666 --> 00:52:50,266 to making montage with ellipses. 808 00:52:50,266 --> 00:52:54,300 The hours passed like the wind passes over to Iraq without asking, 809 00:52:55,300 --> 00:52:55,933 but it was at 810 00:52:55,933 --> 00:52:59,433 that precise moment he understood the life was already giving me 811 00:52:59,433 --> 00:53:03,800 another chance, and I could in a state in the same place anymore. 812 00:53:04,733 --> 00:53:07,266 There was nothing else to wait for 813 00:53:07,266 --> 00:53:12,100 but to follow that voice inside of me. 814 00:53:12,100 --> 00:53:13,700 Did you realize the difference? 815 00:53:13,700 --> 00:53:17,533 The voice is helping you understand the fact that he is waiting. 816 00:53:17,900 --> 00:53:21,000 Obviously this is explicit, but true to mind 817 00:53:21,000 --> 00:53:24,000 in a scene where each of the actions were really different 818 00:53:24,466 --> 00:53:28,266 then the voice could really help us understand the whole sequence. 819 00:53:29,233 --> 00:53:32,533 So I'm going to give you an example of a scene from the movie 820 00:53:32,533 --> 00:53:36,033 Benjamin Button, where this narrative is strategy. 821 00:53:36,033 --> 00:53:36,600 It is there. 822 00:53:36,600 --> 00:53:40,833 It's a device used to tell the passing of time in the story 823 00:53:41,400 --> 00:53:44,733 of course, the scene is embellished with a voiceover. 824 00:53:45,233 --> 00:54:03,733 So until the next lesson, 825 00:54:03,733 --> 00:54:07,400 it's running back. 826 00:54:07,400 --> 00:54:10,600 And maybe that's way. 827 00:54:10,600 --> 00:54:13,800 So that's perhaps the voice that we lost in the war might stand and come home 828 00:54:13,800 --> 00:54:19,900 again, home to phone 829 00:54:21,500 --> 00:54:24,300 work. 830 00:54:24,300 --> 00:54:26,066 Our children 831 00:54:29,233 --> 00:54:30,300 to live long, 832 00:54:30,300 --> 00:54:34,933 full lives. 833 00:54:34,933 --> 00:54:46,200 Perhaps my own son might come home again. 834 00:54:46,200 --> 00:54:50,400 I'm sorry to offend anybody. 835 00:54:50,400 --> 00:54:52,766 I hope you enjoy my clock 836 00:54:53,666 --> 00:54:54,033 first. 837 00:54:54,033 --> 00:54:55,133 Okay? 838 00:54:55,800 --> 00:54:58,500 Yeah, he did. Gave 839 00:55:01,666 --> 00:55:06,100 some say died of a broken heart. 840 00:55:07,833 --> 00:55:40,333 Some say he went to see. 841 00:55:40,333 --> 00:55:41,400 Hello, everyone. 842 00:55:41,400 --> 00:55:42,166 You're here again. 843 00:55:42,166 --> 00:55:46,266 I had added to the premiere the reunion fliers of the came around 844 00:55:46,766 --> 00:55:49,366 those files corresponding to one of the recordings, 845 00:55:49,366 --> 00:55:51,166 which we are going to work with. 846 00:55:51,166 --> 00:55:54,300 So what we are going to do in this lesson is to create the proxies 847 00:55:54,533 --> 00:55:57,733 which are kind of two files that will allow me to work 848 00:55:57,733 --> 00:56:02,000 with the original files of the camera, those files without compression. 849 00:56:02,233 --> 00:56:06,233 But proxies allow me to improve workflow and computer performance. 850 00:56:06,833 --> 00:56:08,766 So we are going to create the proxies 851 00:56:08,766 --> 00:56:12,200 if any of these folders that have the original files. 852 00:56:12,666 --> 00:56:16,100 So what we have to do is select all the files inside the folder. 853 00:56:16,533 --> 00:56:18,700 You can choose all of them at the same time. 854 00:56:18,700 --> 00:56:23,100 In fact, it's the most recommended option, obviously, because we want to use them 855 00:56:23,100 --> 00:56:26,933 all, then we select them and press to right mouse button and go 856 00:56:26,933 --> 00:56:31,500 to where it reads proxy, and then we click on Create Proxies. 857 00:56:31,766 --> 00:56:36,200 So this window will immediately open where we are going to choose General Presets. 858 00:56:36,400 --> 00:56:38,566 And here we are going to have two options. 859 00:56:38,566 --> 00:56:44,800 The first one is the option to create MP for files in H 264 format 860 00:56:45,066 --> 00:56:49,800 and just below in this tab we can choose how much compression we want in that file. 861 00:56:50,100 --> 00:56:52,600 There are three options high, medium and low, 862 00:56:53,200 --> 00:56:56,466 but also we have the option of choosing quicktime format 863 00:56:56,633 --> 00:57:01,566 I mean mov files and this option compresses the files in breast quality. 864 00:57:01,900 --> 00:57:06,000 Perez is a professional uncompressed format with enough quality, 865 00:57:06,000 --> 00:57:09,600 but less than an original uncompressed file from the camera. 866 00:57:09,933 --> 00:57:11,866 Actually, sometimes the film camera 867 00:57:11,866 --> 00:57:15,300 even has the option of recording in a press format. 868 00:57:15,700 --> 00:57:18,400 But the truth is that in that press format, 869 00:57:18,700 --> 00:57:22,400 there are options with higher resolution and with less resolution. 870 00:57:22,400 --> 00:57:27,366 It means that even if the original are impressed, we can create proxies 871 00:57:27,500 --> 00:57:31,233 but with less resolution that allows me to have a good workflow 872 00:57:31,233 --> 00:57:35,566 without sacrificing so much quality on the programs monitor. 873 00:57:35,700 --> 00:57:40,533 But I highly recommend you always choose the and before age 264 874 00:57:40,533 --> 00:57:43,666 in any of these three versions, because it's the one 875 00:57:43,833 --> 00:57:47,433 that will give you the best performance in this part. 876 00:57:47,433 --> 00:57:50,033 Below, you will be able to choose the location 877 00:57:50,033 --> 00:57:52,833 where you want all those proxy files to be saved. 878 00:57:53,400 --> 00:57:57,766 You can choose the place you want by press in the Browse button, 879 00:57:58,700 --> 00:58:03,866 so a search engine will simply open where you can choose the folder you want. 880 00:58:03,866 --> 00:58:07,033 I highly recommend you always save it in a folder near where 881 00:58:07,033 --> 00:58:10,833 the original files are to improve the performance of the computer 882 00:58:10,833 --> 00:58:14,433 because the computer will search a certain part of the hard drive. 883 00:58:14,866 --> 00:58:18,966 Therefore, if those files are closed, the computer will take less time 884 00:58:18,966 --> 00:58:20,133 to connect them. 885 00:58:20,133 --> 00:58:22,300 Are you already selected a specific folder? 886 00:58:22,300 --> 00:58:26,533 But in fact the software has the option of directly creating a folder 887 00:58:26,533 --> 00:58:31,133 next to the original folder for that very reason that I'm telling you. 888 00:58:31,600 --> 00:58:35,333 So if you want to do it automatically simply select the option 889 00:58:35,333 --> 00:58:38,366 that is just above and as it a proxy 890 00:58:38,366 --> 00:58:42,733 folder will be automatically created next to the original folder. 891 00:58:43,766 --> 00:58:45,666 So once we have chosen all 892 00:58:45,666 --> 00:58:48,433 the specifications we want, we simply have to press. 893 00:58:48,433 --> 00:58:49,700 Okay. 894 00:58:49,700 --> 00:58:53,633 And immediately the Adobe made the encoder, which software will open? 895 00:58:53,966 --> 00:58:57,600 It's important to mention that you should have the entire DOP suite, 896 00:58:57,900 --> 00:59:03,866 but if you have the premiere and the made in go, there is enough. 897 00:59:03,866 --> 00:59:08,333 So once the Adobe made encoder opens, it will start creating proxy files 898 00:59:08,400 --> 00:59:09,800 in the background. 899 00:59:09,800 --> 00:59:13,700 The truth is that this process consumes a lot of computing resources. 900 00:59:14,000 --> 00:59:17,666 The meeting coder is supposed to work in the background, but in reality, 901 00:59:17,666 --> 00:59:19,800 unless your computer is very powerful, 902 00:59:20,166 --> 00:59:23,266 you will have to wait for the proxy files to be created. 903 00:59:23,966 --> 00:59:28,533 So this message appears to me here, because I already created the proxy files. 904 00:59:28,633 --> 00:59:31,933 So I'm simply going to stop and the creation of the files. 905 00:59:32,400 --> 00:59:36,300 But anyway, you just have to wait for all the files to be created. 906 00:59:36,700 --> 00:59:41,066 And once all the files are created, you just have to close the adobe. 907 00:59:41,100 --> 00:59:44,700 Mary Ann Colter So when's the meeting or the race closed 908 00:59:44,700 --> 00:59:48,166 and the camera files are ready connected to the proxy files. 909 00:59:48,566 --> 00:59:51,433 But anyway, if by chance they are disconnected, 910 00:59:51,433 --> 00:59:55,433 you simply have to go to the proxy tab and click on attach proxies. 911 00:59:55,700 --> 01:00:00,033 So this message appears to me, because I had already created the proxies 912 01:00:00,033 --> 01:00:04,600 and I created them again, but I already have them created in that folder. 913 01:00:05,133 --> 01:00:08,800 But after doing all this, you must activate this button. 914 01:00:09,100 --> 01:00:13,733 Toggled Proxies in the program monitor that allows me to finally connect 915 01:00:13,733 --> 01:00:18,066 the proxies to the program monitor, which is what really matters. 916 01:00:18,666 --> 01:00:23,400 So the computer, every time it uses a file that has a proxy created, 917 01:00:23,400 --> 01:00:27,900 it will use the proxy, fail to display the image on the program's monitor. 918 01:00:28,266 --> 01:00:34,233 With a better workflow, with better performance. 919 01:00:34,233 --> 01:00:37,800 And the best part of all these is that we can even add effects 920 01:00:37,800 --> 01:00:40,500 to the video clips and also use the proxies. 921 01:00:41,100 --> 01:00:45,366 Additionally, do not worry because when you go to export the final file, 922 01:00:45,766 --> 01:00:50,933 the software will use the original files of the camera to do the final file. 923 01:00:51,566 --> 01:00:53,000 So try to take advantage 924 01:00:53,000 --> 01:00:56,166 this tool to be able to edit any kind of professional project, 925 01:00:56,533 --> 01:00:59,600 even if your computer is not powerful enough 926 01:01:00,033 --> 01:01:33,300 until the next lesson. 927 01:01:33,300 --> 01:01:33,866 Perfect. 928 01:01:33,866 --> 01:01:37,500 What we are going to do in this lesson, we are going to learn to use the text tool 929 01:01:37,500 --> 01:01:39,233 from the Timeline toolbar, 930 01:01:39,233 --> 01:01:42,800 but additionally we are going to learn to make on the lines over the text, 931 01:01:42,966 --> 01:01:46,300 which is something very useful for YouTube version, for videos, 932 01:01:46,300 --> 01:01:50,933 for social networks, and even titles for movies and short films. 933 01:01:51,566 --> 01:01:53,500 On the other hand, you are going to embellish 934 01:01:53,500 --> 01:01:55,866 those under the lines with an action essential 935 01:01:56,066 --> 01:01:58,733 that I know is something that you are going to love a lot. 936 01:01:59,333 --> 01:02:02,033 It should be noted that although if you're going to use action 937 01:02:02,033 --> 01:02:03,600 essentials in this lesson, 938 01:02:03,600 --> 01:02:07,500 we are going to use Action essentials in much more detail later on. 939 01:02:08,233 --> 01:02:10,433 So let's start with the text tool. 940 01:02:11,033 --> 01:02:15,966 So we simply have to select the text tool, the T in the Timeline toolbar, 941 01:02:15,966 --> 01:02:19,900 and then go to the program manager and click where we want the text to be. 942 01:02:20,766 --> 01:02:23,433 So I'm going to type B atelier. 943 01:02:25,266 --> 01:02:27,366 So immediately after we finish 944 01:02:27,366 --> 01:02:31,733 writing the text we want a graphic clip is created on the timeline. 945 01:02:31,733 --> 01:02:34,700 We can stretch or squeeze this clip as we want, 946 01:02:35,100 --> 01:02:37,733 and it's exactly the same as if it were a video clip. 947 01:02:38,300 --> 01:02:41,633 Obviously, the only thing visible in this clip is a text, 948 01:02:41,966 --> 01:02:46,400 and the text will be seen on the screen as long as it is on top of any other clip. 949 01:02:46,800 --> 01:02:50,166 So we can click on this and it will automatically open 950 01:02:50,166 --> 01:02:54,866 the general parameter in the control panel, as if it were any other video clip. 951 01:02:55,433 --> 01:02:59,000 And obviously we can add defects we want and they will only affect 952 01:02:59,100 --> 01:03:01,333 the text that we have here. 953 01:03:01,333 --> 01:03:02,466 But pay attention. 954 01:03:02,466 --> 01:03:03,033 In reality, 955 01:03:03,033 --> 01:03:06,700 the text that we had written is not the only one that can be in this clip. 956 01:03:07,233 --> 01:03:11,066 I mean, we could add other text that are inside this graphic clip 957 01:03:11,666 --> 01:03:15,000 and the individual parameters of each text will appear in the effects 958 01:03:15,000 --> 01:03:16,566 control panel. 959 01:03:16,566 --> 01:03:19,733 So the graphic clip would be a kind of general clip 960 01:03:19,733 --> 01:03:22,133 that can contain all the text that we want. 961 01:03:22,600 --> 01:03:25,500 This is very important, too, because we can add effects 962 01:03:25,500 --> 01:03:28,133 to the text in the clip separately. 963 01:03:28,600 --> 01:03:32,566 For example, if I keep the graphic clip selected and also the timeline 964 01:03:32,566 --> 01:03:37,366 guide is on the graphic clip, if I select the text tool, the gain in a right 965 01:03:37,600 --> 01:03:41,500 and it's in a new text will be created within this same clip. 966 01:03:42,600 --> 01:03:45,300 So pay attention that I have typed to my name 967 01:03:45,733 --> 01:03:48,733 and no new clip was created in the timeline. 968 01:03:49,033 --> 01:03:52,633 But if we review the graphic clip that we have already created, 969 01:03:52,633 --> 01:03:56,466 we will find individual configuration tab of that new text. 970 01:03:57,000 --> 01:04:00,900 But you have to pay close attention to a detail that has to do with this. 971 01:04:01,533 --> 01:04:03,900 You had to be careful because you can get confused. 972 01:04:04,133 --> 01:04:05,966 It happened to me at the beginning. 973 01:04:05,966 --> 01:04:08,500 If you change the position parameters of the clip, 974 01:04:08,800 --> 01:04:13,033 it will affect the position of all the text that are inside it. 975 01:04:13,266 --> 01:04:16,133 It may seem logical, but if you add the text first 976 01:04:16,133 --> 01:04:18,900 and you get movement to the clip in the parameters, set the clip 977 01:04:19,233 --> 01:04:20,766 and not of the text. 978 01:04:20,766 --> 01:04:23,566 Then when you add another text, you will be quite confused. 979 01:04:24,200 --> 01:04:29,033 Look how these parameters affect two text that I have in the clip. 980 01:04:29,033 --> 01:04:33,300 So I'm going to delete this automation that I just did on the clip. 981 01:04:33,900 --> 01:04:38,333 So if I wanted to get the movement to one of the specific text, 982 01:04:38,333 --> 01:04:42,066 I would have to go to the individual parameters of the text that I want 983 01:04:42,633 --> 01:04:46,900 so that it only moves that one so we can check the parameters. 984 01:04:46,900 --> 01:04:50,933 So you can notice it and realize that they are exactly the same. 985 01:04:51,600 --> 01:04:56,166 Obviously, this also allows us to add effects that only affect a specific text. 986 01:04:56,766 --> 01:05:00,366 So for example we are going to move this text bait. 987 01:05:01,766 --> 01:05:05,200 So I'm going to do exactly the same one keyframe at the beginning 988 01:05:05,200 --> 01:05:10,933 in another little later with two different positions respectively. 989 01:05:14,566 --> 01:05:16,700 So now you can see how only the text 990 01:05:16,700 --> 01:05:18,900 where iterates at earlier moves. 991 01:05:20,333 --> 01:05:24,100 Additionally, as you can see here, you can change the font parameters. 992 01:05:24,600 --> 01:05:28,700 You will find all those parameters that the usually changing word of face 993 01:05:28,700 --> 01:05:34,100 here, the separation between the letters if it's bold or not, etc., etc. 994 01:05:35,033 --> 01:05:37,533 Obviously all the criteria of two letters 995 01:05:37,700 --> 01:05:41,700 really has to do with your style, with the project that you're want to do. 996 01:05:42,000 --> 01:05:42,933 And on the other hand, 997 01:05:42,933 --> 01:05:46,600 you can activate or deactivate a text that you have in the graphic clip. 998 01:05:47,500 --> 01:05:48,733 But pay attention to this. 999 01:05:48,733 --> 01:05:50,266 It's very important. 1000 01:05:50,266 --> 01:05:54,000 It's not the same that I scaled the text using the clip parameter. 1001 01:05:54,000 --> 01:05:57,633 I mean, if I want to sum in a specific letter, for example, 1002 01:05:57,633 --> 01:06:01,633 to make it look bigger, if I do it with the parameters of the clip, 1003 01:06:02,000 --> 01:06:06,233 I will expose the pixels of the text and you won't notice it 1004 01:06:06,233 --> 01:06:07,366 in the program monitor. 1005 01:06:07,366 --> 01:06:11,400 You will notice it when you export the sequence, the end of the editing. 1006 01:06:12,000 --> 01:06:15,633 So the correct way to make the letter big without pixelated 1007 01:06:15,900 --> 01:06:19,866 it is to increase the font size in the text parameters. 1008 01:06:19,866 --> 01:06:22,966 I mean, make them big enough that even approaching it 1009 01:06:22,966 --> 01:06:27,500 with the parameter of the clip or the text itself, it doesn't get pixelated. 1010 01:06:28,133 --> 01:06:31,633 So I always recommend the font as quick as we can 1011 01:06:32,000 --> 01:06:34,500 and zooming in or out using this scale 1012 01:06:35,033 --> 01:06:39,866 so that it always has enough resolution and doesn't get pixelated when exported. 1013 01:06:41,000 --> 01:06:43,866 So on the other hand, there is a very interesting effect 1014 01:06:43,866 --> 01:06:47,700 that I wanted to show you for the letters, for the text. 1015 01:06:48,266 --> 01:06:51,600 We must go to the V effects folder and then to generate 1016 01:06:52,100 --> 01:06:54,766 and then choose for color gradient. 1017 01:06:55,566 --> 01:07:00,033 So with React Effect emblazoned before the text, we wanted to effect. 1018 01:07:00,033 --> 01:07:04,200 So pay attention that if I put it below the text, it doesn't affect it. 1019 01:07:04,500 --> 01:07:07,200 It must be above the text. 1020 01:07:07,200 --> 01:07:09,433 So this effect allows me to modify 1021 01:07:09,433 --> 01:07:13,500 each of those mixed colors that are appearing in the text. 1022 01:07:13,933 --> 01:07:17,433 There are four different ones, and the software will generate 1023 01:07:17,433 --> 01:07:21,466 a whole range between the colors. 1024 01:07:21,466 --> 01:07:26,100 So I find this effect very nice because you can actually automate all that change 1025 01:07:26,400 --> 01:07:31,000 and it gives our text a modern look in a very match with the backgrounds. 1026 01:07:31,833 --> 01:07:35,333 So now we are going to move on to the underline into action essential. 1027 01:07:36,200 --> 01:07:39,333 So to underline the text in an animated way, 1028 01:07:39,333 --> 01:07:42,433 which is how I usually do it, we must create a solid 1029 01:07:42,433 --> 01:07:45,533 background later, so we must go to the general. 1030 01:07:45,566 --> 01:07:48,866 Then we click on the right mouse button, 1031 01:07:48,866 --> 01:07:51,600 we go to new item and then to color matte. 1032 01:07:52,066 --> 01:07:55,566 So this small window opens that tells us the size of the clip 1033 01:07:55,833 --> 01:07:58,133 that will be created by default. 1034 01:07:58,133 --> 01:08:01,733 It always adapts to the size of the sequence in which we are working. 1035 01:08:02,400 --> 01:08:06,833 So we click on okay, and then we must choose the color that it match color with. 1036 01:08:06,833 --> 01:08:11,100 Have we click on okay again and we put and then if we went 1037 01:08:12,066 --> 01:08:12,966 actually I have 1038 01:08:12,966 --> 01:08:16,800 already created a color matte, but I just wanted to teach you how to do it. 1039 01:08:17,000 --> 01:08:19,400 So we must direct that clip to the timeline. 1040 01:08:19,500 --> 01:08:24,300 That color match clip will be like any other video clip is like a photo 1041 01:08:24,300 --> 01:08:28,200 with the difference that we can change the color of that photo whenever we want. 1042 01:08:28,866 --> 01:08:34,133 So the next thing to do is to add a crop effect to that color magically. 1043 01:08:34,466 --> 01:08:37,433 So we go to Transform folder and we select crop 1044 01:08:37,433 --> 01:08:39,466 and we drag that effect to the table. 1045 01:08:39,700 --> 01:08:43,900 So once we add the defect, we must try to create a kind of two lines 1046 01:08:44,500 --> 01:08:47,566 by using these parameters over here. 1047 01:08:47,566 --> 01:08:51,566 So since we want to do a horizontal line, we can modify the top 1048 01:08:51,833 --> 01:08:56,900 and bottom parameters. 1049 01:08:56,900 --> 01:09:01,500 I mean, until the line is that thick as we want, but we must also modify 1050 01:09:01,500 --> 01:09:04,600 the left and right parameters to adapt to the length of, 1051 01:09:04,600 --> 01:09:09,666 the text. 1052 01:09:09,666 --> 01:09:12,466 So what I want to do is not a simple lines. 1053 01:09:12,766 --> 01:09:16,866 What I want to do is make a line appears as if it were being drawn on the screen 1054 01:09:17,233 --> 01:09:19,400 as if it were animated. 1055 01:09:19,400 --> 01:09:22,733 So we move the right parameter until the line disappears 1056 01:09:22,900 --> 01:09:25,200 and then we add the first keyframe. 1057 01:09:25,833 --> 01:09:28,400 So now we must choose the moment or point 1058 01:09:28,400 --> 01:09:31,000 where we want the line to end up appearing. 1059 01:09:31,666 --> 01:09:34,600 And now the line appears by itself fully animate it. 1060 01:09:34,933 --> 01:09:36,100 And now we can change if. 1061 01:09:36,100 --> 01:09:38,666 We want it to appear faster, for example. 1062 01:09:39,266 --> 01:09:42,733 So we simply have to bring the second keyframe closer to the first. 1063 01:09:43,033 --> 01:09:46,100 I mean that the space between them is shorter. 1064 01:09:46,100 --> 01:09:47,500 In fact, you could play with this. 1065 01:09:47,500 --> 01:09:49,200 The line could be another way, or 1066 01:09:49,200 --> 01:09:52,833 you could make elements appear disappear in the composition in this way. 1067 01:09:53,700 --> 01:09:56,700 But what I really wanted to teach you guys was to combine 1068 01:09:56,700 --> 01:09:59,333 an action essential with this underline. 1069 01:09:59,700 --> 01:10:00,866 But what is an action? 1070 01:10:00,866 --> 01:10:03,866 Essential is a video recorded with a green screen. 1071 01:10:04,200 --> 01:10:07,900 But with that green background already removed from the video, 1072 01:10:08,266 --> 01:10:12,000 I mean, what remains in the video is only the element that we want to use. 1073 01:10:12,366 --> 01:10:14,600 There are action essentials of all kinds. 1074 01:10:14,600 --> 01:10:17,133 Fire shoots, blade. 1075 01:10:17,466 --> 01:10:19,533 In fact, Action Essentials is the brand. 1076 01:10:19,533 --> 01:10:22,033 Actually, these are perforated videos. 1077 01:10:22,033 --> 01:10:26,000 So I'm going to add in this case, this spark that you seeing right now. 1078 01:10:26,600 --> 01:10:29,266 So look at how the sparks look on the video. 1079 01:10:29,700 --> 01:10:32,800 Just the spark as if it were a PDF file. 1080 01:10:33,033 --> 01:10:35,566 So imagine everything you can do by using these. 1081 01:10:35,566 --> 01:10:39,300 In fact, later on I'm going to teach you how to use it with a video 1082 01:10:39,333 --> 01:10:43,333 as a visual effect in a lesson dedicated exclusively to this. 1083 01:10:43,966 --> 01:10:47,666 So In this example, what we want to do is make the spark appear 1084 01:10:47,666 --> 01:10:50,366 at the tip of the line as the line appears. 1085 01:10:51,133 --> 01:10:53,833 So the first thing we must do is add that the length 1086 01:10:53,833 --> 01:10:57,666 of the spark clip to the moment where the line begins and ends. 1087 01:10:58,766 --> 01:11:02,033 So now what we have to do is change the size of the spark 1088 01:11:02,266 --> 01:11:06,900 and then automate its movement so that it follows the tip of the line to the end. 1089 01:11:07,766 --> 01:11:11,366 So we go to the beginning of the clip and we modify the scaled 1090 01:11:11,366 --> 01:11:14,966 parameter and the position parameter to what I already mentioned, 1091 01:11:15,566 --> 01:11:24,400 that the spark matches the line. 1092 01:11:24,400 --> 01:11:27,633 I mean, the most important thing is to have the initial position. 1093 01:11:28,000 --> 01:11:31,466 Once we have the initial position, but we had to do so to meet 1094 01:11:31,500 --> 01:11:55,500 the horizontal movement of the spark until the end of the line. 1095 01:11:55,500 --> 01:11:58,366 There's something very important to note regarding keyframes. 1096 01:11:58,766 --> 01:12:02,866 Sometimes we place keyframes and then we modify the duration of the clip. 1097 01:12:03,233 --> 01:12:04,766 I mean, we squeeze it 1098 01:12:04,766 --> 01:12:08,700 and then the keyframe is hidden from the timeline of the effects control panel. 1099 01:12:09,133 --> 01:12:11,166 And then we don't know where it is. 1100 01:12:11,166 --> 01:12:14,366 And we have to delete all automation to start from scratch. 1101 01:12:14,366 --> 01:12:18,600 So what we need to do is stretch the clip again until the keyframe appears again 1102 01:12:29,033 --> 01:12:29,666 perfect. 1103 01:12:29,666 --> 01:12:32,433 We already have our spark adapted to the line, 1104 01:12:33,000 --> 01:12:35,633 but we could also add a background image to test 1105 01:12:35,633 --> 01:12:38,800 how everything would look with a background that wasn't black. 1106 01:12:39,400 --> 01:12:47,933 So we can select, for example, the picture of the universe. 1107 01:12:47,933 --> 01:12:49,866 We can darken the universe a bit. 1108 01:12:49,866 --> 01:12:52,733 We can do it by modifying the opacity parameter. 1109 01:12:52,733 --> 01:12:58,600 For example, 1110 01:12:58,600 --> 01:13:00,600 I'm going to do a little preview, render 1111 01:13:04,733 --> 01:13:05,100 well, 1112 01:13:05,100 --> 01:13:09,033 you know how to make animated on their lines and add an effect to this. 1113 01:13:09,366 --> 01:13:13,833 You can use all these in your videos for presentations, movies, for videos 1114 01:13:13,833 --> 01:13:17,633 on YouTube, for whatever you want, and it will look very professional. 1115 01:13:17,866 --> 01:13:20,966 Always remember, too, that the gradient colors of the letters 1116 01:13:21,266 --> 01:13:25,700 to the background colors in this case they combined the colors of the letters 1117 01:13:25,700 --> 01:13:29,100 are within the range of the background and it looks very good. 1118 01:13:29,933 --> 01:13:34,200 But in any case, later on we will go in greater depth with the action essentials 1119 01:13:34,500 --> 01:13:38,666 and I will leave you some perforated videos to use in your videos. 1120 01:13:38,666 --> 01:13:42,333 I mean as far as fire, etc.. 1121 01:13:42,333 --> 01:13:59,900 So this lesson is up to here and until the next one, 1122 01:13:59,900 --> 01:14:20,100 you know, perfect. 1123 01:14:20,100 --> 01:14:23,000 We are here again, almost finishing the module 1124 01:14:23,866 --> 01:14:27,900 in this lesson, we are going to talk about the exportation process. 1125 01:14:27,900 --> 01:14:30,100 So this stage is quite simple. 1126 01:14:30,633 --> 01:14:33,266 I would say it is the most simple of all. 1127 01:14:33,700 --> 01:14:37,933 So obviously since you have come this far, you have already seen that 1128 01:14:37,933 --> 01:14:41,633 there are much more complicated things when it comes to editing. 1129 01:14:42,100 --> 01:14:47,600 So the first thing we must do is to mark the in and out in our sequence. 1130 01:14:47,600 --> 01:14:49,466 You already know how to do it, 1131 01:14:49,466 --> 01:14:52,466 but try to make sure that you are doing this properly. 1132 01:14:52,900 --> 01:14:55,866 So the following a step is to go to the file tab 1133 01:14:56,200 --> 01:14:59,700 and then go to export and then you click on media 1134 01:15:00,100 --> 01:15:02,366 and this window will be displayed. 1135 01:15:02,366 --> 01:15:06,733 And in this window you can modify the export settings. 1136 01:15:06,733 --> 01:15:09,733 Mainly you have two ways to export files. 1137 01:15:09,733 --> 01:15:14,633 I mean two files, a compressed file in a non compressed file. 1138 01:15:15,000 --> 01:15:16,433 Let's start with this. 1139 01:15:16,433 --> 01:15:21,033 264 This is the most famous well known in used format. 1140 01:15:21,333 --> 01:15:25,200 It's a compressed format and you will have two main files 1141 01:15:25,200 --> 01:15:29,800 to choose the height, weight rate per file and the medium bitrate rate per file. 1142 01:15:30,300 --> 01:15:33,100 They bitrate rate is the amount of information per second that 1143 01:15:33,100 --> 01:15:34,400 the video will have. 1144 01:15:34,400 --> 01:15:37,666 And even though there are these two mainly options, you will have 1145 01:15:37,700 --> 01:15:40,866 all these options over here, these least 1146 01:15:41,100 --> 01:15:45,966 which are older files completely adapted to different platforms. 1147 01:15:45,966 --> 01:15:51,433 There are files adapted to smartphones, to YouTube, even Vimeo files. 1148 01:15:51,733 --> 01:15:53,700 And basically those files help 1149 01:15:53,700 --> 01:15:57,166 the video to have a better performance in the players. 1150 01:15:57,466 --> 01:16:01,433 And the most interesting thing is that, for example, in this mobile file, 1151 01:16:01,666 --> 01:16:05,233 the system adapts your sequence to this format, 1152 01:16:05,233 --> 01:16:10,566 not spoiling the nature of your video in terms of aspect to radio, for example. 1153 01:16:10,866 --> 01:16:15,100 But basically these two main options are the most important of all. 1154 01:16:15,100 --> 01:16:17,866 But there is an important factor when it comes to export, 1155 01:16:17,866 --> 01:16:23,466 which is the file size, and you are able to check an estimated file size over here. 1156 01:16:23,733 --> 01:16:27,600 And with this for file is 365 megabytes. 1157 01:16:27,933 --> 01:16:30,166 And with this other profile, these a gigabytes. 1158 01:16:30,733 --> 01:16:33,800 But actually if we check the profile settings, 1159 01:16:33,800 --> 01:16:37,566 we can modify the bitrate that is the most important of all. 1160 01:16:38,100 --> 01:16:40,533 So we will have these two failures here 1161 01:16:41,300 --> 01:16:44,366 or sample failures and they move in this faders. 1162 01:16:44,366 --> 01:16:47,766 We can choose how much information per second the video will have 1163 01:16:48,100 --> 01:16:50,700 when we are talking about compressed formats. 1164 01:16:51,133 --> 01:16:54,500 I highly recommend you to keep these numbers. 1165 01:16:54,500 --> 01:16:56,566 This bit rate under ten 1166 01:16:56,700 --> 01:17:00,666 because you are creating a compressed format in that format. 1167 01:17:00,666 --> 01:17:04,266 It's supposed to have a great quality, but also you want it 1168 01:17:04,266 --> 01:17:06,966 to be light also and light for the players. 1169 01:17:07,333 --> 01:17:12,166 So this is a reason why I highly recommend you to keep the beat rate under ten. 1170 01:17:12,366 --> 01:17:16,200 You can play with that, but must know also that the compression 1171 01:17:16,200 --> 01:17:19,200 will be noticed in the dark areas of the image. 1172 01:17:19,566 --> 01:17:22,533 Additionally, by uncheck in these boxes over here 1173 01:17:22,533 --> 01:17:25,333 you can modify any of rest of the parameters, 1174 01:17:25,700 --> 01:17:28,300 but I know that you will not modify these because 1175 01:17:28,500 --> 01:17:32,000 because you have created a sequence with a specific settings. 1176 01:17:32,133 --> 01:17:35,700 And those settings are not supposed to be modified in the export, 1177 01:17:35,933 --> 01:17:38,200 but you can modify the audio quality, for example. 1178 01:17:38,200 --> 01:17:42,000 That is very important because there is also a bitrate 1179 01:17:42,100 --> 01:17:46,266 related to the audio and then once you finish selecting the settings, 1180 01:17:46,766 --> 01:17:50,633 you must click on export in an amp before file will be created. 1181 01:17:51,000 --> 01:17:53,800 A simple step is not that complicated, 1182 01:17:53,800 --> 01:17:56,533 but let's move on to the and compressed format. 1183 01:17:56,900 --> 01:18:00,433 I'm going to choose the quick time, for example, and in this case 1184 01:18:00,433 --> 01:18:04,400 it's one of the best known formats for exporting in high resolution. 1185 01:18:04,600 --> 01:18:07,500 So in this format you will have all these presets. 1186 01:18:07,700 --> 01:18:11,600 Actually they are not completely and compressed because the very process 1187 01:18:11,600 --> 01:18:16,200 of creating the final files, a kind of compression to some extent 1188 01:18:16,566 --> 01:18:19,800 I'm going to choose this apple Prores 4444. 1189 01:18:20,133 --> 01:18:23,733 It's one of the most used presets in export settings. 1190 01:18:23,733 --> 01:18:27,933 You will have almost the same features you find in the compressed format, 1191 01:18:28,000 --> 01:18:31,733 but you will be able to choose features like these render 1192 01:18:31,733 --> 01:18:36,000 at maximum depth, and you can also change the depth in terms of color. 1193 01:18:36,000 --> 01:18:39,466 You can choose eight or 16 that has more quality. 1194 01:18:39,600 --> 01:18:43,900 But let's talk about this export color space option is related 1195 01:18:43,900 --> 01:18:48,200 to the ability to transmit information related to color in the format. 1196 01:18:48,400 --> 01:18:52,233 It happens that nowadays people are likely to work with formats 1197 01:18:52,233 --> 01:18:55,700 like AK or six K in the video player. 1198 01:18:55,700 --> 01:19:00,633 Some platforms that works with those formats work with another technology, 1199 01:19:00,733 --> 01:19:04,533 a specific technology adapted to that resolution. 1200 01:19:04,533 --> 01:19:05,933 You HD formats. 1201 01:19:05,933 --> 01:19:09,900 For example, not only work with more resolution with more pixels, 1202 01:19:10,100 --> 01:19:14,500 but also with another kind of technology related to the distribution of colors 1203 01:19:14,500 --> 01:19:15,900 in the image. 1204 01:19:15,900 --> 01:19:18,666 So over here you will have three options related 1205 01:19:18,666 --> 01:19:22,633 to the transmission of information in terms of color. 1206 01:19:22,633 --> 01:19:28,433 The first one, the 709, is the most used profile for HD videos, 1207 01:19:28,600 --> 01:19:32,533 like the sequences we were working with in this course. 1208 01:19:32,533 --> 01:19:37,400 But the other two options is for working in projects in Seats key or a key 1209 01:19:37,400 --> 01:19:39,266 resolution. Additionally, 1210 01:19:39,266 --> 01:19:43,266 these two other options allows you to reach a higher dynamic range. 1211 01:19:43,466 --> 01:19:46,833 But don't get confused with this a higher dynamic range. 1212 01:19:46,833 --> 01:19:50,933 When you are using a high end camera, you are not able to bring out 1213 01:19:50,933 --> 01:19:54,933 more colors of what the format of a D SLR can generate. 1214 01:19:55,333 --> 01:19:58,100 So it's very important to take these into account 1215 01:19:58,533 --> 01:20:01,800 because people think that these options are like a magic wand. 1216 01:20:01,800 --> 01:20:05,700 So I highly recommend you if you have a DSLR camera, and 1217 01:20:05,700 --> 01:20:09,866 I know that most of you are more likely to afford a DSLR camera, 1218 01:20:10,200 --> 01:20:14,533 so I highly recommend pay attention, close attention to the corner 1219 01:20:14,566 --> 01:20:18,366 grading and color correction lessons of this course, because if you 1220 01:20:18,366 --> 01:20:23,133 want to make your video look like it was recorded with a high end camera, 1221 01:20:23,600 --> 01:20:26,766 you must start by modifying the colors of the image. 1222 01:20:27,000 --> 01:20:29,833 You are supposed to modify them creatively. 1223 01:20:30,233 --> 01:20:35,566 I mean, the high dynamic effect is an optical illusion, not a statement. 1224 01:20:35,866 --> 01:20:38,833 So try to make sure you have a good cinematography, 1225 01:20:39,133 --> 01:20:42,633 a good lighting to try to bring out the best of the best 1226 01:20:42,733 --> 01:20:45,900 from your videos. 1227 01:20:45,900 --> 01:20:49,200 Additionally, I recommend you to check this option. 1228 01:20:49,466 --> 01:20:51,466 Use maximum render quality. 1229 01:20:51,533 --> 01:20:55,766 Actually, this option can be used for both the and before 1230 01:20:56,100 --> 01:20:59,833 in the QuickTime format is another option over here. 1231 01:20:59,833 --> 01:21:03,666 When it relates use previews, it's very useful 1232 01:21:03,666 --> 01:21:06,733 when it comes to creating the file as quick as possible 1233 01:21:06,866 --> 01:21:10,600 because the system will use all the rendered files that you have created 1234 01:21:10,600 --> 01:21:15,566 throughout the editing to create that final file, thereby reducing 1235 01:21:16,533 --> 01:21:18,400 the export time. 1236 01:21:18,400 --> 01:21:22,066 There's a friendly reminder I can give you when it comes 1237 01:21:22,066 --> 01:21:25,400 to exporting the file, and it's related to the compressed 1238 01:21:25,400 --> 01:21:30,500 format the H 264 in the hardware of your computer 1239 01:21:30,966 --> 01:21:35,400 Over here, you are able to choose what you want to use to create that file. 1240 01:21:35,400 --> 01:21:37,566 If you want to use the integrated card 1241 01:21:37,566 --> 01:21:40,966 of your computer or if you want to use the TPU. 1242 01:21:41,466 --> 01:21:46,000 And this is very important because crashes are likely to happen while exporting. 1243 01:21:46,366 --> 01:21:49,000 So if you find many problems exporting, 1244 01:21:49,200 --> 01:21:51,900 I highly recommend you to choose software encoding. 1245 01:21:52,200 --> 01:21:55,400 But if you don't, you can choose hardware encoding. 1246 01:21:55,400 --> 01:21:57,766 It will depend on your computer performance. 1247 01:21:58,400 --> 01:22:01,000 Another important reminder related to this 1248 01:22:01,000 --> 01:22:04,266 compressed format is the bitrate encoding. 1249 01:22:04,533 --> 01:22:08,500 These options over here are to verify the codification of the file. 1250 01:22:08,800 --> 01:22:12,833 Where it reads to pass means that the software will carry out 1251 01:22:12,933 --> 01:22:17,833 two verifications in order to ensure that the file is properly created. 1252 01:22:18,366 --> 01:22:21,500 Obviously it will take more time, but it's safer. 1253 01:22:21,500 --> 01:22:24,766 Also, golden errors are not very common. 1254 01:22:24,766 --> 01:22:26,166 They do happen. 1255 01:22:26,166 --> 01:22:28,966 So when you reach this stage you will be ready 1256 01:22:28,966 --> 01:22:32,066 to create your filed by clicking on export. 1257 01:22:32,933 --> 01:22:35,300 So this would be the most important formats 1258 01:22:35,300 --> 01:22:38,733 and the ones that you should use when trying to make an export 1259 01:22:39,300 --> 01:23:06,733 until next lesson. 1260 01:23:10,833 --> 01:23:11,766 Hello people. 1261 01:23:11,766 --> 01:23:14,600 One of the biggest challenges when it comes to video 1262 01:23:14,600 --> 01:23:19,300 editing is spacing your footage, especially when it comes to music videos. 1263 01:23:19,933 --> 01:23:23,900 One of the elements that most related to rhythm in editing are the cuts. 1264 01:23:24,033 --> 01:23:27,600 I mean, determining at what moment we go from one take to another, 1265 01:23:27,900 --> 01:23:29,966 depending on the rhythm of the music. 1266 01:23:29,966 --> 01:23:33,000 This cut will be more frequent or less frequent. 1267 01:23:33,566 --> 01:23:36,533 But this is not the only important factor to take into account 1268 01:23:36,533 --> 01:23:39,500 when it comes to knowing where to position the cuts. 1269 01:23:40,133 --> 01:23:44,600 It turns out that we must have certain musical notions of time 1270 01:23:45,000 --> 01:23:49,866 to be able to do correctly, and that is what we are going to see in this lesson. 1271 01:23:50,733 --> 01:23:51,100 This is 1272 01:23:54,533 --> 01:23:56,566 of with the students 1273 01:23:57,733 --> 01:24:03,300 in school. We 1274 01:24:04,333 --> 01:24:06,500 made a similar you saw 1275 01:24:07,000 --> 01:24:12,033 someone have a, you know, 1276 01:24:12,033 --> 01:24:16,500 doing perfect and here in a software called Cubase. 1277 01:24:16,833 --> 01:24:19,033 This doesn't mean that you're going to need it, 1278 01:24:19,033 --> 01:24:21,566 but am Incubus because this software has a tool 1279 01:24:21,566 --> 01:24:23,766 that will work for me to explain what they want. 1280 01:24:23,766 --> 01:24:25,000 Explain to you. 1281 01:24:25,000 --> 01:24:27,433 First of all, you have to understand that in music videos, 1282 01:24:27,700 --> 01:24:32,466 the cuts are going to come for two reasons by time or by action. 1283 01:24:32,966 --> 01:24:34,333 Let's start with time. 1284 01:24:34,333 --> 01:24:37,100 What does it mean for a cut to be of time? 1285 01:24:37,500 --> 01:24:42,033 So it means that we must make the cuts in subdivisions of time 1286 01:24:42,166 --> 01:24:45,133 that the rhythm of the song we are working with has. 1287 01:24:45,533 --> 01:24:49,866 So I know that these make sound like you need to know music to do this, 1288 01:24:49,866 --> 01:24:53,266 but it really isn't because anyone who goes to a concert, 1289 01:24:53,266 --> 01:24:56,166 that person can keep up with a song they like. 1290 01:24:56,333 --> 01:24:57,766 I mean, people can dance. 1291 01:24:57,766 --> 01:25:00,466 People do many things that involve their rhythm. 1292 01:25:01,100 --> 01:25:05,166 So following a rhythm is not a task that only a musician can do. 1293 01:25:05,966 --> 01:25:09,666 So I'm going to use this music video of mine as an example, 1294 01:25:09,666 --> 01:25:13,333 and I'm going to follow the rhythm with my voice marking one and two. 1295 01:25:13,666 --> 01:25:17,066 So, for example, in this case would be one, two, 1296 01:25:17,333 --> 01:25:22,066 one, two, one, two, one, two, one, two. 1297 01:25:22,600 --> 01:25:27,033 So and this is the rhythm that even the timer of this software follows up here. 1298 01:25:27,666 --> 01:25:30,900 So the numbers look bigger would be when I say one. 1299 01:25:31,100 --> 01:25:35,100 And the number that this between the small numbers would be when I say two. 1300 01:25:35,766 --> 01:25:38,833 So I'm going to activate the metronome of the software so that 1301 01:25:38,833 --> 01:25:40,000 it follows the rhythm. 1302 01:25:41,033 --> 01:25:43,066 So pay attention that it's the same. 1303 01:25:44,400 --> 01:25:48,033 One, two, one, two, one, two. 1304 01:25:49,233 --> 01:25:52,600 So we must know how to recognize the time and rhythm of the song 1305 01:25:52,633 --> 01:25:56,766 to be able to position the cuts both in Mach one or Mac two 1306 01:25:57,100 --> 01:26:00,900 or in any time mark that can contain the rhythm of this song. 1307 01:26:01,200 --> 01:26:05,100 But however, this doesn't have to be exact, but an approximation. 1308 01:26:05,233 --> 01:26:06,100 In other words, 1309 01:26:06,100 --> 01:26:11,166 you are supposed to do everything possible to make it match, but not necessarily. 1310 01:26:11,166 --> 01:26:13,600 100% of the shots must match. 1311 01:26:14,100 --> 01:26:16,500 So pay attention to, for example, this part. 1312 01:26:16,966 --> 01:26:19,733 See how it changes from one shot to another 1313 01:26:19,766 --> 01:26:22,333 almost perfectly. 1314 01:26:24,433 --> 01:26:25,600 Did you notice 1315 01:26:25,600 --> 01:26:27,900 that is almost perfect. One, 1316 01:26:29,666 --> 01:26:31,533 one, etc., etc.. 1317 01:26:31,533 --> 01:26:34,166 The cuts are following the rhythm. 1318 01:26:34,166 --> 01:26:37,633 Pay attention to the numbers that I mentioned in the small line 1319 01:26:37,633 --> 01:26:41,166 that belongs to the number and feel the cuts of the assembly. 1320 01:26:41,733 --> 01:26:44,133 So pay attention. That is not perfect. 1321 01:26:44,133 --> 01:26:44,766 That is. 1322 01:26:44,766 --> 01:26:49,733 It's always an approximation in important parts of the song in terms of rhythm, 1323 01:26:50,133 --> 01:26:53,666 but also the cuts are regular but always follow in the rhythm. 1324 01:26:53,866 --> 01:26:57,433 For example, here is a cut, but then the next take continuous. 1325 01:26:58,500 --> 01:27:01,033 For example here one to 1326 01:27:05,633 --> 01:27:12,933 look at. 1327 01:27:12,933 --> 01:27:17,133 On the other hand, something interesting happens here because despite the fact that 1328 01:27:17,133 --> 01:27:20,200 the chorus is the most important thing and you could say that 1329 01:27:20,433 --> 01:27:24,500 the cut mass match exactly with the bar, it doesn't happen here. 1330 01:27:24,733 --> 01:27:26,500 I mean, the first take of the chorus 1331 01:27:26,500 --> 01:27:30,166 doesn't start on one, but on two before that one. 1332 01:27:30,566 --> 01:27:33,800 And that happens because the action that I'm doing there, singing, 1333 01:27:34,000 --> 01:27:37,733 it's necessary to see its complete 1334 01:27:44,200 --> 01:27:48,500 end. That would be a cut by action. 1335 01:27:48,500 --> 01:27:57,000 The song can be, you know, 1336 01:27:58,633 --> 01:28:00,000 but let's move on to this. 1337 01:28:00,000 --> 01:28:04,366 Another example, another music video I'm going to count and follow music 1338 01:28:04,366 --> 01:28:06,466 and you are going to pay attention to the cuts. 1339 01:28:07,500 --> 01:28:10,566 One, two, one, two, 1340 01:28:11,133 --> 01:28:14,500 one, two, one, six. 1341 01:28:15,000 --> 01:28:19,900 One, two, one, two, one, two, 1342 01:28:20,500 --> 01:28:23,666 one, two, one, two. 1343 01:28:24,500 --> 01:28:27,333 So most of the cuts going you see the good data mark, 1344 01:28:27,766 --> 01:28:30,800 but there may even be moments where the music is louder 1345 01:28:31,033 --> 01:28:33,933 and you can make many cuts with rhythm like it is. 1346 01:28:34,000 --> 01:28:34,500 Example 1347 01:28:37,933 --> 01:28:41,366 even score one here. 1348 01:28:41,366 --> 01:28:42,966 So those three cuts 1349 01:28:42,966 --> 01:28:44,300 completely followed 1350 01:28:44,300 --> 01:28:48,533 the rhythmic arrangement of the music, which is something also very useful, 1351 01:28:49,166 --> 01:28:53,400 an attention to the fact the gears hug matches the beat of the snare drum 1352 01:28:53,866 --> 01:28:59,300 because it's an important gesture visually. 1353 01:28:59,300 --> 01:29:23,700 So as we gonna send a signal to you, 1354 01:29:23,700 --> 01:29:27,266 but the cuts in movies or short films work differently. 1355 01:29:27,800 --> 01:29:30,066 They are not determined by the rhythm of the music, 1356 01:29:30,533 --> 01:29:33,600 but by the time the shot needs to be read properly. 1357 01:29:33,900 --> 01:29:36,533 So it's the music that adapts to the editing. 1358 01:29:36,833 --> 01:29:40,333 And only some exceptions when it's a very musical sequence, 1359 01:29:40,500 --> 01:29:43,800 we could try to adapt the shots to the rhythm of the music. 1360 01:29:44,300 --> 01:29:46,233 But let's pay attention to this. A scene. 1361 01:29:46,233 --> 01:29:48,300 This is seen as a proof that communication 1362 01:29:48,300 --> 01:29:51,600 is the most important factor when it comes to cuts in pacing. 1363 01:29:52,133 --> 01:29:56,400 In this scene, the cuts are very fast and the reason why this is so is 1364 01:29:56,400 --> 01:29:57,433 because Benjamin's 1365 01:29:57,433 --> 01:30:01,233 voice is exactly explained in everything that is happening on the screen. 1366 01:30:01,366 --> 01:30:05,066 So the information communication is double visual 1367 01:30:05,066 --> 01:30:07,866 and through the voice of the character. 1368 01:30:07,866 --> 01:30:12,000 Now, a taxi driver dropped off a family and stopped to get a cup of coffee. 1369 01:30:13,933 --> 01:30:17,900 And all the while Daisy was realize 1370 01:30:20,100 --> 01:30:22,633 and this cab driver who dropped off earlier fare 1371 01:30:22,733 --> 01:30:25,266 and he stopped to get the cup of coffee I picked up. 1372 01:30:25,266 --> 01:30:30,300 The lady was going shop The Mysskin of the cab. 1373 01:30:30,300 --> 01:30:32,700 The taxi had to stop for a man crossing the street. 1374 01:30:32,800 --> 01:30:36,433 We left for work 5 minutes later than he normally did because he forgot. 1375 01:30:36,466 --> 01:30:38,200 Said set his long 1376 01:30:39,000 --> 01:30:41,800 while that man late for work was crossing the street. 1377 01:30:42,366 --> 01:30:45,333 Daisy had finished renovations and was taking a shower 1378 01:30:46,433 --> 01:30:47,666 while Daisy was showering. 1379 01:30:47,666 --> 01:30:51,100 The taxi was waiting outside a boutique for the woman to pick up a package 1380 01:30:51,466 --> 01:30:54,300 which hadn't been wrapped yet because the girl who was supposed to rapid 1381 01:30:54,600 --> 01:30:56,766 had broken up with a boyfriend the night before 1382 01:30:57,800 --> 01:31:00,133 and forgot when the package was wrapped. 1383 01:31:00,133 --> 01:31:03,566 The woman was back in the cab, blocked by a delivery truck. 1384 01:31:03,866 --> 01:31:08,100 All the while Daisy was getting dressed. 1385 01:31:08,100 --> 01:31:12,333 The delivery truck pulled away and the taxi was able to move a daisy. 1386 01:31:12,333 --> 01:31:16,233 The last to be dressed waited for one of her friends who had broken a shoelace 1387 01:31:17,733 --> 01:31:20,366 while the taxi was stopped waiting for a traffic light. 1388 01:31:20,866 --> 01:31:23,266 Daisy and a friend came out the back of the theater, 1389 01:31:24,866 --> 01:31:29,800 and if only one thing had happened, if that shoelace hadn't broken 1390 01:31:30,433 --> 01:31:34,866 or the delivery truck had moved momentarily packed and wrapped and ready 1391 01:31:35,133 --> 01:31:37,300 because the girl hadn't broken up with the boyfriend, 1392 01:31:37,900 --> 01:31:40,666 what that man had said is long and got to 5 minutes earlier. 1393 01:31:41,733 --> 01:31:44,166 That taxi driver hadn't stopped for a cup of coffee 1394 01:31:44,933 --> 01:31:46,833 or that woman had remembered Cope. 1395 01:31:46,833 --> 01:31:49,500 He got to an earlier cab. 1396 01:31:49,500 --> 01:31:52,333 Daisy and a friend would have crossed the street 1397 01:31:52,333 --> 01:32:05,800 and the taxi would have driven by. We. 1398 01:32:05,800 --> 01:32:09,133 But life being what it is, a series of intersecting 1399 01:32:09,133 --> 01:32:11,966 lives and incidents of anyone's control. 1400 01:32:12,300 --> 01:32:14,533 So that Taxi did not go 1401 01:32:16,200 --> 01:32:18,233 and that driver was momentarily distracted 1402 01:32:21,200 --> 01:32:23,900 and that taxi hit Daisy 1403 01:32:27,366 --> 01:32:31,200 and her leg was crushed. 1404 01:32:31,200 --> 01:32:35,000 It's important to note that sometimes when the composers are quiet, 1405 01:32:35,300 --> 01:32:38,933 the editing adapts to the music because there is a musical arrangement 1406 01:32:38,966 --> 01:32:42,233 that is impossible to modify to adapt it to the editing. 1407 01:32:42,633 --> 01:32:45,600 So in those cases, it's the editor who is supposed 1408 01:32:45,600 --> 01:32:48,433 to adapt to the music at those precise moments. 1409 01:32:48,933 --> 01:32:53,200 But in general, rules the communication process in the evolution of emotions 1410 01:32:53,200 --> 01:32:57,033 in the film that determines the rhythm of the editing that we are going to do. 1411 01:32:58,200 --> 01:33:01,133 Well, this lesson is up to here in a way, for you 1412 01:33:01,133 --> 01:33:27,600 to continue in the next one. 1413 01:33:27,600 --> 01:33:28,666 Perfect. We are here. 1414 01:33:28,666 --> 01:33:33,566 We are going to open our editing software, which is in this case premiere. 1415 01:33:34,100 --> 01:33:39,033 So I'm going to go to my folder to click on the icon on the shortcut. 1416 01:33:39,833 --> 01:33:43,300 I remind you that regardless of the software you use, once you master 1417 01:33:43,300 --> 01:33:48,200 one, it will be much easier to master the rest of the video editing softwares. 1418 01:33:48,600 --> 01:33:53,133 So this welcome window will open in which we will find and the recent projects 1419 01:33:53,133 --> 01:33:57,266 we had work done, but also the possibility of creating a new project. 1420 01:33:57,933 --> 01:34:00,600 So we click on new project and immediately 1421 01:34:01,133 --> 01:34:03,766 this new window will be displayed. 1422 01:34:04,566 --> 01:34:06,300 So what is this about? 1423 01:34:06,300 --> 01:34:09,533 So in this window you will find the general settings 1424 01:34:09,533 --> 01:34:12,366 of the project, mainly the of the project, 1425 01:34:13,100 --> 01:34:16,366 and especially the folder in which the software will save all the 1426 01:34:16,366 --> 01:34:21,700 temporary files that it will create so that the workflow is better for us. 1427 01:34:21,700 --> 01:34:23,200 So we can click on Browse 1428 01:34:23,200 --> 01:34:26,966 and choose the folder where you want all these information to be saved, 1429 01:34:27,433 --> 01:34:30,133 which is going to be very important because eventually 1430 01:34:30,433 --> 01:34:34,600 we are going to have to delete files or also recover files. 1431 01:34:35,466 --> 01:34:37,633 So by default in the software safes, 1432 01:34:37,633 --> 01:34:41,100 all these in the Windows or Mac documents folder. 1433 01:34:41,100 --> 01:34:45,233 So first of all, we're going to name our project over here. 1434 01:34:46,200 --> 01:34:48,900 We're going to write down the video editing. 1435 01:34:48,900 --> 01:34:53,266 For example, so you can see that here. 1436 01:34:53,266 --> 01:34:55,533 Below there are three taps. 1437 01:34:55,533 --> 01:34:58,400 The most important is this first general, 1438 01:34:59,033 --> 01:35:03,666 and the first thing we are going to find is this box related to video rendering 1439 01:35:03,666 --> 01:35:05,400 and playback where we can change 1440 01:35:05,400 --> 01:35:09,066 the video hardware that the computer will use to work on the project. 1441 01:35:09,633 --> 01:35:12,100 Either the general manager of the software 1442 01:35:12,100 --> 01:35:14,966 as well as when creating the final files. 1443 01:35:15,466 --> 01:35:18,933 Remember that the software is constantly creating files 1444 01:35:19,466 --> 01:35:22,533 so that can see a preview of what we are editing. 1445 01:35:23,033 --> 01:35:27,366 So here in this little tab, we will be able to choose either 1446 01:35:27,366 --> 01:35:31,066 the computer's GPU card, especially for video 1447 01:35:31,266 --> 01:35:34,200 or the computer's integrated video card. 1448 01:35:34,666 --> 01:35:38,333 This is very important because obviously when using the GPU, 1449 01:35:38,366 --> 01:35:41,433 everything is faster but also less stable. 1450 01:35:41,766 --> 01:35:46,133 In, for example, this error could appear with your exports in the final file, 1451 01:35:46,633 --> 01:35:50,733 which means that the GPU card failed because it got too hard 1452 01:35:50,766 --> 01:35:55,033 or because it doesn't have enough power to create that file. 1453 01:35:55,800 --> 01:35:59,200 That is depending on the type of projects you are editing. 1454 01:35:59,200 --> 01:36:03,433 When you support the final file or make the renders files, 1455 01:36:03,766 --> 01:36:06,000 you will be able to use one or the other. 1456 01:36:06,600 --> 01:36:09,766 However, if you have the latest generation computer, 1457 01:36:09,766 --> 01:36:11,900 I don't think you have my your problem. 1458 01:36:11,900 --> 01:36:16,833 So in that case, you should always have the computer's GPU selected 1459 01:36:17,300 --> 01:36:20,000 in this next box you're going to set how you want 1460 01:36:20,000 --> 01:36:23,333 at the time to be measured by frames or by time. 1461 01:36:23,700 --> 01:36:25,866 At this moment, you won't understand this. 1462 01:36:26,100 --> 01:36:27,300 I'm going to explain it to you. 1463 01:36:27,300 --> 01:36:32,133 When we are learning about the timeline because it's easier to see it in a want 1464 01:36:32,133 --> 01:36:36,433 to explain how to prepare a project First, it's worth mentioning 1465 01:36:36,433 --> 01:36:41,200 that you will be able to change this any time in this older parameter. 1466 01:36:41,200 --> 01:36:43,633 We will be able to choose how we want the time loan 1467 01:36:43,633 --> 01:36:45,733 to make the time for the audio. 1468 01:36:45,966 --> 01:36:49,333 To do this, we must understand what the sample rate is. 1469 01:36:49,466 --> 01:36:51,966 The sample rate is the resolution of the audio. 1470 01:36:52,300 --> 01:36:56,133 That is the number of record samples that a no DO file has, 1471 01:36:56,366 --> 01:37:00,166 so the timeline can measure the time for each of those recordings 1472 01:37:00,166 --> 01:37:04,433 as well as for milliseconds, which would be the continuous time. 1473 01:37:04,766 --> 01:37:08,700 The following box works to set the type of video captured for event 1474 01:37:09,100 --> 01:37:12,800 there are still some cameras in the market that work with tape 1475 01:37:13,133 --> 01:37:15,100 and also with film roles. 1476 01:37:15,100 --> 01:37:18,300 This capture box allows us to set what resolution 1477 01:37:18,300 --> 01:37:22,533 we want to capture to be in order to connect the software to the hardware 1478 01:37:22,566 --> 01:37:26,400 VTR, which is the device that is used for dead. 1479 01:37:26,566 --> 01:37:30,566 But in reality, that something that is really no longer used 1480 01:37:31,033 --> 01:37:34,100 and this last box is related to a possibility 1481 01:37:34,100 --> 01:37:37,433 that has been given to users to improve color editing, 1482 01:37:37,800 --> 01:37:42,700 especially When we use film cameras, which have a high dynamic range of colors. 1483 01:37:43,200 --> 01:37:45,700 So this allows us to have a better configuration 1484 01:37:45,700 --> 01:37:48,800 between the software and our physical monitor. 1485 01:37:48,800 --> 01:37:53,400 But in reality, personally, since I dedicate myself to making fiction, 1486 01:37:53,700 --> 01:37:56,566 I think that the image quality is 1487 01:37:56,566 --> 01:37:59,400 not only related to the dynamic range, 1488 01:37:59,666 --> 01:38:02,566 but rather to the photographic quality in lighting. 1489 01:38:03,200 --> 01:38:07,033 But however, if it's the case, if animation works, for example, 1490 01:38:07,033 --> 01:38:11,033 where you have to really respect the color of the landscape so characters 1491 01:38:11,033 --> 01:38:16,200 to get the best out of them, we can change the setting to the highest values 1492 01:38:16,200 --> 01:38:19,933 to have a better reference, move on to the second tab. 1493 01:38:20,566 --> 01:38:24,000 This second tab that we see here, scratch these. 1494 01:38:24,100 --> 01:38:25,700 It's very important. 1495 01:38:25,700 --> 01:38:28,466 In this tab you're going to indicate to the software 1496 01:38:28,500 --> 01:38:31,866 where it's going to save temporary files of the project, 1497 01:38:32,400 --> 01:38:37,200 this temporary files that the software is going to create to improve the workflow 1498 01:38:37,733 --> 01:38:40,533 in these folders, that only the temporary files 1499 01:38:40,533 --> 01:38:43,333 will be saved, but also the capture files. 1500 01:38:43,800 --> 01:38:46,466 Additionally, the audio recording files 1501 01:38:46,466 --> 01:38:51,666 will also be saved there in folders in the case that we do a dubbing, 1502 01:38:51,700 --> 01:38:53,166 for example. 1503 01:38:53,166 --> 01:38:55,533 So we must pay close attention to this folder. 1504 01:38:56,100 --> 01:38:59,266 Obviously we choose the main folder where the project be saved, 1505 01:38:59,533 --> 01:39:04,066 but in this case in that same folder, super folders will be created 1506 01:39:04,366 --> 01:39:09,000 that will contain all these temporary files in non temporary files. 1507 01:39:09,733 --> 01:39:13,133 I highly recommend you not to change the location of these folders 1508 01:39:13,400 --> 01:39:18,133 because all the files of the same project are supposed to be in the same place, 1509 01:39:18,133 --> 01:39:22,500 not only to maintain order and prevent errors from happening on the computer, 1510 01:39:22,633 --> 01:39:26,700 but also because it's possible that our computer crashes unexpectedly. 1511 01:39:27,033 --> 01:39:30,566 Then we will have to move the entire project to another computer. 1512 01:39:30,566 --> 01:39:34,233 So we must know where all the files related to one project are. 1513 01:39:34,566 --> 01:39:37,333 On the other hand, also in many locations, 1514 01:39:37,333 --> 01:39:41,400 we are going to need to delete temporary files related to the renders. 1515 01:39:41,700 --> 01:39:44,466 I mean to free up space on the hard disk. 1516 01:39:46,333 --> 01:39:47,100 These 1517 01:39:47,100 --> 01:39:50,166 are tab we have here is to ingest settings. 1518 01:39:50,566 --> 01:39:52,233 What is this for it? 1519 01:39:52,233 --> 01:39:55,600 It turns out that at some point if we are going to work on projects 1520 01:39:55,600 --> 01:40:00,433 where they are going to use film cameras, those files generated in the film 1521 01:40:00,433 --> 01:40:04,866 camera are going to have a high resolution and are going to be quite heavy. 1522 01:40:05,266 --> 01:40:07,466 Therefore, we are going to have to transfer them 1523 01:40:07,633 --> 01:40:11,700 to a external hard drive before they reach our computer. 1524 01:40:11,933 --> 01:40:17,100 So this ingest tool allows me to move those files that are on the external hard 1525 01:40:17,100 --> 01:40:21,100 drive to the internal hard drive of the computer more easily. 1526 01:40:21,333 --> 01:40:23,333 And how are we going to do this? 1527 01:40:23,333 --> 01:40:26,166 We must select this, a small box that we see here. 1528 01:40:26,533 --> 01:40:29,300 And the Adobe premiere will automatically connect 1529 01:40:29,300 --> 01:40:33,500 with another software from the same Adobe suite called Media Encoder. 1530 01:40:34,200 --> 01:40:36,100 That software do the transfer. 1531 01:40:36,100 --> 01:40:38,400 Whether we continue to work on Premiere, 1532 01:40:39,200 --> 01:40:43,566 it's a very useful tool, but in reality it requires that we have a computer 1533 01:40:43,566 --> 01:40:47,233 powerful enough to do both processes at the same time. 1534 01:40:47,600 --> 01:40:50,266 Additionally, we can select a place where we want 1535 01:40:50,266 --> 01:40:52,366 the hard drive files to be copied. 1536 01:40:52,766 --> 01:40:55,600 It's interesting because we can even save in the audio 1537 01:40:55,600 --> 01:40:59,433 creative cloud or in the folder that we want on the computer. 1538 01:41:00,000 --> 01:41:04,800 We have the option to copy the files with verification or without verification. 1539 01:41:04,800 --> 01:41:06,366 What is this for? 1540 01:41:06,366 --> 01:41:10,866 Because sometimes the files that come from the camera, some of them have errors 1541 01:41:11,200 --> 01:41:14,766 so that the software allows us to verify which of them have errors, 1542 01:41:15,000 --> 01:41:18,600 either to correct them or to skip the transfer of those files. 1543 01:41:18,933 --> 01:41:21,866 But we also have the option to copy without verification. 1544 01:41:22,466 --> 01:41:25,766 But on the other hand, we can switch to the Transcode option. 1545 01:41:26,100 --> 01:41:30,100 This allows me to copy the files, but converting them to a high resolution 1546 01:41:30,100 --> 01:41:35,633 compressed format which allows me to edit almost as if it were the original files. 1547 01:41:36,166 --> 01:41:39,566 However, we had the option at the end of the editing to export. 1548 01:41:39,600 --> 01:41:43,400 Both is in those files and the use in the original files. 1549 01:41:43,433 --> 01:41:45,700 Maxim resolution. 1550 01:41:45,700 --> 01:41:48,600 In the same way the Marine Corps there will copy the files 1551 01:41:48,600 --> 01:41:52,400 in the background while we work on the premiere here. 1552 01:41:52,400 --> 01:41:55,566 There are several formats, some heavier than others, 1553 01:41:55,566 --> 01:41:58,366 but in general they all have good resolution. 1554 01:41:58,866 --> 01:42:02,166 These are compressed files, but they have great resolution 1555 01:42:02,166 --> 01:42:05,000 and information so that we can edit with them 1556 01:42:05,200 --> 01:42:09,200 and even export s in them without losing so much information. 1557 01:42:09,766 --> 01:42:13,500 The next option is to create proxies in what is a proxy? 1558 01:42:13,833 --> 01:42:17,500 In the same way as we can create the previous compressed files, 1559 01:42:17,766 --> 01:42:21,366 we can create the proxies that are even more compressed files 1560 01:42:21,600 --> 01:42:25,433 that allow me to work with files without compression in high resolution. 1561 01:42:26,133 --> 01:42:29,500 So it happens that sometimes we work with film cameras 1562 01:42:29,600 --> 01:42:33,966 which generate four key or six key or eight key files 1563 01:42:34,466 --> 01:42:35,966 which are very large. 1564 01:42:35,966 --> 01:42:39,700 So the proxies are a kind of low resolution twin files 1565 01:42:39,833 --> 01:42:41,866 that Premier uses to it. 1566 01:42:41,866 --> 01:42:44,433 And this greatly improve the workflow 1567 01:42:44,433 --> 01:42:47,866 as if we were editing with a super powerful computer. 1568 01:42:48,033 --> 01:42:51,966 So we will be able to edit as we were working with the original files. 1569 01:42:52,233 --> 01:42:56,366 But when exporting this software will connect with the original files. 1570 01:42:57,133 --> 01:43:00,133 Proxies are going to be your best friends from now on. 1571 01:43:00,800 --> 01:43:04,033 We are actually going to use them in examples later on. 1572 01:43:04,433 --> 01:43:07,100 So it's important to pay attention to the lessons 1573 01:43:07,100 --> 01:43:10,200 where I talk about this topic of proxy files. 1574 01:43:11,000 --> 01:43:13,500 So in the same way can choose in which folder 1575 01:43:13,500 --> 01:43:17,466 we want to software to save the files, the proxy files. 1576 01:43:17,466 --> 01:43:21,433 So there are the same options, save the files in the same project 1577 01:43:21,433 --> 01:43:26,100 folder, in the creative cloud, and also the option to choose the folder 1578 01:43:26,800 --> 01:43:28,966 so we can change the proxy parameters 1579 01:43:28,966 --> 01:43:33,000 that is from very low resolution to ones more resolution. 1580 01:43:33,233 --> 01:43:37,766 It's very similar to the case of transcoding compressed files 1581 01:43:38,033 --> 01:43:40,833 with the difference that in the case of Transcode, it files 1582 01:43:41,300 --> 01:43:44,033 almost all the options for high quality. 1583 01:43:44,033 --> 01:43:48,600 It's important to understand that in both proxy in Transcode cases, 1584 01:43:49,033 --> 01:43:51,900 these parameters are used to improve the workflow. 1585 01:43:51,900 --> 01:43:55,933 That is, their main objective is just that sometimes 1586 01:43:55,933 --> 01:43:57,566 we have a movie camera and we want to it. 1587 01:43:57,566 --> 01:44:01,033 It's jobs quickly that don't require super resolution. 1588 01:44:01,033 --> 01:44:04,766 Transcode files are perfect and the last option 1589 01:44:04,766 --> 01:44:07,033 is to copy and create proxies. 1590 01:44:07,800 --> 01:44:10,866 This function allows me to create two separate folders 1591 01:44:11,233 --> 01:44:14,300 on the one hand, the original files that are on the external hard 1592 01:44:14,300 --> 01:44:17,500 drive and on the other hand in another folder. 1593 01:44:17,500 --> 01:44:19,200 The proxies remember that 1594 01:44:19,200 --> 01:44:22,800 the main encoder will transfer all those files in the background. 1595 01:44:23,133 --> 01:44:28,000 But in reality, as I told you, it also consumes computers from memory. 1596 01:44:28,466 --> 01:44:31,833 Anyway, we are going to continue talking about the proxy later on. 1597 01:44:32,100 --> 01:44:33,000 Okay, We'll show you 1598 01:44:33,000 --> 01:44:36,400 how to connect the proxies to the editing in the program monitor. 1599 01:44:36,933 --> 01:44:40,566 But it's important to know all about is subject of proxies because most 1600 01:44:40,733 --> 01:44:43,000 you don't have a supercomputer. 1601 01:44:43,000 --> 01:44:47,133 And even those computers that we think are super powerful, last generation 1602 01:44:47,133 --> 01:44:51,000 Mac, for example, even those need to use proxies. 1603 01:44:51,000 --> 01:44:54,533 So once we had finished the general configuration of the project, 1604 01:44:54,866 --> 01:44:59,166 we simply had to click okay in our project will open immediately. 1605 01:44:59,700 --> 01:45:02,400 So since they already have a project created 1606 01:45:02,400 --> 01:45:05,433 precisely to teach you how to use this software. 1607 01:45:05,800 --> 01:45:08,433 I will simply click on Cancel and I will select 1608 01:45:08,433 --> 01:45:11,733 one of the last recent projects where we are going to work. 1609 01:45:12,233 --> 01:45:16,700 So this would be the most important when it comes to creating a new project. 1610 01:45:16,900 --> 01:45:20,466 So this first lesson is up to here and we will continue learning 1611 01:45:20,466 --> 01:45:51,666 about this Adopt from your software in the next lesson. 1612 01:45:51,666 --> 01:45:54,600 So here we already have our project open. 1613 01:45:54,733 --> 01:45:57,300 We are ready to start getting to know the premiere. 1614 01:45:58,100 --> 01:46:01,933 The first thing they want you to realize is, is that we can modify 1615 01:46:01,933 --> 01:46:05,833 those same settings that we were reviewing in the last lesson. 1616 01:46:06,200 --> 01:46:10,033 We go to the first tap file and we go to project settings and then to 1617 01:46:11,133 --> 01:46:13,200 and there we can return to modify 1618 01:46:13,200 --> 01:46:20,566 the general configuration of the project. 1619 01:46:20,566 --> 01:46:24,166 I want to focus mainly on explaining what are those fundamental 1620 01:46:24,166 --> 01:46:27,733 tools of Adobe premiere in those characters sticks 1621 01:46:28,100 --> 01:46:31,200 that will allow us to develop any project I need. 1622 01:46:31,200 --> 01:46:35,166 You don't need to know all the functions of the software to be a good editor. 1623 01:46:35,833 --> 01:46:38,900 That has nothing to do reality, because in the end 1624 01:46:39,033 --> 01:46:41,900 there are many ways to do exactly the same thing 1625 01:46:42,100 --> 01:46:46,433 when it comes to video editing at those premiere has some presets 1626 01:46:46,433 --> 01:46:50,400 related to some general configurations that help us to adapt 1627 01:46:50,400 --> 01:46:54,766 the software to the specific stage in which we are in our project. 1628 01:46:55,266 --> 01:46:57,900 I am currently in the editing configuration, 1629 01:46:57,900 --> 01:47:01,933 but there are others, for example, here where it's very it's color. 1630 01:47:02,333 --> 01:47:07,000 It's another configuration completely adapted to color correction. 1631 01:47:07,000 --> 01:47:12,800 What is really relevant about this color configuration is the color range analyzer, 1632 01:47:13,300 --> 01:47:17,933 the limited scopes that allows us to see the color ranges of an image. 1633 01:47:18,066 --> 01:47:20,466 But anyway, we will see that later on. 1634 01:47:20,766 --> 01:47:26,233 Simply what I want you to see is how it looks like and how an image translated to. 1635 01:47:26,233 --> 01:47:28,000 You made three scopes, looks like 1636 01:47:30,133 --> 01:47:32,866 this is another effect setup here. 1637 01:47:32,866 --> 01:47:37,733 You will be able to quickly access the facts folders here on the right. 1638 01:47:38,433 --> 01:47:41,100 I don't particularly use that configuration 1639 01:47:41,100 --> 01:47:44,733 because I can fully access the effects from the editing preset. 1640 01:47:45,433 --> 01:47:48,600 We simply had to go to this a small tab that is here 1641 01:47:48,900 --> 01:47:51,433 and look for it reads effects 1642 01:47:52,233 --> 01:47:56,800 and actually it's much better and easier to use and easier to understand. 1643 01:47:57,366 --> 01:48:00,300 It's preset works this way, but they highly recommend 1644 01:48:00,300 --> 01:48:05,833 you only focus on 2% editing one that we are seen in the only one 1645 01:48:06,000 --> 01:48:10,166 that we are going to use a lot because it has the audio mixer 1646 01:48:10,200 --> 01:48:13,533 where we are going to put the all the effects directly on the tracks. 1647 01:48:13,800 --> 01:48:16,766 Nevertheless, I know that later on you are going to change it 1648 01:48:16,766 --> 01:48:19,800 however you want. 1649 01:48:19,800 --> 01:48:23,900 It's worth mentioning that the same tools are always present in the presets. 1650 01:48:23,900 --> 01:48:28,000 For example, these are small effects control type, which is where 1651 01:48:28,000 --> 01:48:32,533 we will be able to edit and effects will always be present in all the presets. 1652 01:48:33,033 --> 01:48:37,066 The library preset allows us to access effects directly from the Adobe 1653 01:48:37,066 --> 01:48:41,800 Cloud, where we can buy extra effects and plugins for our premiere. 1654 01:48:42,633 --> 01:48:45,733 This is Preset is the most useless of all because 1655 01:48:45,733 --> 01:48:48,733 you can actually do exactly the same thing into editing. 1656 01:48:48,733 --> 01:48:52,466 Preset in the last preset is for learning 1657 01:48:52,766 --> 01:48:56,333 where premiere gypsies are twice impartially helps us 1658 01:48:56,333 --> 01:49:04,733 to use the software. 1659 01:49:04,733 --> 01:49:08,866 So when we open the software we will always see these main spaces. 1660 01:49:09,266 --> 01:49:14,366 On the right will be the timeline that we will see in more detail later. 1661 01:49:14,666 --> 01:49:16,333 Just to the left of the timeline, 1662 01:49:16,333 --> 01:49:19,800 we will see the toolbar that we will also explain later. 1663 01:49:20,133 --> 01:49:24,900 But then farther to the left we will see the file tray displays. 1664 01:49:24,900 --> 01:49:30,233 It's nothing else but a file browser as if it were a file folder on the Mac 1665 01:49:30,233 --> 01:49:34,266 or be seen where we are going to put the video or all the files 1666 01:49:34,466 --> 01:49:39,466 or even photos or gif files and have them there to use in our edition. 1667 01:49:40,200 --> 01:49:43,533 For example, I'm going to drag any video file into the tray 1668 01:49:43,533 --> 01:49:47,766 so that you can see how easy it is to add a video file to the project. 1669 01:49:48,500 --> 01:49:51,666 Both the file tray and the timeline will be connected 1670 01:49:51,666 --> 01:49:55,566 to the reference monitor and the program monitor respectively. 1671 01:49:56,566 --> 01:49:57,833 Adobe Premiere has two 1672 01:49:57,833 --> 01:50:01,300 main monitors, which are the ones we are going to use when editing. 1673 01:50:01,733 --> 01:50:06,300 The main one is the program monitor, where we will see what we are editing 1674 01:50:06,533 --> 01:50:07,466 to activate it. 1675 01:50:07,466 --> 01:50:11,233 We simply have to go to the window tab and go to the program monitor. 1676 01:50:11,600 --> 01:50:14,700 So our monitor be activated immediately. 1677 01:50:15,133 --> 01:50:18,266 This monitor will be directly connected to the timeline. 1678 01:50:18,933 --> 01:50:22,300 But on the other hand, there is also a reference monitor. 1679 01:50:22,300 --> 01:50:26,700 We just have to go to the Windows tab again and we click on reference monitor. 1680 01:50:26,900 --> 01:50:29,900 On that monitor, we will be able to preview each 1681 01:50:29,900 --> 01:50:32,966 of the video files that we are going to use in the editing 1682 01:50:33,166 --> 01:50:37,500 so that we can select the exact fragment that we want to use from that video. 1683 01:50:38,700 --> 01:50:39,200 We must 1684 01:50:39,200 --> 01:50:42,200 understand what is the reference monitor in the program? 1685 01:50:42,200 --> 01:50:45,000 Monitor As I told you, the reference monitor 1686 01:50:45,000 --> 01:50:47,633 allows us to see what we are going to use in editing. 1687 01:50:48,100 --> 01:50:51,900 For example, if I click on this video here, over here 1688 01:50:52,266 --> 01:50:55,266 that I added a moment ago, it will open 1689 01:50:55,266 --> 01:50:57,766 automatically on the reference monitor. 1690 01:50:58,466 --> 01:51:00,800 In that monitor, we will be able to select 1691 01:51:00,800 --> 01:51:05,400 the exact fragment that we want from that video so that we can add 1692 01:51:05,400 --> 01:51:10,466 that small part of video to the timeline when we will be doing the editing 1693 01:51:11,433 --> 01:51:14,700 to choose that small part of video, we must press the eye 1694 01:51:14,733 --> 01:51:18,333 to mark the beginning and then oh to mark the end, 1695 01:51:18,700 --> 01:51:24,400 which is actually in and out to Mark and and out of that video fragment. 1696 01:51:26,266 --> 01:51:26,700 Once we 1697 01:51:26,700 --> 01:51:30,700 know which part of the video we need, we are ready to take it to the timeline 1698 01:51:31,466 --> 01:51:34,366 which is the place where we will be doing the editing. 1699 01:51:34,733 --> 01:51:37,333 There are three ways to direct the video clip. 1700 01:51:37,933 --> 01:51:43,133 The first is by clicking directly on the video in dragging it to the timeline. 1701 01:51:43,500 --> 01:51:47,366 That way, we will track both the video and the audio of the file. 1702 01:51:48,066 --> 01:51:50,800 The second way is by clicking only in this film, 1703 01:51:50,800 --> 01:51:54,533 the roll symbol, which allows us to drag just the video. 1704 01:51:55,166 --> 01:51:58,433 And the third way is by clicking on this little sound 1705 01:51:58,433 --> 01:52:01,600 wave that allows me to direct only the audio. 1706 01:52:01,600 --> 01:52:04,933 So at this moment I'm going to add the audio and video 1707 01:52:04,933 --> 01:52:08,066 at the same time to the timeline as an example. 1708 01:52:09,533 --> 01:52:09,900 So the 1709 01:52:09,900 --> 01:52:13,733 software will ask us if we want to keep the settings of the sequence 1710 01:52:14,100 --> 01:52:18,000 or if we want to change the settings to those of the video file. 1711 01:52:18,366 --> 01:52:20,800 We must click on keep the existing settings 1712 01:52:21,000 --> 01:52:24,966 so that they continue to be the same as the ones we choose for the sequence. 1713 01:52:25,366 --> 01:52:28,200 From this moment on, we are able to see images 1714 01:52:28,200 --> 01:52:30,866 on the program Monitor What I mean by this. 1715 01:52:31,466 --> 01:52:35,533 This means that the program monitor will always be connected to the sequences. 1716 01:52:35,933 --> 01:52:39,300 If there is no sequence, nothing will be seen on the program. 1717 01:52:39,300 --> 01:52:44,600 Monitor In fact, for the timeline to open, which is the timeline 1718 01:52:44,600 --> 01:52:48,900 where we do the editing, where I just added the video fragment 1719 01:52:49,066 --> 01:52:52,600 for the timeline to open, there must be sequences. 1720 01:52:53,266 --> 01:52:56,166 For example, here in the tray there is a sequence. 1721 01:52:56,166 --> 01:53:00,233 We can identify the sequences because they had these little loosening 1722 01:53:00,266 --> 01:53:04,300 all in the corner that's like little overlapping bars. 1723 01:53:04,966 --> 01:53:08,766 Actually, you can notice that in the older video files there is not these. 1724 01:53:09,266 --> 01:53:14,066 There is simply now the wave form, which means that the file also contains audio. 1725 01:53:14,766 --> 01:53:17,200 So look, I'm going to delete the sequence 1726 01:53:17,700 --> 01:53:21,600 so that you can see how the timeline automatically disappears. 1727 01:53:21,900 --> 01:53:26,900 That is it closes because the timeline is practically the sequence inside. 1728 01:53:27,700 --> 01:53:31,633 So I think it's a good way to understand how the timeline works. 1729 01:53:31,933 --> 01:53:33,300 I'm going to reverse this. 1730 01:53:33,300 --> 01:53:34,633 I mean, Contours Z, 1731 01:53:35,933 --> 01:53:38,100 so I'm going to click on the sequence again 1732 01:53:38,100 --> 01:53:40,733 so you can see the timeline open again. 1733 01:53:41,700 --> 01:53:45,066 So even though our monitors are connected to different things, 1734 01:53:45,066 --> 01:53:49,233 I mean, the program monitor to the sequences and the reference monitor 1735 01:53:49,233 --> 01:53:52,333 to the files in the tray, both monitors. 1736 01:53:52,333 --> 01:53:54,700 Sure. It's certain important features. 1737 01:53:55,366 --> 01:53:59,633 For example, here in this little tab where it reads quarter 1738 01:54:00,166 --> 01:54:02,600 there, we can change the resolution with which 1739 01:54:02,766 --> 01:54:06,100 we want to sequence or DVD file to be reproduced. 1740 01:54:06,633 --> 01:54:11,100 Obviously, the higher resolution, the more resources the computer consumes. 1741 01:54:11,766 --> 01:54:14,166 Also, in this other tab, we can change 1742 01:54:14,166 --> 01:54:17,233 how close we want to serve the details of the video. 1743 01:54:17,666 --> 01:54:22,266 But your attention and not changing the some of the video in the editing simply 1744 01:54:22,266 --> 01:54:26,466 how close are far unseen the image that appears on the monitor? 1745 01:54:27,133 --> 01:54:29,533 We can see it's very close or very far. 1746 01:54:29,533 --> 01:54:32,666 This works to see details such as how focused 1747 01:54:32,666 --> 01:54:36,033 an image is or details of the skin color. 1748 01:54:36,033 --> 01:54:40,966 For example, obviously the most important is the program monitor, 1749 01:54:41,000 --> 01:54:44,000 where we will see what we are editing in the sequences. 1750 01:54:44,500 --> 01:54:47,700 It's important to know these in the same way as we use 1751 01:54:47,700 --> 01:54:50,733 the eye and the all for the in and out. 1752 01:54:51,366 --> 01:54:54,000 We can do the same in the sequence to determine 1753 01:54:54,000 --> 01:54:57,566 what will be the beginning and the end of what we want to export. 1754 01:54:57,566 --> 01:54:59,633 When we had finished editing. 1755 01:55:00,100 --> 01:55:03,433 So in the lower right part of the program monitor, 1756 01:55:03,666 --> 01:55:07,333 you will see the time related to the duration of that part 1757 01:55:07,400 --> 01:55:11,566 of the sequence that we have selected by using the in and out. 1758 01:55:12,733 --> 01:55:13,100 Another 1759 01:55:13,100 --> 01:55:15,933 important detail that we are going to see throughout the course 1760 01:55:16,233 --> 01:55:19,733 are these tools that appear here below in the program. 1761 01:55:19,733 --> 01:55:22,966 Monitor I'm going to mention the most important ones 1762 01:55:22,966 --> 01:55:26,366 because in fact there are some that you will never use in your life, 1763 01:55:27,000 --> 01:55:29,700 not because they are useless, but because, 1764 01:55:29,700 --> 01:55:32,933 as I told you, there are many ways to do the same in the software. 1765 01:55:33,433 --> 01:55:36,300 For example, if we wanted to make a static image 1766 01:55:36,300 --> 01:55:40,733 of a specific moment in the video that is generate a photograph, 1767 01:55:41,266 --> 01:55:44,100 we can click on this little camera that we see here 1768 01:55:44,100 --> 01:55:47,633 and generate a photograph from that frame there. 1769 01:55:47,633 --> 01:55:50,766 It indicates the path in which the image will be saved, 1770 01:55:51,066 --> 01:55:54,966 but also this same image will be added to the project automatically. 1771 01:55:55,533 --> 01:55:58,566 So we can use that photo as if it were another video 1772 01:55:59,066 --> 01:56:01,900 that we can mix photos with videos only. 1773 01:56:01,900 --> 01:56:04,200 Obviously the photo is not emotion, 1774 01:56:04,866 --> 01:56:08,866 so we simply track the photo to the timeline and we can it. 1775 01:56:10,000 --> 01:56:10,533 There are 1776 01:56:10,533 --> 01:56:14,633 other important tools that are below, such as the proxy commentator 1777 01:56:15,233 --> 01:56:19,333 We must activated to be precise in this little cross right here, 1778 01:56:20,133 --> 01:56:22,700 and then drag the commentator icon 1779 01:56:22,700 --> 01:56:26,300 to the monitor. 1780 01:56:26,300 --> 01:56:30,500 So this tool allows me to connect the video files to their respective 1781 01:56:30,600 --> 01:56:33,833 proxy files, which are something very important. 1782 01:56:34,033 --> 01:56:37,800 If we are going to see that later on, that will allows us to be able 1783 01:56:37,800 --> 01:56:39,566 to edit in any resolution 1784 01:56:39,566 --> 01:56:43,100 despite the fact that our computer doesn't have enough power. 1785 01:56:44,133 --> 01:56:46,966 I'm going to leave this up to here so that you can review 1786 01:56:46,966 --> 01:56:50,100 and digest this content step by step. 1787 01:56:50,400 --> 01:56:53,433 We will continue reviewing the software layout 1788 01:56:53,433 --> 01:57:15,700 in the next lesson. 1789 01:57:15,700 --> 01:57:16,266 Perfect. 1790 01:57:16,266 --> 01:57:18,566 We are here again in Adobe Premiere. 1791 01:57:18,966 --> 01:57:22,700 In this lesson, we're going to see how to create sequence, 1792 01:57:22,700 --> 01:57:27,500 which I think is the most important thing to start working in Adobe Premiere. 1793 01:57:27,933 --> 01:57:31,933 Before we begin, I wanted to mention something related to the distribution of, 1794 01:57:31,933 --> 01:57:33,300 the folders. 1795 01:57:33,300 --> 01:57:36,566 When we are in a project, we must know what the general folder 1796 01:57:36,566 --> 01:57:39,600 is and in order to identify it, it was simple. 1797 01:57:39,600 --> 01:57:43,000 Observe that the name of the project appears sound more aligned, 1798 01:57:43,333 --> 01:57:44,433 as you can see here. 1799 01:57:44,433 --> 01:57:46,433 Well, we are in that folder. 1800 01:57:46,433 --> 01:57:49,266 Additionally, the return button is not enabled. 1801 01:57:49,500 --> 01:57:51,966 This building here is not enabled. 1802 01:57:51,966 --> 01:57:56,066 If I click on this folder automatically, the return button is enabled. 1803 01:57:56,433 --> 01:58:00,333 And of course in this case these folders intensified with another name 1804 01:58:00,333 --> 01:58:02,200 which is being. 1805 01:58:02,200 --> 01:58:05,300 But remember that you can identify the folders as you want. 1806 01:58:05,833 --> 01:58:08,566 That is put the name you want. 1807 01:58:08,566 --> 01:58:12,666 So I will write folder one. 1808 01:58:12,666 --> 01:58:16,233 So knowing this, we can now move on to what is important. 1809 01:58:16,500 --> 01:58:18,733 How to create a sequence. 1810 01:58:18,733 --> 01:58:23,133 First of all, by clicking the right mouse button either inside the folder 1811 01:58:23,633 --> 01:58:28,466 or in this space up here, the option to create a new element will be enabled. 1812 01:58:29,133 --> 01:58:33,266 It can be a new folder, a folder search, which is in the case 1813 01:58:33,266 --> 01:58:37,200 that we have many folders, or it can also be a new item. 1814 01:58:37,366 --> 01:58:41,133 In this last option, a long set of items will appear, 1815 01:58:41,133 --> 01:58:45,000 but for now you're going to focus mainly on the first one in the sequence. 1816 01:58:45,633 --> 01:58:49,500 Immediately, when creating the sequence, this window opens 1817 01:58:49,800 --> 01:58:52,933 where these folders, different presets will appear. 1818 01:58:53,433 --> 01:58:56,566 Each of these presets are related to the configurations 1819 01:58:56,566 --> 01:59:01,300 of the different types of cameras with which we could had shot the scenes. 1820 01:59:02,066 --> 01:59:04,866 I don't recommend using any of these presets 1821 01:59:05,133 --> 01:59:08,900 because we are supposed to learn to configure our sequence 1822 01:59:08,900 --> 01:59:12,933 by understanding each of the parameters that these sequences will have. 1823 01:59:13,266 --> 01:59:17,500 In the end, we have to be able to configure the sequence as we really want. 1824 01:59:17,833 --> 01:59:21,500 Not to mention that many of these presets related to formats 1825 01:59:21,833 --> 01:59:26,500 for wave television broadcast that almost no longer exist. 1826 01:59:26,933 --> 01:59:30,000 So we must go directly to settings. 1827 01:59:30,000 --> 01:59:34,033 So right here we are going to be able to choose the specific parameters 1828 01:59:34,033 --> 01:59:35,400 for the sequence. 1829 01:59:35,400 --> 01:59:37,733 The first is the editing mode. 1830 01:59:37,733 --> 01:59:41,166 Here we are going to find all the presets that we saw previously, 1831 01:59:41,166 --> 01:59:43,200 but all displayed on a list. 1832 01:59:43,200 --> 01:59:46,000 But as I told you, it will always be better to do it 1833 01:59:46,000 --> 01:59:50,300 ourselves, to choose the specific parameters for our sequence. 1834 01:59:50,400 --> 01:59:55,033 So I recommend you select custom Selecting custom enables 1835 01:59:55,033 --> 01:59:59,233 the configuration of all the parameters, so pay attention to the difference. 1836 01:59:59,233 --> 02:00:01,500 If I select any of the other presets, 1837 02:00:02,233 --> 02:00:05,266 notice how I cannot modify the frame size 1838 02:00:05,566 --> 02:00:09,533 nor the visualization field, nor to video previews. 1839 02:00:09,533 --> 02:00:11,200 So as I told you, when you select 1840 02:00:11,200 --> 02:00:14,866 custom all the parameters you can modify as you want. 1841 02:00:15,300 --> 02:00:18,300 So make sure then that the sequences in custom, 1842 02:00:18,566 --> 02:00:21,300 the first parameter is set frames per second. 1843 02:00:21,566 --> 02:00:24,900 Remember that moving images are made up of frames 1844 02:00:25,200 --> 02:00:28,000 that are photos that were buzzing quickly one 1845 02:00:28,000 --> 02:00:30,933 after generating the fact of motion. 1846 02:00:31,200 --> 02:00:34,733 In the case of cinema, it's 24 frames per second. 1847 02:00:35,000 --> 02:00:38,500 23 Come on, 876 is exactly the same. 1848 02:00:38,833 --> 02:00:42,300 There are audio configurations such as those of television 1849 02:00:42,300 --> 02:00:45,933 that have 30 frames or 60 frames per second, 1850 02:00:46,333 --> 02:00:49,800 but we must always set it to 24 frames per second. 1851 02:00:49,900 --> 02:00:52,366 After days, we must go to the video box. 1852 02:00:52,600 --> 02:00:55,733 In this box we are going to find five important parameters. 1853 02:00:56,100 --> 02:00:57,200 We're going to pay attention 1854 02:00:57,200 --> 02:01:01,400 to the first two, the frame size and the pixel aspect ratio. 1855 02:01:01,900 --> 02:01:04,133 Let's start with the frame size. 1856 02:01:04,133 --> 02:01:07,733 This parameter will allow us to set the resolution of the frame 1857 02:01:08,000 --> 02:01:11,400 that is the number of pixels that each frames will have. 1858 02:01:11,733 --> 02:01:15,533 Remember that each format, HD, two, K, etc. 1859 02:01:15,533 --> 02:01:17,733 has a specific number of pixels. 1860 02:01:18,166 --> 02:01:23,133 The next parameter pixel aspect ratio is related to the type of defamation 1861 02:01:23,133 --> 02:01:28,266 that each of these pixels will have to adapt to a specific type of the screen. 1862 02:01:28,933 --> 02:01:31,800 Remember that there are different types of two screens. 1863 02:01:32,200 --> 02:01:34,366 Those elongated movie screens, 1864 02:01:34,933 --> 02:01:37,733 also the screens of the digital televisions 1865 02:01:38,033 --> 02:01:42,500 and even the television screens of the last century that are more square. 1866 02:01:43,100 --> 02:01:46,000 The pixels aspect ratio distorts the pixels. 1867 02:01:46,000 --> 02:01:48,100 To achieve these adaptation. 1868 02:01:48,100 --> 02:01:50,266 And I will give you an example here. 1869 02:01:50,266 --> 02:01:53,933 It reads for 1040 by 1080. 1870 02:01:54,233 --> 02:01:57,433 But here on one side it also reads 1690. 1871 02:01:57,800 --> 02:02:02,866 And that means that with the distortion that the pixel aspect ratio of 1.3 1872 02:02:03,000 --> 02:02:06,400 is generated in the screen with Luke 16 nine 1873 02:02:06,600 --> 02:02:09,566 because the pixels are stretched to the size to chip it. 1874 02:02:09,800 --> 02:02:12,600 But this is not the correct way to do it in a video 1875 02:02:12,600 --> 02:02:15,500 editing of this time 2023. 1876 02:02:15,833 --> 02:02:19,866 Because today almost all devices everywhere have a high resolution 1877 02:02:19,866 --> 02:02:23,633 and many screens that adapt to the original size of the video. 1878 02:02:24,233 --> 02:02:29,233 So knowing this, we must go back the settings and select into square pixels. 1879 02:02:30,000 --> 02:02:31,533 We attention that in the tab. 1880 02:02:31,533 --> 02:02:34,033 There are several defamation options, 1881 02:02:34,533 --> 02:02:38,166 but I highly recommend you always use square pixels 1882 02:02:38,766 --> 02:02:41,466 so that the shape of the image is really related 1883 02:02:41,466 --> 02:02:45,766 to the number of pixels that we have set in the frame size. 1884 02:02:45,766 --> 02:02:48,066 But attention now to the actual size. 1885 02:02:48,066 --> 02:02:52,800 If related to this resolution in a square pixel aspect ratio, 1886 02:02:53,166 --> 02:02:56,233 the image now looks a square like a normal television 1887 02:02:56,500 --> 02:02:59,833 because it's respecting the square aspect of the pixels. 1888 02:03:00,366 --> 02:03:03,000 So if I wanted to change the size of the image 1889 02:03:03,200 --> 02:03:06,100 so that it looks like a digital television screen 1890 02:03:06,100 --> 02:03:08,900 in any home that is 1690, 1891 02:03:09,133 --> 02:03:13,333 then I will have to take it to 1920 by 1080. 1892 02:03:13,866 --> 02:03:18,466 In that way, the image would be 1990 with the square pixels 1893 02:03:18,700 --> 02:03:22,800 like a digital television, and we would be doing it the right way. 1894 02:03:23,433 --> 02:03:26,600 That means that if I wanted to create a much more stretch 1895 02:03:26,666 --> 02:03:31,333 look to the sides, as in the case of movie screens, I would have to add 1896 02:03:31,433 --> 02:03:36,100 many more pixels to the horizontal line to get to that size. 1897 02:03:36,566 --> 02:03:40,800 On the other hand, it's important to know these I mean, if it's the case of a video 1898 02:03:41,166 --> 02:03:45,333 for Instagram or TikTok, I mean, with a vertical appearance, 1899 02:03:45,333 --> 02:03:48,433 you must convert into the proportion of the size of the image. 1900 02:03:49,333 --> 02:03:52,766 So we mass resize first 1080 1901 02:03:53,933 --> 02:03:56,200 and then 1920, for example. 1902 02:03:57,100 --> 02:03:59,300 So in this way, our program monitor 1903 02:03:59,300 --> 02:04:02,000 will have the appearance of a video for reals. 1904 02:04:02,600 --> 02:04:05,500 But doing this, you must pay close attention to something. 1905 02:04:06,066 --> 02:04:08,766 It happens that when you are editing later on 1906 02:04:09,066 --> 02:04:11,833 you are going to have to adapt the videos to this aspect. 1907 02:04:12,366 --> 02:04:15,766 So you are going to have to zoom in in the image enough in order 1908 02:04:15,766 --> 02:04:17,400 to adapt to the aspect. 1909 02:04:17,400 --> 02:04:19,600 But we are going to lose resolution. 1910 02:04:19,600 --> 02:04:21,600 So I had two reminders. 1911 02:04:21,600 --> 02:04:25,200 First of all is that you record with a camera with enough resolution 1912 02:04:25,500 --> 02:04:30,200 so that even by zooming in that way, you don't lose much resolution. 1913 02:04:30,733 --> 02:04:36,033 The other solution is to turn the camera vertically so that it records vertically. 1914 02:04:36,366 --> 02:04:37,100 The problem means 1915 02:04:37,100 --> 02:04:40,666 that you are going to be able to do this only without the SLR camera. 1916 02:04:41,000 --> 02:04:46,333 With a film camera is not that easy. 1917 02:04:46,333 --> 02:04:50,700 But let's continue with another important thing about the pixel aspect radio, 1918 02:04:51,166 --> 02:04:54,733 because there are still cameras in the market record, 1919 02:04:54,733 --> 02:04:58,266 for example, 1920 by 1080. 1920 02:04:58,533 --> 02:05:01,800 But they give us the possibility of having a cinematic 1921 02:05:01,800 --> 02:05:04,700 look that is elongated to the sides. 1922 02:05:05,100 --> 02:05:09,933 So that file generated by the camera would come with distorted pixels by default. 1923 02:05:10,366 --> 02:05:13,066 So in those cases, the pixel aspect ratio 1924 02:05:13,066 --> 02:05:16,533 tool is useful so that the image is not distorted. 1925 02:05:17,100 --> 02:05:21,733 So if it's the case that we are working with a camera whose files are in HD 1926 02:05:22,133 --> 02:05:24,800 but distorted to 1.3 to have 1927 02:05:24,800 --> 02:05:28,133 a cinematic look, our sequence cannot be set 1928 02:05:28,133 --> 02:05:31,800 in a square pixels because the image will look squishy. 1929 02:05:32,233 --> 02:05:35,433 So in example, you are looking at you can see how any mature 1930 02:05:35,433 --> 02:05:39,733 originally recorded with a pixel aspect ratio of 1.3 1931 02:05:39,733 --> 02:05:43,400 would look like in a sequence with a square pixels. 1932 02:05:43,400 --> 02:05:47,266 Now, particularly in the opposite case, it works differently. 1933 02:05:47,866 --> 02:05:50,866 I mean, if the video file I am using originally 1934 02:05:50,866 --> 02:05:55,066 has a big aspect ratio of one that is its square. 1935 02:05:55,400 --> 02:05:59,533 If I changed the configuration after sequence took 1.3, 1936 02:06:00,000 --> 02:06:02,933 the video image would not be distorted. 1937 02:06:02,933 --> 02:06:06,633 Simply that when the file is a sports, the file will have 1938 02:06:06,666 --> 02:06:09,000 the pixels stretched to the sides. 1939 02:06:09,800 --> 02:06:12,833 It's important to know that almost all movie cameras 1940 02:06:13,300 --> 02:06:16,066 do not distort the pixel aspect ratio. 1941 02:06:16,633 --> 02:06:20,500 They seem to bring in configurations with more pixels of fewer pixels 1942 02:06:20,700 --> 02:06:24,833 to adapt to the number of pixels to the wide aspect of the movie screen 1943 02:06:24,966 --> 02:06:27,700 or to aspect a square for televisions. 1944 02:06:28,500 --> 02:06:30,900 In any case, you can play with this parameter. 1945 02:06:30,900 --> 02:06:33,566 I will always recommend using the square pixels, 1946 02:06:33,800 --> 02:06:37,466 and if it's the case that you need the image to look wider or simply modify 1947 02:06:37,466 --> 02:06:41,266 the number of pixels to the necessary point, In fact, 1948 02:06:41,400 --> 02:06:44,733 you didn't even have to respect traditional aspect to radius. 1949 02:06:45,000 --> 02:06:48,200 You can make the image as wide or as square as you want. 1950 02:06:48,466 --> 02:06:52,100 These here is the traditional look of digital screens. 1951 02:06:52,100 --> 02:06:54,000 16 nine. 1952 02:06:54,000 --> 02:06:58,200 It's important to mention that even after creating the sequence, you can continue 1953 02:06:58,200 --> 02:07:02,966 modifying the parameters of the sequence by simply clicking on the sequence 1954 02:07:03,300 --> 02:07:06,766 with the right mouse button and then going to the sequence 1955 02:07:06,766 --> 02:07:11,200 settings. 1956 02:07:11,200 --> 02:07:13,766 So the next parameter is the fields. 1957 02:07:14,133 --> 02:07:16,033 What does this consist of? 1958 02:07:16,033 --> 02:07:20,600 Long ago when there were only analog televisions in analog television 1959 02:07:20,600 --> 02:07:24,600 broadcast, one thing was to play a movie in a movie theater 1960 02:07:25,233 --> 02:07:28,666 in quite in order to broadcast it by open signal, 1961 02:07:29,133 --> 02:07:33,133 transmit time frames per second to an open signal was very difficult. 1962 02:07:33,533 --> 02:07:36,000 So they had to resort to another technology 1963 02:07:36,000 --> 02:07:39,600 so that the human side could perceive the frames per second. 1964 02:07:39,600 --> 02:07:41,200 As in a movie theater. 1965 02:07:41,200 --> 02:07:46,500 Then a technology was invented that allowed the frames to be duplicated 1966 02:07:47,033 --> 02:07:51,000 by using horizontal bars that displayed the image fast enough 1967 02:07:51,233 --> 02:07:55,800 so that the human eye would not detect the frames passing one after another. 1968 02:07:56,333 --> 02:07:59,666 So one of those technologies is NTSC 1969 02:08:00,133 --> 02:08:02,733 that is used throughout American continent 1970 02:08:03,066 --> 02:08:06,633 in the order is Paul technology that is used in Europe. 1971 02:08:07,233 --> 02:08:11,033 So we have these two options to choose from here and lower field 1972 02:08:11,033 --> 02:08:14,166 first that belong to those two technologies. 1973 02:08:14,800 --> 02:08:17,200 But these exist in Adobe Premiere 1974 02:08:17,200 --> 02:08:20,133 because even today there is an open signal television. 1975 02:08:20,633 --> 02:08:23,100 So it's necessary that we had the possibility 1976 02:08:23,100 --> 02:08:26,133 of setting up our project under that configuration. 1977 02:08:26,700 --> 02:08:30,933 But the truth is that you must always set the sequence in progressive scan. 1978 02:08:30,933 --> 02:08:33,233 That is, those parts don't appear. 1979 02:08:33,600 --> 02:08:37,400 So the frame flow is continuous, as in a digital television. 1980 02:08:37,900 --> 02:08:41,500 That way you can have the best video quality in your sequence 1981 02:08:42,033 --> 02:08:46,133 and then later in the expert if you want or it's necessary for you, 1982 02:08:46,366 --> 02:08:51,533 you can adapt the final file to NTSC or file format when necessary. 1983 02:08:52,100 --> 02:08:55,566 But always remember to set the sequence in progressive 1984 02:08:55,800 --> 02:08:59,333 so that the image is as clean as possible. 1985 02:08:59,333 --> 02:09:02,400 Actually, if you forget to set these to progressive, 1986 02:09:02,400 --> 02:09:08,733 you will notice some horizontal bars on the image. 1987 02:09:08,733 --> 02:09:12,600 The next parameter that we have here is the time measurement mode 1988 02:09:12,900 --> 02:09:15,533 in the timeline display format 1989 02:09:15,933 --> 02:09:19,233 I already told you about it when we were creating the project. 1990 02:09:19,666 --> 02:09:21,033 There are several options. 1991 02:09:21,033 --> 02:09:24,700 The first is to tell the software to follow the frames per second 1992 02:09:25,100 --> 02:09:27,900 while viewing continuous time. 1993 02:09:27,900 --> 02:09:31,866 This second option num drop frame timecode is a mode 1994 02:09:31,866 --> 02:09:35,700 that allows us to adapt to the errors that the capture may have as a result 1995 02:09:35,700 --> 02:09:39,100 of the data transmission process from the tape to the computer. 1996 02:09:39,333 --> 02:09:43,900 So this option allows me to skip those errors and follow continuous time. 1997 02:09:44,333 --> 02:09:45,600 We are not going to use this. 1998 02:09:45,600 --> 02:09:47,800 We should always use the timecode 1999 02:09:47,800 --> 02:09:51,100 which is the way adapted to real time in the editing. 2000 02:09:51,100 --> 02:09:54,200 And you yourself will realize this when you are measuring 2001 02:09:54,200 --> 02:09:57,733 the duration of a scene over and over again. 2002 02:09:57,733 --> 02:10:03,033 There's also the feed blass frames 16 millimeters and 35 millimeters mode. 2003 02:10:03,533 --> 02:10:07,400 This is for film roll cameras with this analog format. 2004 02:10:07,400 --> 02:10:08,733 Then the software measures 2005 02:10:08,733 --> 02:10:12,900 the amount of film real in its relation to the frames per second. 2006 02:10:13,066 --> 02:10:15,933 And finally, there is the frame small in which only 2007 02:10:15,933 --> 02:10:18,766 the frames will displayed in not the time. 2008 02:10:19,066 --> 02:10:21,500 What is the difference visually on the timeline 2009 02:10:22,033 --> 02:10:23,933 we're going to use, for example, the continuous. 2010 02:10:23,933 --> 02:10:28,233 TimeCode So now look at the timeline where you can see the time directly 2011 02:10:28,566 --> 02:10:31,800 and have the general time meter not only on the timeline 2012 02:10:31,800 --> 02:10:34,200 but also on the program monitor. 2013 02:10:34,800 --> 02:10:36,600 But you can change this into settings. 2014 02:10:36,600 --> 02:10:41,566 For example, two frames now pay attention that the time shift to frames 2015 02:10:42,266 --> 02:10:45,666 now it shows each of the frames and here on the monitor 2016 02:10:45,933 --> 02:10:50,233 it rich Sierra because there's not any video selected in the timeline 2017 02:10:50,766 --> 02:10:53,600 but also in the same timeline workspace, 2018 02:10:53,600 --> 02:10:56,333 we can change the time display we want. 2019 02:10:56,800 --> 02:11:00,833 I mean, it's a feature that is not exclusive to the sequence settings. 2020 02:11:01,200 --> 02:11:04,100 And in the same way, you can also change it in the program. 2021 02:11:04,100 --> 02:11:04,666 Monitor 2022 02:11:06,200 --> 02:11:07,200 The next parameter 2023 02:11:07,200 --> 02:11:10,266 is the working color space that I had mentioned. 2024 02:11:10,266 --> 02:11:12,133 When we would create in the project. 2025 02:11:12,133 --> 02:11:15,833 We had several options to work with high dynamic range of colors. 2026 02:11:16,166 --> 02:11:18,800 But as I told you, I will explain them later. 2027 02:11:19,300 --> 02:11:23,033 The important thing is that we can change all these settings when we want 2028 02:11:23,600 --> 02:11:26,400 the next parameter is the audio parameter 2029 02:11:26,766 --> 02:11:28,800 where we are going to find the sample rate. 2030 02:11:28,833 --> 02:11:32,800 That is the audio resolution that I had mentioned in the previous lessons. 2031 02:11:33,333 --> 02:11:36,266 So we will be able to choose several resolutions 2032 02:11:36,266 --> 02:11:39,333 and this will depend on the audio interface you have. 2033 02:11:39,900 --> 02:11:44,300 I mean, if you have one or also on the computer's resources, 2034 02:11:44,300 --> 02:11:47,900 of course, the higher resolution, the better the audio will be. 2035 02:11:48,233 --> 02:11:50,966 But it's also consumes many more resources. 2036 02:11:51,433 --> 02:11:54,066 We can not only modify the sample rate, 2037 02:11:54,066 --> 02:11:57,633 but also how the all your time will be measured in the timeline. 2038 02:11:58,133 --> 02:12:00,200 But don't get too hung up on this. 2039 02:12:00,900 --> 02:12:05,333 This doesn't really change anything important, just a visual feature 2040 02:12:05,400 --> 02:12:10,233 on the timeline that we will see later on in these last books we have here. 2041 02:12:10,233 --> 02:12:12,766 Below is the video previews. 2042 02:12:12,766 --> 02:12:16,933 The first parameter of the Xbox has to do with the program monitor. 2043 02:12:17,233 --> 02:12:21,700 That is what type of format the sequence will be displayed on the monitor. 2044 02:12:22,266 --> 02:12:24,600 I highly recommend you choose in quick QuickTime. 2045 02:12:24,600 --> 02:12:26,533 They are simply preview formats. 2046 02:12:26,533 --> 02:12:30,266 In fact, they are all compressed to have a better workflow. 2047 02:12:30,800 --> 02:12:34,066 I always leave it in the animation codec, but there are also 2048 02:12:34,066 --> 02:12:36,300 other progress compressed formats. 2049 02:12:36,566 --> 02:12:38,500 There are many different ones. 2050 02:12:38,500 --> 02:12:41,233 There are some with more quality than others and in fact 2051 02:12:41,433 --> 02:12:44,533 it's something that you can also change at any time. 2052 02:12:45,033 --> 02:12:46,966 This has nothing to do with export. 2053 02:12:46,966 --> 02:12:50,100 It's simply the parameters that the program monitor will have. 2054 02:12:50,100 --> 02:12:51,900 Whether you are editing. 2055 02:12:51,900 --> 02:12:54,866 Let me mention not only QuickTime is useful. 2056 02:12:54,866 --> 02:12:57,633 Also a frame only impact is very good. 2057 02:12:58,300 --> 02:13:03,166 In fact, the difference in performance between the one and the other is not much. 2058 02:13:03,166 --> 02:13:06,633 On the other hand, it's important to mention that the more information 2059 02:13:06,633 --> 02:13:10,933 the video files have, those files that you use in the sequence, 2060 02:13:11,233 --> 02:13:16,933 the computer will also use more resources. 2061 02:13:16,933 --> 02:13:17,733 On the other hand, 2062 02:13:17,733 --> 02:13:21,500 these boxes that are here below had to do with the video preview. 2063 02:13:22,066 --> 02:13:24,600 But the attention that is very well specified, 2064 02:13:24,900 --> 02:13:27,600 they are right inside the video previews box. 2065 02:13:28,200 --> 02:13:31,233 The linear call to compensated help is to have a better color 2066 02:13:31,233 --> 02:13:34,566 in the preview, but consumes more computer resources. 2067 02:13:35,066 --> 02:13:40,500 There are also the options of maximum bit of depth, a maximum render quality. 2068 02:13:40,800 --> 02:13:44,933 The important thing to know is that all these details are for the video preview, 2069 02:13:45,266 --> 02:13:48,966 not for the sequence itself or the file to be exported. 2070 02:13:49,700 --> 02:13:52,466 Something that I usually do while I'm editing 2071 02:13:52,466 --> 02:13:55,766 is turn these parameters on to see an approximation 2072 02:13:56,200 --> 02:14:00,333 of the final quality of the work, and then I turn them off. 2073 02:14:01,600 --> 02:14:02,566 On the other hand, 2074 02:14:02,566 --> 02:14:06,266 when creating the sequence, we also have the possibility of creating 2075 02:14:06,266 --> 02:14:09,533 as many of the tracks we want in the format we want. 2076 02:14:10,100 --> 02:14:13,966 It can be a serial surround 5.1. 2077 02:14:14,100 --> 02:14:17,033 It can be multichannel and also in mono. 2078 02:14:17,533 --> 02:14:20,533 As I told you, you can add as many tracks as you want. 2079 02:14:21,133 --> 02:14:25,433 Adding a new track will automatically open the same number of tracks. 2080 02:14:25,433 --> 02:14:27,633 The mixture in the audio preset. 2081 02:14:27,633 --> 02:14:30,500 For example, here I had added six tracks. 2082 02:14:30,933 --> 02:14:35,933 If I click okay, six tracks will automatically be added to the sequence. 2083 02:14:35,933 --> 02:14:38,266 But if we wanted to add even more audio tracks, 2084 02:14:38,266 --> 02:14:42,400 for example, in this other sequence I created when it was explaining to you, 2085 02:14:42,433 --> 02:14:46,533 we simply had to go to the sequence tab up here and click on track. 2086 02:14:47,133 --> 02:14:50,866 This way I can add more audio or video tracks to the sequence 2087 02:14:50,866 --> 02:14:55,366 and I can even indicate where I want it to appear in relation to the other tracks. 2088 02:14:55,900 --> 02:14:59,433 In fact, I can modify all those same parameters related 2089 02:14:59,433 --> 02:15:03,566 to the audio tracks that we could select when we were creating the sequence. 2090 02:15:03,966 --> 02:15:06,966 In fact, as you can see, you can also select a format 2091 02:15:07,233 --> 02:15:09,966 where there is a stereo mono for surround. 2092 02:15:10,800 --> 02:15:13,200 For example, the mono tracks are very important 2093 02:15:13,200 --> 02:15:16,266 because they are two tracks where we are going to do the dubbing. 2094 02:15:16,966 --> 02:15:19,766 So when we had a mono track, a small symbol will 2095 02:15:19,766 --> 02:15:22,766 automatically be added to the notified That track. 2096 02:15:23,100 --> 02:15:24,500 It's a small speaker. 2097 02:15:24,500 --> 02:15:27,533 It's necessary to do track where we do the job in this mono 2098 02:15:27,533 --> 02:15:31,033 because it's a single microphone which will capture the voice. 2099 02:15:31,200 --> 02:15:33,066 So we will also see this later. 2100 02:15:33,066 --> 02:15:36,733 We get it's something that we will surely have to do as editors. 2101 02:15:37,466 --> 02:15:41,733 And finally, after all the tracks tab, we had the virtual reality tab 2102 02:15:42,066 --> 02:15:45,833 obviously in this course we are not going to touch on this topic 2103 02:15:46,200 --> 02:15:48,966 because neither you nor I have the appropriate 2104 02:15:48,966 --> 02:15:51,566 hardware at this time to explain this to you. 2105 02:15:52,200 --> 02:15:54,433 But I'm very motivated to do it. 2106 02:15:54,433 --> 02:15:56,566 It's something that I plan to add to this course 2107 02:15:56,633 --> 02:15:59,700 once I have all the devices related to this technology. 2108 02:16:00,333 --> 02:16:01,466 But it's important to know 2109 02:16:01,466 --> 02:16:04,566 that Adobe Premiere allows us to work with virtual reality. 2110 02:16:04,866 --> 02:16:08,733 And this is the parameter that allows me to work with those devices. 2111 02:16:09,200 --> 02:16:13,166 This comes with the latest additions of Adobe Premiere. 2112 02:16:13,166 --> 02:16:16,166 Then we press okay, in our sequence is created. 2113 02:16:16,500 --> 02:16:20,400 I know I had to cancel because during the explanation process 2114 02:16:20,400 --> 02:16:24,666 the sequence was created automatically and remember that by right 2115 02:16:24,666 --> 02:16:28,066 clicking on the sequence and then going to the sequence settings, 2116 02:16:28,433 --> 02:16:33,200 you can still modify the sequence settings as many times as you want. 2117 02:16:33,200 --> 02:16:37,100 That would be everything with respect to creating a sequence in. 2118 02:16:37,100 --> 02:16:41,133 As I told you, this sequence will be connected to the program monitor. 2119 02:16:41,700 --> 02:16:45,700 So once we had our sequence created, we're going to start adding videos 2120 02:16:45,700 --> 02:16:49,466 to the timeline that is the fragment of the video we want. 2121 02:16:50,133 --> 02:16:52,400 When we do it, the software will ask us if. 2122 02:16:52,400 --> 02:16:55,333 We want to keep the existing settings in the sequence 2123 02:16:55,600 --> 02:16:58,766 or if we want to change the settings to those of the video file. 2124 02:16:59,033 --> 02:17:14,400 And we must click on keep existing settings. 2125 02:17:14,400 --> 02:17:17,833 That would be all important when it comes to creating a sequence. 2126 02:17:18,166 --> 02:17:22,866 From now on, we are going to store to dive deeper into editing and understand 2127 02:17:22,866 --> 02:17:25,933 what are those fundamental tools that will allow you 2128 02:17:25,933 --> 02:17:28,533 to truly become an editor for film. 2129 02:17:29,033 --> 02:17:31,000 I see you in the next lesson. You 2130 02:17:53,166 --> 02:17:53,833 Hello people. 2131 02:17:53,833 --> 02:17:57,633 I really want to give you some important piece of advice, not only as a video 2132 02:17:57,633 --> 02:18:01,533 editor or a film director, but an artist himself. 2133 02:18:02,000 --> 02:18:06,033 I know that many of you also shoot videos, or at least a large part of you 2134 02:18:06,300 --> 02:18:11,133 are interested in one way or another in shooting stories or whatever, 2135 02:18:11,133 --> 02:18:14,166 and obviously editing is part of that process. 2136 02:18:14,733 --> 02:18:18,433 But the truth is that the tools that you need to know to adhere to professionally 2137 02:18:18,433 --> 02:18:22,633 or well enough to carry out an audio project are not too many. 2138 02:18:23,000 --> 02:18:26,066 So the rest of the knowledge doesn't come from itself, 2139 02:18:26,400 --> 02:18:30,466 from learning all the terms, shortcuts or functions of a software 2140 02:18:31,033 --> 02:18:35,400 it doesn't matter which one it is Premiere Sonny Vegas or DaVinci. 2141 02:18:36,100 --> 02:18:39,000 I mean, the rest of the knowledge comes from how we use you. 2142 02:18:39,000 --> 02:18:44,266 Are you consuming quality in terms of image of any stories? 2143 02:18:44,866 --> 02:18:47,500 So if there are not qualitative references 2144 02:18:47,500 --> 02:18:51,000 in your mind, it's impossible for you to have a quality result. 2145 02:18:51,000 --> 02:18:53,166 Editing a simple asset. 2146 02:18:53,700 --> 02:18:57,000 For example, you cannot expect to be a great air cinematographer 2147 02:18:57,366 --> 02:18:59,400 if you only consume Marvel movies. 2148 02:19:00,033 --> 02:19:00,966 I'm not trying to say 2149 02:19:00,966 --> 02:19:04,466 that you cannot learn technical things from a superhero movie, 2150 02:19:04,800 --> 02:19:07,700 but you have to learn, first of all, to be fully aware of what 2151 02:19:07,700 --> 02:19:09,000 you are watching on the screen. 2152 02:19:09,000 --> 02:19:11,333 And in order to have a visual culture. 2153 02:19:11,733 --> 02:19:13,900 I always talk about this with my colleagues 2154 02:19:14,366 --> 02:19:18,000 and I use an example the movie Spider-Man in Forest Gump. 2155 02:19:18,233 --> 02:19:19,900 I mean, the way they shoot at the scene. 2156 02:19:19,900 --> 02:19:23,033 The boss in the movie is Spider-Man, and I compare it with 2157 02:19:23,033 --> 02:19:26,333 the one in the movie Forrest Gump, for example. 2158 02:19:26,333 --> 02:19:29,600 Pay attention to these first shot of the scene. 2159 02:19:29,600 --> 02:19:32,400 Are you aware, for example, that the colors of the costumes 2160 02:19:32,400 --> 02:19:36,700 were specifically chosen to match the range of colors of the grass? 2161 02:19:37,100 --> 02:19:40,100 That is very important because video editors can change 2162 02:19:40,100 --> 02:19:43,100 or modify the colors of any elements in a scene. 2163 02:19:43,100 --> 02:19:46,300 For example, look at this man that's painting. 2164 02:19:46,300 --> 02:19:50,566 It's the same selection of colors in the composition, the blue of the shirts. 2165 02:19:50,566 --> 02:19:53,633 It's representing that blue color of this guy. 2166 02:19:54,300 --> 02:19:57,600 This other painting by moonlight is the same blue 2167 02:19:57,600 --> 02:20:01,633 in shades of green our colors that match that green of the grass. 2168 02:20:01,900 --> 02:20:05,233 So what I'm trying to say is that this scene is not like that 2169 02:20:05,633 --> 02:20:08,466 because the color palette downloaded from the Internet 2170 02:20:08,700 --> 02:20:12,000 I mean, is the byproduct of having a great visual culture. 2171 02:20:12,733 --> 02:20:16,233 On the other hand, the attention to the duration of this first shot, 2172 02:20:16,466 --> 02:20:19,900 that shot last long enough on the screen to detail 2173 02:20:19,933 --> 02:20:24,233 that there is a dirt road and they leave far from the city or town. 2174 02:20:25,033 --> 02:20:28,500 Now, pay attention to the green color of the ceiling, the bus 2175 02:20:28,966 --> 02:20:32,666 that was also deliberately drawn to match the whole country vibe 2176 02:20:32,700 --> 02:20:35,800 because that is the road the boss is traveling on. 2177 02:20:36,766 --> 02:20:40,066 I'm forced for car 2178 02:20:40,066 --> 02:20:40,300 door. 2179 02:20:40,300 --> 02:20:48,900 Dorothy Harris Well, now we're strangers anymore. 2180 02:20:48,900 --> 02:20:53,366 Now pay attention that the close shots are only reserved for the main character 2181 02:20:53,633 --> 02:20:54,600 and that no one else 2182 02:20:54,600 --> 02:20:58,600 has the same color in their clothes that forest has in the shirt. 2183 02:20:58,900 --> 02:21:02,766 And I would say that even the color of the children's clothing is selected 2184 02:21:02,766 --> 02:21:05,800 so that no one stands out and also blends 2185 02:21:05,800 --> 02:21:10,533 with the color of the seats. 2186 02:21:10,533 --> 02:21:14,700 Can't sit here. 2187 02:21:14,700 --> 02:21:20,166 You know, it's funny what a young man recollects because I don't pay attention 2188 02:21:20,166 --> 02:21:23,766 also that even the shirt that forest has an adult is blue. 2189 02:21:23,766 --> 02:21:27,900 Also, it's only so we connected with the child directly 2190 02:21:28,200 --> 02:21:30,466 but also matches the trees around. 2191 02:21:31,200 --> 02:21:34,266 On the other hand, just at the moment that the girls appears on the screen 2192 02:21:34,266 --> 02:21:39,300 for the first time in the film, the most powerful lay motif of the sun took place. 2193 02:21:41,100 --> 02:21:41,700 I had never 2194 02:21:41,700 --> 02:21:44,600 seen anything beautiful in my life. 2195 02:21:45,500 --> 02:21:48,066 She was like an angel. 2196 02:21:48,066 --> 02:21:50,166 Have you noticed that exactly the same thing 2197 02:21:50,166 --> 02:21:53,600 has been repeated as when Forest with his mother. 2198 02:21:54,000 --> 02:21:56,500 The girl has a light green dress. 2199 02:21:56,866 --> 02:22:01,900 All these that I'm telling you is to try to awaken their artistic flame in you. 2200 02:22:01,900 --> 02:22:05,900 Artistic sensibility is what will lead you to make better decisions. 2201 02:22:05,933 --> 02:22:07,366 I say leaders 2202 02:22:07,500 --> 02:22:11,533 pay attention to the lighting of the scene to create depth in the faces. 2203 02:22:11,533 --> 02:22:15,933 One half of the girl's face is shaded in, the other is illuminated, 2204 02:22:16,100 --> 02:22:20,500 and there is even a small tree of light heat in the window frame as a step. 2205 02:22:20,500 --> 02:22:22,133 It does 2206 02:22:23,133 --> 02:22:24,233 Anjali 2207 02:22:25,033 --> 02:22:27,500 and pause for school. 2208 02:22:27,500 --> 02:22:29,700 From that day on, we was always together. 2209 02:22:29,700 --> 02:22:34,266 Now let's move on to the Spider-Man, a scene which also happens on a school bus 2210 02:22:34,600 --> 02:22:37,300 where love of the main character is introduced. 2211 02:22:38,266 --> 02:22:38,633 But let me 2212 02:22:38,633 --> 02:22:42,666 assure you, this is like any story worth is all about. 2213 02:22:42,666 --> 02:22:43,566 A girl. 2214 02:22:44,266 --> 02:22:46,533 That girl, the girl next door. 2215 02:22:47,066 --> 02:22:48,966 Mary Jane Watson. 2216 02:22:48,966 --> 02:22:52,033 The woman I've loved since before I even liked. 2217 02:22:52,033 --> 02:22:55,733 Pay attention that in the editing that is closely related to the script, 2218 02:22:56,000 --> 02:22:57,633 they introduced you to the girl 2219 02:22:57,633 --> 02:23:01,600 at the beginning without any surprises in the scene. 2220 02:23:01,600 --> 02:23:04,933 You are surprised that he finds the love of his life on the bus. 2221 02:23:05,500 --> 02:23:09,766 And here there is no surprise, neither by editing nor by script. 2222 02:23:10,166 --> 02:23:13,533 So The woman I've loved since before I even liked girls. 2223 02:23:14,133 --> 02:23:16,866 I'd like to tell you that's me next to her. 2224 02:23:16,866 --> 02:23:20,733 I had told you that the closest shots are used for the main characters. 2225 02:23:20,733 --> 02:23:23,766 I don't know why there is a close shot for this guy. 2226 02:23:24,033 --> 02:23:26,133 He has no importance in the story. 2227 02:23:26,133 --> 02:23:28,300 I tell you this because in film editing, 2228 02:23:28,300 --> 02:23:31,200 we can craft this shot to create a more close to one. 2229 02:23:31,700 --> 02:23:32,400 A close up. 2230 02:23:32,400 --> 02:23:36,533 For example, here they do it again and they do it randomly in. 2231 02:23:36,533 --> 02:23:38,933 That cannot be done that way. 2232 02:23:38,933 --> 02:23:40,566 It has an important INS 2233 02:23:40,566 --> 02:23:43,733 and the importance is called the cinematographic point of view. 2234 02:23:44,100 --> 02:23:46,833 In the case of the girl, it's important because we are talking 2235 02:23:46,833 --> 02:23:50,766 about a lot of his life, but the rest of the characters from that boss, 2236 02:23:50,966 --> 02:23:53,533 they are not that important for this story. 2237 02:23:54,166 --> 02:23:57,000 Pay attention that the customs here had no importance 2238 02:23:57,000 --> 02:24:00,266 in the statics of the scene nor the colors in the space. 2239 02:24:00,733 --> 02:24:04,866 So knowing exactly why things are done in a movie or a scene 2240 02:24:04,866 --> 02:24:09,600 is extremely important to be able to make correct decisions as editors. 2241 02:24:09,600 --> 02:24:13,500 Additionally, the editing stage is the last right in a stage of a film. 2242 02:24:13,966 --> 02:24:16,533 It's the last chance that the film project has 2243 02:24:16,533 --> 02:24:20,833 to repair the weaknesses. 2244 02:24:20,833 --> 02:24:22,766 This is a perfect example about it. 2245 02:24:22,766 --> 02:24:26,000 Imagine that you only see movies of that kind of quality. 2246 02:24:26,400 --> 02:24:27,633 I don't really hate that 2247 02:24:27,633 --> 02:24:31,700 the Spiderman movie, in fact, I find it quite entertaining. 2248 02:24:32,000 --> 02:24:34,800 But if you only see movies of that nature in one day, 2249 02:24:34,800 --> 02:24:38,766 you want to shoot one story in which there is a scene, a boss. 2250 02:24:38,933 --> 02:24:42,600 What do you think will be your point of reference to create and the scene 2251 02:24:43,000 --> 02:24:44,733 that will be your reference? 2252 02:24:44,733 --> 02:24:46,633 It will not be another. 2253 02:24:46,633 --> 02:24:51,700 The same happens if you are a musician or if you are a painter or a photographer. 2254 02:24:51,866 --> 02:24:55,033 It's the same when you see the quality of someone's work. 2255 02:24:55,333 --> 02:25:00,466 I immediately ask whether their customs, what do they usually do in free time? 2256 02:25:00,733 --> 02:25:03,000 What kind of things do they enjoy? 2257 02:25:03,566 --> 02:25:07,733 I mean, everything we do in free time will feed our creativity. 2258 02:25:07,733 --> 02:25:11,900 I mean, editing is part of the filmmaking, and filmmaking is like a speaking 2259 02:25:11,900 --> 02:25:13,333 a language. You cannot fully 2260 02:25:13,333 --> 02:25:17,100 learn a language overnight, and it's full of so many things. 2261 02:25:17,100 --> 02:25:21,966 Music, theater, painting, sound art, soundscapes, etc. 2262 02:25:26,433 --> 02:25:27,133 So over 2263 02:25:27,133 --> 02:25:30,900 the years working in editing, I have come across many editors 2264 02:25:30,900 --> 02:25:35,400 and videographers who approach out of this work in a very superficial way, 2265 02:25:35,933 --> 02:25:39,733 because many of them focus all their knowledge on knowing 2266 02:25:39,733 --> 02:25:43,666 which are the best plugins to improve the quality of the image. 2267 02:25:43,666 --> 02:25:47,200 What is the best camera with the best dynamic range? 2268 02:25:47,500 --> 02:25:52,300 Which camera has the highest resolution, which is the most advanced software? 2269 02:25:52,300 --> 02:25:54,600 For example in the years go by? 2270 02:25:54,700 --> 02:25:57,033 And there were continuous with the same quality, 2271 02:25:57,433 --> 02:26:01,066 the same kind of places, the same lack of visual culture. 2272 02:26:01,300 --> 02:26:05,700 All of this is something that no is going to teach you in one single lesson. 2273 02:26:06,133 --> 02:26:09,166 It's something that takes years to cultivate for you. 2274 02:26:09,266 --> 02:26:12,733 It should become a habit that you go to a machine, 2275 02:26:12,733 --> 02:26:15,600 to an exhibition that you contemplate quality art. 2276 02:26:16,000 --> 02:26:19,300 I'm not trying to say that the technical elements are not important, 2277 02:26:19,866 --> 02:26:23,433 but in reality, if there is something, I don't want for you, 2278 02:26:23,666 --> 02:26:26,533 it's for you to become that kind of videographers 2279 02:26:26,966 --> 02:26:30,066 or editors who only cares about technical things. 2280 02:26:30,333 --> 02:26:32,733 So I wish you could really be the best you can be. 2281 02:26:33,033 --> 02:26:37,933 So what many people call talent is actually the byproduct of a lifestyle. 2282 02:26:38,400 --> 02:26:40,933 All these are very important for the video editor 2283 02:26:41,300 --> 02:26:43,666 because you are given the date of a project. 2284 02:26:43,766 --> 02:26:46,200 I mean, the film footage of a project 2285 02:26:46,200 --> 02:26:50,466 you are supposed to learn to choose which are the best shots of the scene. 2286 02:26:50,533 --> 02:26:53,700 So, for example, what is the criteria you're going to use 2287 02:26:53,700 --> 02:26:56,466 to choose the best take or to correct a shot? 2288 02:26:56,833 --> 02:27:00,700 Sometimes you have to crop shots, for example, or reframe the image 2289 02:27:00,700 --> 02:27:04,633 to create a new and you must have good visual reference to do that. 2290 02:27:05,366 --> 02:27:07,766 Determining the violence of an image is essential 2291 02:27:07,766 --> 02:27:10,966 for the editor because you will be cropping images all the time. 2292 02:27:11,100 --> 02:27:14,266 The violence comes from the vernacular sight of human beings, 2293 02:27:14,400 --> 02:27:18,466 and this vernacular site doesn't focus attention on both eyes 2294 02:27:18,466 --> 02:27:22,766 at the same time, but one is always the one that concentrates the most 2295 02:27:23,033 --> 02:27:24,700 and the other complements it. 2296 02:27:24,700 --> 02:27:27,766 And that is the reason why the law of figures in an image 2297 02:27:27,833 --> 02:27:31,166 must be respected to censor the main elements of the composition 2298 02:27:31,200 --> 02:27:35,400 In any of those four points that you see there in this case 2299 02:27:35,400 --> 02:27:38,900 is the girl's face that is close to the upper right point. 2300 02:27:39,600 --> 02:27:43,200 This was used for the balance of rock paintings and drawings, 2301 02:27:43,400 --> 02:27:46,700 and it's a fundamental the is today for cinematography. 2302 02:27:47,100 --> 02:27:52,866 Being aware of this knowledge is part of what make us better editors. 2303 02:27:52,866 --> 02:27:55,600 So there are a lot of ideas that will come to your mind 2304 02:27:55,600 --> 02:27:57,733 when you have a great audio visual culture. 2305 02:27:58,033 --> 02:28:01,166 Those ideas are the ones that will help you to create 2306 02:28:01,166 --> 02:28:04,500 very much a better editing and a better job. 2307 02:28:04,866 --> 02:28:07,566 So take all of these into account and let's 2308 02:28:07,566 --> 02:28:11,333 continue learning in this film editing course, you 2309 02:28:41,333 --> 02:28:41,733 perfect. 2310 02:28:41,733 --> 02:28:42,566 We are here again. 2311 02:28:42,566 --> 02:28:46,566 It is of a premiere and it's time to learn how to use the effects control panel 2312 02:28:46,800 --> 02:28:47,500 And why? 2313 02:28:47,500 --> 02:28:50,433 Because every time we add a video clip to the timeline 2314 02:28:50,433 --> 02:28:54,400 that, in fact can also be a photo or an animation, etc. 2315 02:28:54,466 --> 02:28:58,800 we are going to be able to edit certain parameters in that clip and above 2316 02:28:58,800 --> 02:29:03,533 all, give instructions to the software, automate changes in those clips. 2317 02:29:03,966 --> 02:29:05,666 So the purpose of this lesson 2318 02:29:05,666 --> 02:29:08,866 is to be able to teach you how to use the effects control panel, 2319 02:29:09,433 --> 02:29:12,033 which in fact is the same place where you will be able 2320 02:29:12,033 --> 02:29:15,600 to add different effects that the software has to use. 2321 02:29:16,100 --> 02:29:19,100 So this time you're going to work with this photo. 2322 02:29:19,733 --> 02:29:21,700 So I'm going to add to the timeline. 2323 02:29:21,700 --> 02:29:25,400 This photo that I have here is a photo of this space. 2324 02:29:25,533 --> 02:29:30,400 So you know that once we add an element to the timeline and this line is over, 2325 02:29:30,433 --> 02:29:34,700 that element, we're going to see that video clip on the program's monitor. 2326 02:29:35,133 --> 02:29:40,200 But it happens that usually the clips don't share the same size sequence. 2327 02:29:40,366 --> 02:29:42,966 I mean, most of the time the video or photo 2328 02:29:42,966 --> 02:29:46,766 has a different resolution in appearance than the sequence. 2329 02:29:46,766 --> 02:29:50,133 For example, this photo is bigger than the of the sequence. 2330 02:29:50,466 --> 02:29:51,800 And how do we check it? 2331 02:29:51,800 --> 02:29:54,200 Simply by double clicking on the monitor. 2332 02:29:54,533 --> 02:29:56,666 I kind of friend will be activated. 2333 02:29:57,000 --> 02:30:00,900 That indicates the actual of the image we are using. 2334 02:30:01,433 --> 02:30:02,900 So this frame is a tool 2335 02:30:02,900 --> 02:30:06,500 that allows us to modify the size of the image on the monitor. 2336 02:30:06,666 --> 02:30:09,900 For example, in this case we could the space image 2337 02:30:09,900 --> 02:30:12,566 match as much as possible with the sequence, 2338 02:30:13,133 --> 02:30:16,600 but it could be the case that we want a certain part of the image 2339 02:30:16,833 --> 02:30:18,366 to be seen in the sequence. 2340 02:30:18,366 --> 02:30:23,333 So this frame allows me to play with that because by moving these different points 2341 02:30:23,333 --> 02:30:27,333 that we see in the lines of the frame, we can change the position 2342 02:30:27,333 --> 02:30:32,133 and the size of the image, but we can also modify the image rotation. 2343 02:30:32,633 --> 02:30:36,733 But when we are modifying the position and size that this clip will have 2344 02:30:36,733 --> 02:30:40,633 with respect to the sequence we are modifying in the parameters 2345 02:30:40,633 --> 02:30:45,133 that are in Effects control panel, which is one of the most important places 2346 02:30:45,133 --> 02:30:46,866 in the perimeter when it comes to editing. 2347 02:30:46,866 --> 02:30:48,100 Anything for. 2348 02:30:48,100 --> 02:30:51,833 Example while we are moving the frame a few moments ago, the position 2349 02:30:51,833 --> 02:30:55,533 and the scale parameter was changing in the motion section. 2350 02:30:55,533 --> 02:30:57,633 In this effect Control panel. 2351 02:30:57,633 --> 02:30:58,533 So pay attention. 2352 02:30:58,533 --> 02:30:59,966 I'm going to move the image again 2353 02:30:59,966 --> 02:31:03,600 so you can see how the numbers move in the position parameter. 2354 02:31:03,766 --> 02:31:04,633 In the same way. 2355 02:31:04,633 --> 02:31:09,233 If I so mean or zoom out, the image changes the scale parameter. 2356 02:31:09,500 --> 02:31:13,200 In fact, we can go even deeper because these parameters allow 2357 02:31:13,200 --> 02:31:14,600 me to change if I want to. 2358 02:31:14,600 --> 02:31:18,400 For example, the scale to be uniform or not. 2359 02:31:18,400 --> 02:31:22,433 So if I disable the uniform and scale option, I can modify 2360 02:31:22,466 --> 02:31:25,333 how wide or along a one to image to look. 2361 02:31:25,333 --> 02:31:28,500 Of course we are distorting the original of the image. 2362 02:31:29,033 --> 02:31:33,433 So basically you can modify the size of the image either by using the frame 2363 02:31:33,433 --> 02:31:36,900 in the programs monitor or by changing the values in the effects. 2364 02:31:36,900 --> 02:31:38,133 Control panel. 2365 02:31:38,133 --> 02:31:42,233 Of course, you will always have the option to undo any of the changes. 2366 02:31:42,633 --> 02:31:43,666 So pay attention 2367 02:31:43,666 --> 02:31:47,666 that also with the issue of rotation, the values change in the panel. 2368 02:31:48,366 --> 02:31:51,166 And additionally, remember that whenever you want to modify 2369 02:31:51,166 --> 02:31:55,800 the rotation using the programs monitor, you must position the cursor 2370 02:31:55,800 --> 02:31:59,966 in the corners, the frame until you see that small curved arrow 2371 02:31:59,966 --> 02:32:03,166 indicating that we are enabled to change the rotation. 2372 02:32:03,700 --> 02:32:06,233 But the next tool after the rotation 2373 02:32:06,233 --> 02:32:09,600 one is the anchor point, which is very important. 2374 02:32:10,200 --> 02:32:13,633 The anchor point allows me to tell the software the reference point 2375 02:32:13,633 --> 02:32:17,466 it will have as we a scale in rotate the image. 2376 02:32:18,000 --> 02:32:21,200 For example, you can notice that when assuming an out, 2377 02:32:21,533 --> 02:32:23,700 that is when I change the scale. 2378 02:32:23,866 --> 02:32:27,966 This happens towards the center of the program is monitor in the same way. 2379 02:32:27,966 --> 02:32:30,000 When we change the image rotation, 2380 02:32:30,400 --> 02:32:34,100 the image rotates using the center of the image sexes. 2381 02:32:34,700 --> 02:32:38,200 But it happens that if a changing curve point to the lower 2382 02:32:38,200 --> 02:32:42,033 left corner, for example, when I modify the scale of the image, 2383 02:32:42,400 --> 02:32:46,800 this image will not assuming or zoom out towards the center. 2384 02:32:46,800 --> 02:32:49,033 But to that point below and to the left, 2385 02:32:49,766 --> 02:32:52,800 and the same will happen for the rotation parameter. 2386 02:32:53,300 --> 02:32:55,866 But why I am explaining all this to you? 2387 02:32:56,000 --> 02:32:59,066 Because now on we are going to know something very important 2388 02:32:59,500 --> 02:33:01,333 that we are going to use all the time. 2389 02:33:01,333 --> 02:33:07,300 When it comes to editing the key frame in what is the key frame used for the key 2390 02:33:07,300 --> 02:33:11,000 frame analysis to give an instruction to the software to make a change 2391 02:33:11,000 --> 02:33:14,700 in any of the parameters that we find in the control panel, 2392 02:33:15,100 --> 02:33:18,200 not only in the parameters that are already come by default, 2393 02:33:18,466 --> 02:33:21,300 but also the parameters of the different effects 2394 02:33:21,300 --> 02:33:25,500 that we can add to the clips and which will also appear in this effect. 2395 02:33:25,500 --> 02:33:26,800 Control Panel. 2396 02:33:26,800 --> 02:33:29,000 We are going to use this scale as an example. 2397 02:33:29,466 --> 02:33:33,733 You know that when you click on any of the clip, the corresponding effect 2398 02:33:33,733 --> 02:33:37,700 control is immediately enabled where we can modify many things. 2399 02:33:38,066 --> 02:33:41,700 I mean, all that we had just seen in many other things 2400 02:33:41,700 --> 02:33:45,300 that we will continue to see and learn throughout the course. 2401 02:33:45,300 --> 02:33:48,433 The idea is to go with step by step, but 2402 02:33:48,433 --> 02:33:51,566 you may also notice the next to the effect controlled by enabled. 2403 02:33:51,600 --> 02:33:53,800 It's displayed on the right. 2404 02:33:53,800 --> 02:33:56,033 I search for. 2405 02:33:56,033 --> 02:34:00,366 But this small timeline corresponds to the space of time occupied 2406 02:34:00,366 --> 02:34:03,766 by that small video clip that we have selected. 2407 02:34:04,200 --> 02:34:09,233 Obviously can modify that duration simply by stretching or squeezing the clip. 2408 02:34:09,666 --> 02:34:11,100 So it's important to know this 2409 02:34:11,100 --> 02:34:14,966 because this space is where we are going to place into key frames. 2410 02:34:14,966 --> 02:34:16,300 So we must be aware that 2411 02:34:16,300 --> 02:34:19,800 this small timeline corresponds to the duration of the clip. 2412 02:34:20,400 --> 02:34:23,766 It's important to know this because sometimes we are going to place 2413 02:34:23,800 --> 02:34:27,500 key frames, the effects control timeline, and then we are going 2414 02:34:27,500 --> 02:34:30,466 to change the duration of the clip in the main timeline. 2415 02:34:30,766 --> 02:34:34,266 And then when we return to the fact control timeline, 2416 02:34:34,266 --> 02:34:38,966 we will not see the key frames anymore because they were hidden ahead or back. 2417 02:34:39,666 --> 02:34:42,800 But you're going to see all these using one of the parameters, 2418 02:34:42,800 --> 02:34:46,400 for example, the scale here in the motion panel. 2419 02:34:47,533 --> 02:34:48,733 So the first thing we 2420 02:34:48,733 --> 02:34:52,033 must do is activate these little clock that we have here. 2421 02:34:52,600 --> 02:34:56,166 Notice that all parameters have their respective clock. 2422 02:34:56,666 --> 02:34:59,466 It's simply what allows us to activate the key frames. 2423 02:34:59,700 --> 02:35:03,433 Once we activated the first key frame that appears in the timeline 2424 02:35:03,433 --> 02:35:08,700 of this effect panel, which is indicating to the software that right at that point 2425 02:35:08,700 --> 02:35:13,933 the images are going to have that specific a scale that is specific size. 2426 02:35:13,933 --> 02:35:18,733 So we are going to automate this image about a universe from scratch. 2427 02:35:19,066 --> 02:35:22,733 We are going to make it move its size in time by automating 2428 02:35:22,733 --> 02:35:25,233 these parameters, using the key frames. 2429 02:35:26,233 --> 02:35:29,566 I mean, the values change assignment progresses. 2430 02:35:30,033 --> 02:35:34,033 So we simply position the cursor at the beginning of the clip, 2431 02:35:34,033 --> 02:35:38,233 then activate the clock corresponding to the scale and the first 2432 02:35:38,233 --> 02:35:42,566 keyframe will automatically appear and the automation will be activated. 2433 02:35:42,566 --> 02:35:46,633 Also So a few seconds later we make a change in size. 2434 02:35:47,000 --> 02:35:49,833 We can do it directly in the scale parameter 2435 02:35:50,400 --> 02:35:53,600 in the effects control panel, or we can do it by moving 2436 02:35:53,600 --> 02:35:56,766 the size of the image with the frame in the program. 2437 02:35:56,766 --> 02:35:58,000 Monitor 2438 02:35:58,000 --> 02:36:02,833 So in other words, changing the parameters in any of the ways is exactly the same. 2439 02:36:02,833 --> 02:36:04,500 The important thing is to be aware 2440 02:36:04,500 --> 02:36:07,500 that the key frames are in the place that we want. 2441 02:36:08,033 --> 02:36:10,566 So notice now that when I play the montage, 2442 02:36:10,766 --> 02:36:13,633 the image changes size. 2443 02:36:13,633 --> 02:36:16,800 Obviously, all this procedure works for any of the parameters 2444 02:36:16,800 --> 02:36:20,500 and even for many other effects that the premiere brings. 2445 02:36:20,833 --> 02:36:25,533 For example, we could do this automation to change the effect of the anchor point. 2446 02:36:25,900 --> 02:36:29,900 I simply activated the clock in the anchor point parameter and move 2447 02:36:29,900 --> 02:36:33,333 the anchor point to this lower left corner for example. 2448 02:36:33,800 --> 02:36:37,900 So since we also automated the scale, now when the image scales, 2449 02:36:37,900 --> 02:36:43,566 instead of going to the center, it will now go to that lower left. 2450 02:36:43,566 --> 02:36:45,433 But you must be careful with the key frames. 2451 02:36:45,433 --> 02:36:46,600 Notice that I'm going to add 2452 02:36:46,600 --> 02:36:50,533 another one here, but this time without changing the parameters 2453 02:36:50,733 --> 02:36:51,566 and pay attention 2454 02:36:51,566 --> 02:36:54,900 that it will not change at all because I didn't change the parameter. 2455 02:36:55,100 --> 02:36:58,600 Let's move on to another parameter, for example, the image position. 2456 02:36:59,100 --> 02:37:03,133 Then we simply have to look for the position parameter and click the clock 2457 02:37:03,200 --> 02:37:07,800 to activate the automation and the first key friend will be created. 2458 02:37:07,800 --> 02:37:10,200 From there we must advance a few seconds. 2459 02:37:10,700 --> 02:37:14,933 The ones we want of and change the image position. 2460 02:37:15,300 --> 02:37:18,233 We can do it using the frame on the programs, monitor 2461 02:37:23,766 --> 02:37:24,966 Pay attention that even the 2462 02:37:24,966 --> 02:37:27,900 software will create a kind of guide for the route 2463 02:37:28,000 --> 02:37:30,566 that the image will have up that position 2464 02:37:35,700 --> 02:37:36,766 so we can check 2465 02:37:36,766 --> 02:37:40,033 all the changes by simply going back to the beginning of the clip 2466 02:37:40,300 --> 02:37:43,833 and playing the mount Edge to see how the automation behaves. 2467 02:37:44,766 --> 02:37:46,100 It's something quite simple. 2468 02:37:46,100 --> 02:37:49,233 Once we understand it, we are ready to use all the premiere effects 2469 02:37:49,500 --> 02:37:52,800 because style will allow us to automate any of the effects 2470 02:37:52,800 --> 02:37:55,800 that the premiere has. 2471 02:37:55,800 --> 02:38:00,166 So I'm telling you all these because a large part of you want to learn 2472 02:38:00,166 --> 02:38:00,800 how to do it. 2473 02:38:00,800 --> 02:38:06,000 It is for YouTube or for your Instagram or TikTok channels, whatever. 2474 02:38:06,000 --> 02:38:10,366 I mean, create content so it's necessary to know these in order to add elements 2475 02:38:10,366 --> 02:38:15,366 that enrich the videos, turn them into dynamic and fine. 2476 02:38:15,366 --> 02:38:17,166 So we can use another example. 2477 02:38:17,166 --> 02:38:21,300 For instance, you see in this logo that I have here below, 2478 02:38:21,766 --> 02:38:25,166 we can add it on the top of the picture of the universe. 2479 02:38:25,166 --> 02:38:28,133 So let me mention that in this case, it's a page 2480 02:38:28,400 --> 02:38:31,766 that is one that contains only the part of the logo. 2481 02:38:32,266 --> 02:38:35,633 Let everything that is below part of the roof. 2482 02:38:35,633 --> 02:38:38,866 So I'm going to delete all the keyframes and the automations 2483 02:38:39,300 --> 02:38:41,966 that we made in the photo of the universe. 2484 02:38:42,500 --> 02:38:44,500 We just have to click on these curved 2485 02:38:45,133 --> 02:38:48,566 that are to the right to return to the initial state. 2486 02:38:49,000 --> 02:38:52,500 So what I'm going to do for you is something typical of the videos. 2487 02:38:52,800 --> 02:38:54,433 I'm going to make this logo appear. 2488 02:38:54,433 --> 02:38:58,066 Suddenly that is a it enters the image 2489 02:38:58,400 --> 02:39:01,966 and in order to do this we must automate the logo position 2490 02:39:02,200 --> 02:39:04,800 because it's what will allow me to remove the logo 2491 02:39:04,800 --> 02:39:07,566 from the frame in the image whenever I want. 2492 02:39:08,100 --> 02:39:12,433 Then we simply have to click on the logo clip and we have to activate 2493 02:39:12,433 --> 02:39:17,200 the automation of the position in effect, control clicking on the clock, of course. 2494 02:39:17,933 --> 02:39:21,566 So we need to set how long they want the logo to take to appear, 2495 02:39:22,000 --> 02:39:25,533 and then we need to create another keyframe at that position. 2496 02:39:25,866 --> 02:39:28,666 In this case, we need two positions to tell the software 2497 02:39:28,666 --> 02:39:32,333 where the logo should be at the beginning and where it should go. 2498 02:39:32,400 --> 02:39:33,766 You should always pay attention 2499 02:39:33,766 --> 02:39:37,633 to being right over two key frames to make sure you are on the key framed. 2500 02:39:37,800 --> 02:39:41,033 You should make sure that little blue dot lags have. 2501 02:39:41,333 --> 02:39:45,100 Let me mention that you can add other key frames using that little button too. 2502 02:39:45,633 --> 02:39:50,166 So when in the first keyframe we change the horizontal position of the logo 2503 02:39:50,566 --> 02:39:54,266 to a point where it's not visible on the screen, 2504 02:39:54,266 --> 02:39:58,400 remember that you can do it by changing these numbers here directly 2505 02:39:58,400 --> 02:40:02,200 in the horizontal parameter, which would be the one on the left. 2506 02:40:02,300 --> 02:40:06,166 The vertical one is the one on the right, but you can also change here 2507 02:40:06,166 --> 02:40:08,700 to use in the frame in the programs monitor. 2508 02:40:09,300 --> 02:40:12,666 But in this case I highly recommend changing it directly 2509 02:40:12,666 --> 02:40:15,700 to the horizontal value so that the logo moves 2510 02:40:15,700 --> 02:40:20,300 only horizontally. 2511 02:40:20,300 --> 02:40:22,300 So as you can see, it's quite simple. 2512 02:40:22,300 --> 02:40:25,500 If you want, for example, the logo to appear much faster, 2513 02:40:25,866 --> 02:40:28,933 you simply have to decrease the distance between the first, 2514 02:40:28,933 --> 02:40:32,600 the second key frames so that the change is faster. 2515 02:40:33,600 --> 02:40:36,866 Then we could even change another parameter like the scale. 2516 02:40:36,866 --> 02:40:39,933 For example, if we wanted the logo to zoom in 2517 02:40:39,933 --> 02:40:42,800 and slowly after appearing on the screen. 2518 02:40:43,166 --> 02:40:46,966 So we make a first keyframe just when it finishes appearing. 2519 02:40:47,266 --> 02:40:52,266 And then later we make another key frame where the logo is supposed to be closer. 2520 02:40:53,266 --> 02:40:56,866 So in this case, for example, we can use the frame on the screen 2521 02:40:56,866 --> 02:41:00,133 to put to the logo just the we want at the end. 2522 02:41:00,500 --> 02:41:04,100 Remember that once the automation is activated, any change we make to 2523 02:41:04,100 --> 02:41:08,466 the parameters will automatically generate a new keyframe 2524 02:41:09,466 --> 02:41:13,100 Obviously throughout the course we are going to use many keyframes. 2525 02:41:13,533 --> 02:41:16,266 But I wanted you to know the effects control panel, 2526 02:41:16,266 --> 02:41:20,033 at least this first part motion in this lesson. 2527 02:41:20,166 --> 02:41:22,600 In other lessons, we will see the other parts, 2528 02:41:22,600 --> 02:41:25,933 but it's a good story to know the key frames perfectly. 2529 02:41:26,833 --> 02:41:30,100 So try to practice photos with videos, with anything. 2530 02:41:30,466 --> 02:41:34,466 Well, we continue advancing in the opinion and the content of the course 2531 02:41:34,900 --> 02:42:04,833 until the next lesson. 2532 02:42:04,833 --> 02:42:05,466 Perfect. 2533 02:42:05,466 --> 02:42:08,400 We are going to continue learning to use the effects control panel 2534 02:42:08,766 --> 02:42:09,666 and this time you're going 2535 02:42:09,666 --> 02:42:13,500 to review the positive parameter, which is not as simple as it seems. 2536 02:42:13,700 --> 02:42:16,933 However, it's one of the most useful tools we get from here. 2537 02:42:16,933 --> 02:42:19,733 We are going to learn to create transitions. 2538 02:42:20,000 --> 02:42:20,866 So we're going to start 2539 02:42:20,866 --> 02:42:24,433 with one of the most important things to highlight about opacity. 2540 02:42:24,633 --> 02:42:29,433 So this is the first of the general parameters that allows us to make a mask. 2541 02:42:29,666 --> 02:42:30,900 And this is one of the features 2542 02:42:30,900 --> 02:42:33,800 that were going to find in the rest of the premiere effects. 2543 02:42:34,133 --> 02:42:37,033 A mask is nothing more than a tool that allows me to create 2544 02:42:37,033 --> 02:42:41,633 a specific selection within the image to which the effect be applied. 2545 02:42:42,200 --> 02:42:44,900 In any case, we are going to see these throughout the course, 2546 02:42:45,100 --> 02:42:49,366 but basically these three buttons allow me to create three types of mask, 2547 02:42:49,633 --> 02:42:52,966 a circular one, a square one, and a customizable 2548 02:42:52,966 --> 02:42:55,500 one in which I can create and the shape I want. 2549 02:42:56,233 --> 02:43:00,900 For example, if I choose the first option, the circle, the mask will be a circle. 2550 02:43:00,900 --> 02:43:04,533 And since I am in Duplicity, which is the parameter that controls 2551 02:43:04,533 --> 02:43:09,000 the transparency of the image, it automatically creates this effect. 2552 02:43:09,333 --> 02:43:11,866 Obviously, I can modify the type of circle, 2553 02:43:12,233 --> 02:43:15,400 but I also have the second option, the square shape. 2554 02:43:15,866 --> 02:43:19,100 And here I can also modify the structure of the square, 2555 02:43:19,233 --> 02:43:23,466 turning it into a different polygon and well, that there are three options. 2556 02:43:23,500 --> 02:43:27,200 That would be the one that allows us to make the shape by joining end points 2557 02:43:27,466 --> 02:43:29,033 as if it were a constellation. 2558 02:43:29,033 --> 02:43:31,133 And that is the one I use the most 2559 02:43:31,133 --> 02:43:35,066 because the masks almost always have a regular shapes. 2560 02:43:35,366 --> 02:43:37,700 And there are other features that we can modify 2561 02:43:37,700 --> 02:43:41,100 so that the ages are softened in no so sharp. 2562 02:43:41,300 --> 02:43:44,700 For example, if I move the feather, we can at the edges. 2563 02:43:45,733 --> 02:43:46,800 Actually we can also 2564 02:43:46,800 --> 02:43:49,800 modify the mask, opacity and. 2565 02:43:49,800 --> 02:43:52,600 The mask itself can have transparency, 2566 02:43:53,333 --> 02:43:57,100 and we can also expand mask ages to enlarge the size. 2567 02:43:57,333 --> 02:44:01,033 But anyway, we will understand all these better as we progress 2568 02:44:01,166 --> 02:44:02,466 throughout the course. 2569 02:44:02,466 --> 02:44:05,933 And although we are not going to talk mainly about the masks in this 2570 02:44:06,100 --> 02:44:09,400 specific lesson, it's important that you already know them, 2571 02:44:09,400 --> 02:44:11,733 because I believe that knowledge is like that. 2572 02:44:11,833 --> 02:44:15,966 You have to see different points of view of this same tool and above 2573 02:44:15,966 --> 02:44:20,000 all, lose the fear of using Adobe Premiere tools. 2574 02:44:20,000 --> 02:44:23,700 Let's talk about opacity then, and what is capacity. 2575 02:44:23,700 --> 02:44:27,600 Opacity is that feature that allows us to make an image transparent, 2576 02:44:27,900 --> 02:44:30,666 to make visible any image below it. 2577 02:44:31,233 --> 02:44:32,100 There's a way premiere 2578 02:44:32,100 --> 02:44:36,600 timeline works in layers in the same way as the Photoshop that is, 2579 02:44:36,600 --> 02:44:41,333 the video clips that are on top will be the ones will be seen on the monitor. 2580 02:44:41,566 --> 02:44:43,200 So here you can see an example. 2581 02:44:43,200 --> 02:44:47,000 I have put another photo of the universe on top of the one that already 2582 02:44:47,000 --> 02:44:50,866 had a mean a overlapped clip in this how this one looks. 2583 02:44:50,866 --> 02:44:55,866 First it has priority, but notice that if I modify the opacity percentage 2584 02:44:55,966 --> 02:45:01,166 in that clip that I just added, the image below begins to be seen. 2585 02:45:01,533 --> 02:45:06,200 So the less percentage it has, the more visible the image below will be. 2586 02:45:06,333 --> 02:45:10,200 But what I really want to show you is that Adobe premiere like Photoshop 2587 02:45:10,200 --> 02:45:13,433 allows me to modify the nature of that opacity. 2588 02:45:14,000 --> 02:45:17,266 I mean that the way in which that transparency mixes 2589 02:45:17,266 --> 02:45:21,566 with the image below has a spatial in unique characteristics. 2590 02:45:22,533 --> 02:45:23,133 So this 2591 02:45:23,133 --> 02:45:26,333 plan mode allows me not only to use the normal opacity, 2592 02:45:26,333 --> 02:45:29,600 but all these options that you can see here and try. 2593 02:45:29,600 --> 02:45:33,000 But the interesting thing is that when using any of the blend modes, 2594 02:45:33,000 --> 02:45:36,333 even having the opacity value at 100%, 2595 02:45:36,800 --> 02:45:40,200 a type of transparency will be generated the image below. 2596 02:45:40,800 --> 02:45:44,400 So it actually is a tool that allows us to experiment with the video layers 2597 02:45:44,833 --> 02:45:47,800 because that effect that you're going to see on the programs 2598 02:45:47,800 --> 02:45:52,433 monitor is the byproduct of that blend mode in the specific 2599 02:45:52,433 --> 02:45:56,200 characteristics of the images in terms of light and colors. 2600 02:45:57,166 --> 02:46:01,066 So for example, here we can see that when we isolate the clip, 2601 02:46:01,500 --> 02:46:04,933 I mean that the clip doesn't have any other clip below it. 2602 02:46:05,400 --> 02:46:07,233 The blend mode doesn't work. 2603 02:46:07,233 --> 02:46:10,666 I mean, it will only work when the images are overlapped, 2604 02:46:11,166 --> 02:46:17,366 when there is one below. 2605 02:46:17,366 --> 02:46:21,300 So as I told you, capacity is important because it will allow us 2606 02:46:21,300 --> 02:46:24,600 to make creative and professional transitions. 2607 02:46:24,600 --> 02:46:29,100 This blend mode exist to improve the transitions between one clip in another. 2608 02:46:29,500 --> 02:46:32,100 One of the most common transitions are dissolves. 2609 02:46:32,400 --> 02:46:37,200 When one image dissolves that the order appears survi, makes in the two images. 2610 02:46:37,933 --> 02:46:40,233 So in a previous lesson I was talking about 2611 02:46:40,233 --> 02:46:43,033 the pen tool in opacity automation. 2612 02:46:43,266 --> 02:46:47,566 So we automate a kind of fade in in the opacity line 2613 02:46:47,600 --> 02:46:50,766 at the beginning of the clip that in turn is overlapping. 2614 02:46:50,800 --> 02:46:54,033 Another one we will do a now of course dissolve. 2615 02:46:54,500 --> 02:46:57,833 So if in addition to this, we use different blend modes, 2616 02:46:58,133 --> 02:47:02,133 we make that transition more spatial because the images will have 2617 02:47:02,166 --> 02:47:07,000 visual characteristic that will adapt esthetically to each of those modes. 2618 02:47:07,400 --> 02:47:10,833 So if you use Photoshop, this will be very familiar to you 2619 02:47:10,833 --> 02:47:14,000 because this blend modes also exist. 2620 02:47:14,000 --> 02:47:16,000 Image layers in Photoshop. 2621 02:47:16,000 --> 02:47:17,866 On the other hand, there's an important element 2622 02:47:17,866 --> 02:47:21,866 to take into account when we make this type of transitions, 2623 02:47:22,533 --> 02:47:25,500 and that is that they blend modes to makes images. 2624 02:47:25,500 --> 02:47:31,300 Even when the positive value is at 100%, it's necessary that there is not only fade 2625 02:47:31,300 --> 02:47:35,433 in in the clip that is above, but also in the clip that is below. 2626 02:47:35,433 --> 02:47:39,366 There is a fade out because otherwise you will notice 2627 02:47:39,366 --> 02:47:42,466 an abrupt change when you reach the end of the clip. 2628 02:47:42,466 --> 02:47:46,166 That is below, for instance, you can notice it here when they hover 2629 02:47:46,166 --> 02:47:49,700 the timeline cursor over right at the end of the clip below. 2630 02:47:50,166 --> 02:47:54,433 So right there at the end, you will notice a change in transparency 2631 02:47:54,933 --> 02:47:57,266 that will not be soft, but like a cut. 2632 02:47:57,900 --> 02:48:00,400 So we must automate a kind of fade 2633 02:48:00,400 --> 02:48:03,100 out in the opacity line of the clip below 2634 02:48:03,600 --> 02:48:08,266 so that this is not noticeable. 2635 02:48:08,266 --> 02:48:09,533 So pay attention now. 2636 02:48:09,533 --> 02:48:20,900 How the transition is completely smooth. 2637 02:48:20,900 --> 02:48:26,000 Another important thing is that we can make that transition as long as we want. 2638 02:48:26,866 --> 02:48:28,533 So we're going to do another example. 2639 02:48:28,533 --> 02:48:29,866 The use in video. 2640 02:48:29,866 --> 02:48:32,966 We're going to use the same short film that we were working with, 2641 02:48:33,366 --> 02:48:39,333 and I'm going to select a part of a scene to make it transition with another scene. 2642 02:48:39,333 --> 02:48:42,433 So here we have this image of the girl looking back, 2643 02:48:42,900 --> 02:48:46,866 and I'm going to mix it with the scene of the character of the raft. 2644 02:48:47,800 --> 02:48:51,933 So if we want to make a special transition between these two scenes, 2645 02:48:52,333 --> 02:48:57,000 we simply click on the video clip above and choose the blend mode we want. 2646 02:48:57,300 --> 02:48:59,466 Remember that to check blend mode. 2647 02:48:59,866 --> 02:49:04,766 You must be right at the point where the two clips of video are overlapping. 2648 02:49:05,366 --> 02:49:08,866 Then you can try any of the modes using video. 2649 02:49:08,866 --> 02:49:13,000 It's much more interesting because in fact it's the most cinematic 2650 02:49:13,000 --> 02:49:19,966 way of doing holds. 2651 02:49:19,966 --> 02:49:22,566 For example, look how good this mode looks. 2652 02:49:23,000 --> 02:49:24,566 Soft light. 2653 02:49:24,566 --> 02:49:28,933 So the first thing is to automate with Bend tool, the fade in in the clip 2654 02:49:28,933 --> 02:49:32,366 above that cleaned up the character on draft. 2655 02:49:32,800 --> 02:49:35,433 But I also have to do the fade out in the clip below 2656 02:49:35,633 --> 02:49:39,366 where the girl is remembered that if you don't fade out 2657 02:49:39,500 --> 02:49:43,600 the clip below, you will notice an abrupt change in the blend mode. 2658 02:49:45,033 --> 02:49:45,700 The reason why 2659 02:49:45,700 --> 02:49:50,100 it's more professional this way is because the original way of doing face 2660 02:49:50,433 --> 02:49:53,300 when cinema was analog was adding filters 2661 02:49:53,300 --> 02:49:56,400 directly to film reels in the analog editor. 2662 02:49:56,833 --> 02:50:01,366 So use of blend mode in normal always is not that professional. 2663 02:50:01,766 --> 02:50:06,066 So pay attention how interested in the colors are mixed in this mode? 2664 02:50:06,300 --> 02:50:09,133 It looks very professional. 2665 02:50:09,133 --> 02:50:11,766 Check out these other modes called Darken 2666 02:50:11,766 --> 02:50:22,366 that only affects the plate. 2667 02:50:22,366 --> 02:50:30,866 This is an order called light burn that is interesting to. 2668 02:50:30,866 --> 02:50:33,333 This is an order called light color. 2669 02:50:33,600 --> 02:50:38,200 For example, these. 2670 02:50:38,200 --> 02:50:44,766 So there is to hard light. 2671 02:50:44,766 --> 02:50:47,100 This other one is called vivid light. 2672 02:50:47,233 --> 02:50:50,166 It's very nice. 2673 02:50:50,166 --> 02:50:52,333 Pay attention to these with dark mode. 2674 02:50:52,666 --> 02:50:55,666 For example, with this mode you could play with the mask 2675 02:50:56,133 --> 02:50:59,566 so that the transparency only affects the blade. 2676 02:50:59,566 --> 02:51:03,900 We could use a circular mask that only selects the blade, for example. 2677 02:51:04,933 --> 02:51:07,800 So we try to make the circle match the blade, 2678 02:51:08,100 --> 02:51:11,300 but it doesn't have to be perfect just an approximation. 2679 02:51:11,300 --> 02:51:14,633 And then we modify the edges with the fader parameter, 2680 02:51:15,033 --> 02:51:17,166 softening the edges of the mask. 2681 02:51:17,833 --> 02:51:21,266 So notice how opacity now only affects the blade. 2682 02:51:21,500 --> 02:51:24,633 It's a very creative resource, you know, because it really allows you 2683 02:51:24,633 --> 02:51:27,400 to create effects in and reach your radius a lot. 2684 02:51:27,933 --> 02:51:31,700 The important thing that you experiment so that you can discover things. 2685 02:51:32,100 --> 02:51:35,600 Remember that each area has a specific color features 2686 02:51:35,800 --> 02:51:40,433 that will result in a specific and unique blending with the other clips. 2687 02:51:40,833 --> 02:51:44,600 So put all these into practice in the next lesson. 2688 02:51:45,300 --> 02:52:16,633 So perfect. 2689 02:52:16,666 --> 02:52:21,000 Now we are going to address the last parameter of defects contraband, 2690 02:52:21,000 --> 02:52:25,366 which is the time remapping, and we're going to use this example to explain it. 2691 02:52:25,800 --> 02:52:30,633 I'm going to select a part of this video where there is a slow motion shot. 2692 02:52:30,633 --> 02:52:34,200 Actually, it's one of my music videos and well, in this case, 2693 02:52:34,200 --> 02:52:38,066 this shot was recorded at 60 frames per second, 2694 02:52:38,466 --> 02:52:42,600 which means we can slow it down without losing any fluency in the video. 2695 02:52:42,966 --> 02:52:47,933 So I had added this part of the video to the timeline and we can check it 2696 02:52:47,933 --> 02:52:51,700 in the program, monitor Slow motion shots are very attractive. 2697 02:52:51,700 --> 02:52:55,100 Remember that the slower where you want it to look, the video 2698 02:52:55,100 --> 02:52:57,366 should have many more frames per second. 2699 02:52:58,233 --> 02:53:00,866 But anyway what I want to do right now 2700 02:53:00,866 --> 02:53:03,233 is to teach you the time remapping. 2701 02:53:03,900 --> 02:53:06,900 If we click on the video clip and go to the effects 2702 02:53:06,900 --> 02:53:09,866 control panel, we are going to find this parameter at the end 2703 02:53:10,400 --> 02:53:13,966 is to last up the parameters of the ones that come by default. 2704 02:53:14,366 --> 02:53:18,300 So if you remember, I had told you that the line that you see by default 2705 02:53:18,300 --> 02:53:23,333 in the video clips belongs to the opacity parameter in that use in the pencil. 2706 02:53:23,333 --> 02:53:27,400 We can precisely automate the opacity in the clip, but the truth is 2707 02:53:27,400 --> 02:53:31,800 that this is not the only parameter that we can automate directly on the clip. 2708 02:53:32,466 --> 02:53:36,000 So if we wanted to change that parameter, there are two ways. 2709 02:53:36,566 --> 02:53:42,000 The first is to click on the right mouse button and we go to show clip keyframes. 2710 02:53:42,000 --> 02:53:46,400 We can change it, for example, to time remapping and we click on the speed. 2711 02:53:46,500 --> 02:53:50,000 The other way is by clicking and these are small box where it reads 2712 02:53:50,000 --> 02:53:54,200 effects and we can change the parameters of this automation line. 2713 02:53:54,966 --> 02:53:58,633 But what is time remapping for this parameter allows? 2714 02:53:58,633 --> 02:54:02,133 Me to modify the speed of the video clip automatically. 2715 02:54:02,800 --> 02:54:04,633 And what does that mean? 2716 02:54:04,633 --> 02:54:08,500 Just as you see the image in slow motion right now, you could make the images 2717 02:54:08,500 --> 02:54:12,166 speed up at a specific time or slow it down. 2718 02:54:12,633 --> 02:54:16,800 And of course, everything will also appear automated in the fixed control panel. 2719 02:54:17,066 --> 02:54:21,000 So what we must do, select the pen tool and draw on line 2720 02:54:21,000 --> 02:54:24,500 the points where we want a speed change to start and end. 2721 02:54:25,000 --> 02:54:28,600 I mean, we will be able to change like time gaps. 2722 02:54:28,600 --> 02:54:31,100 So I'm going to draw the first point 2723 02:54:31,933 --> 02:54:33,966 and the second point over here, 2724 02:54:34,566 --> 02:54:36,866 and I'm going to draw also a third point. 2725 02:54:37,300 --> 02:54:41,366 So this three points has generated four different gaps in which 2726 02:54:41,400 --> 02:54:44,833 I will be able to speed up and slow down the speed of the clip. 2727 02:54:45,400 --> 02:54:49,100 So we must select the arrow tool again, the first one, 2728 02:54:50,166 --> 02:54:51,133 and now we are going to 2729 02:54:51,133 --> 02:54:54,833 raise or lower the line we want of the automation. 2730 02:54:55,100 --> 02:54:58,800 For example, if I move up this specific lane, 2731 02:54:58,800 --> 02:55:01,200 I'm going to speed up at that moment, 2732 02:55:01,200 --> 02:55:04,133 but pay close attention to how the clip is squished, 2733 02:55:04,500 --> 02:55:08,533 because by doing this I am accelerating the passage of the frames. 2734 02:55:09,000 --> 02:55:12,433 So now look at the image that's just at that moment. 2735 02:55:12,433 --> 02:55:14,900 The video increases the speed. 2736 02:55:14,900 --> 02:55:17,100 I'm going to increase the speed even more 2737 02:55:17,100 --> 02:55:32,100 so can notice it. 2738 02:55:32,100 --> 02:55:36,000 And also in the same way, you can move the other gaps, the other lines 2739 02:55:36,000 --> 02:55:40,500 between the points, 2740 02:55:40,500 --> 02:55:43,600 so you can do it also in the opposite direction. 2741 02:55:43,800 --> 02:55:47,433 I'm going to slow down to video so you can see how it looks like. 2742 02:55:48,266 --> 02:55:50,100 Obviously when you slow it down. 2743 02:55:50,100 --> 02:55:59,100 The video clip expands. 2744 02:55:59,100 --> 02:56:03,566 Obviously, when we slow down the image, the frames per second begin to be noticed 2745 02:56:04,166 --> 02:56:06,200 obviously when they are not enough. 2746 02:56:06,600 --> 02:56:09,033 On the other hand, we attention to these same points 2747 02:56:09,366 --> 02:56:13,033 that I made in the automation lane were also created 2748 02:56:13,066 --> 02:56:16,933 automatically in the timeline of the effects control panel above. 2749 02:56:16,933 --> 02:56:20,833 So you can speed up or down like this as long as you take into account 2750 02:56:20,833 --> 02:56:22,433 that the midpoint of the lane 2751 02:56:22,433 --> 02:56:27,066 is the actual speed of the clip and app is faster and down is slower. 2752 02:56:28,833 --> 02:56:32,100 If you want to clear older automation, just go to the time 2753 02:56:32,100 --> 02:56:36,800 remapping and effects panel and turn it off on the blue clock. 2754 02:56:37,300 --> 02:56:39,266 But pay close attention to this wing. 2755 02:56:39,266 --> 02:56:43,666 When you do that, the clip is going to get completely squished. 2756 02:56:43,666 --> 02:56:46,800 So you have stretched it again to make it normal. 2757 02:56:47,133 --> 02:56:51,033 Try to remember it because you might even think that the clip was late. 2758 02:56:51,533 --> 02:56:54,433 But there is another way to modify the speed of the clip. 2759 02:56:54,433 --> 02:56:58,866 We simply press the right mouse button and go to the speed duration parameter. 2760 02:56:59,233 --> 02:57:02,100 For example, in this first feature percentage, 2761 02:57:02,566 --> 02:57:05,033 if I set it to 200%, 2762 02:57:05,500 --> 02:57:08,400 the speed of the clip will be multiplied by two. 2763 02:57:08,933 --> 02:57:12,600 I mean, in the case of this clip, it will run at the real speed 2764 02:57:12,866 --> 02:57:16,466 because the look of this video is the byproduct of setting the video 2765 02:57:16,466 --> 02:57:19,566 recorded at 60 frames to 24 frames. 2766 02:57:20,433 --> 02:57:24,366 On the other hand, in this same tool, you reverse the speed of the clip. 2767 02:57:24,666 --> 02:57:27,066 I mean, make it go backwards. 2768 02:57:27,066 --> 02:57:29,200 This is very useful as well. 2769 02:57:29,200 --> 02:57:31,633 You only have to select the reverse speed 2770 02:57:31,633 --> 02:57:49,666 box and the clip will go backwards. 2771 02:57:49,666 --> 02:57:53,133 On the other hand, with you should pay close attention to in this tool 2772 02:57:53,133 --> 02:57:56,533 is the last parameter time interpolation. 2773 02:57:57,000 --> 02:58:00,900 This parameter allows me to modify the way in which the frames will appear 2774 02:58:00,900 --> 02:58:04,666 when the video is displayed. 2775 02:58:04,666 --> 02:58:08,966 I'm going to activate the reverse to explain it to you so you can see that 2776 02:58:08,966 --> 02:58:11,933 this shot, this video is in slow motion, 2777 02:58:12,333 --> 02:58:15,066 but maybe we want the video to go slower. 2778 02:58:15,433 --> 02:58:20,433 So we go to the speed tool and select, for example, 60%. 2779 02:58:21,433 --> 02:58:22,933 But when you do this, the 2780 02:58:22,933 --> 02:58:26,700 video will stretch and therefore the frames will start to show. 2781 02:58:27,033 --> 02:58:29,966 I mean, as if the image had some small jumps 2782 02:58:30,366 --> 02:58:33,000 because in fact, it's jumping from one frame to another 2783 02:58:33,200 --> 02:58:37,333 because there are not enough frames to make the movement look smooth. 2784 02:58:38,400 --> 02:58:40,300 So you will have three options. 2785 02:58:40,300 --> 02:58:45,100 The first frames sampling that is selected by default allows you to show 2786 02:58:45,100 --> 02:58:48,866 the frame, said the video has no matter if the video is a slow or fast. 2787 02:58:49,266 --> 02:58:53,300 The second option frame blends in allows you to mix the frames a bit. 2788 02:58:53,766 --> 02:58:57,433 I mean, when you slow down the image, the movement is smoother, 2789 02:58:57,800 --> 02:59:01,233 but the less option optical flow will create more frames 2790 02:59:01,233 --> 02:59:04,833 per second, compensate for dead lag frames. 2791 02:59:05,233 --> 02:59:09,000 But the truth is that it will never look like you have the video with more frames. 2792 02:59:09,266 --> 02:59:13,233 So I highly recommend you not to make an excessive use of this tool. 2793 02:59:13,533 --> 02:59:14,666 Do not force it. 2794 02:59:15,633 --> 02:59:17,533 So this would be the most important 2795 02:59:17,533 --> 02:59:21,166 characteristics of this speed parameter of this a speed tool. 2796 02:59:21,533 --> 02:59:25,133 This rehabilitative feature is very simple, simply that sometimes 2797 02:59:25,133 --> 02:59:28,833 the clip to which we are modifying the speed is next to another clip. 2798 02:59:29,133 --> 02:59:33,066 And obviously sometimes when we modify the speed, the videos are squished. 2799 02:59:33,700 --> 02:59:37,800 And that tool allows me to make the next clip attached to the clip. 2800 02:59:37,800 --> 02:59:38,700 We are changing. 2801 02:59:38,700 --> 02:59:42,300 The speed of a symbol is that it doesn't add match complication, 2802 02:59:42,733 --> 02:59:46,100 but the most important features are the ones I mentioned before. 2803 02:59:46,433 --> 02:59:47,600 So let's recap. 2804 02:59:47,600 --> 02:59:51,000 So you don't forget we go to the speed tool 2805 02:59:51,433 --> 02:59:52,933 and the first thing we will find 2806 02:59:52,933 --> 02:59:55,800 is the percentage of the speed we want the clip to have. 2807 02:59:56,633 --> 02:59:58,766 The second option is to reverse that. 2808 02:59:58,766 --> 03:00:01,500 The video goes backwards. 2809 03:00:01,500 --> 03:00:03,566 The ripple added so that the clips are stay 2810 03:00:03,566 --> 03:00:06,733 attached to each other even when we change their speed. 2811 03:00:07,166 --> 03:00:09,566 I don't think you guys use this too much. 2812 03:00:10,266 --> 03:00:14,100 And the one you're going to use the most is the time interpolation. 2813 03:00:14,400 --> 03:00:15,033 It's a way 2814 03:00:15,033 --> 03:00:18,933 in which the frames will appear to make the video smoother and more fluid. 2815 03:00:20,033 --> 03:00:22,033 Remember, there are three options. 2816 03:00:22,033 --> 03:00:26,666 The first one that shows exactly the frames the video has, the second one 2817 03:00:27,000 --> 03:00:30,933 that mixes the frames to make the video more fluid and is smoother. 2818 03:00:30,933 --> 03:00:32,433 And the other one, the last one 2819 03:00:32,433 --> 03:00:36,133 to create the necessary frames to make it look more fluid. 2820 03:00:36,533 --> 03:00:39,966 But let's talk about this option that is deactivated 2821 03:00:40,733 --> 03:00:44,066 it's important to mention that when the video has out, 2822 03:00:44,100 --> 03:00:49,066 you and you modify the speed, the speed of the audio will also be modified. 2823 03:00:49,400 --> 03:00:53,366 Therefore It will be had a lower when the audio is lower 2824 03:00:53,366 --> 03:00:56,300 and faster, like a squirrel voice when it's faster. 2825 03:00:56,666 --> 03:00:59,733 But this option called maintain all the pitch 2826 03:01:00,333 --> 03:01:03,266 here, it's disabled because the video doesn't have audio, 2827 03:01:03,600 --> 03:01:06,800 but it allows me that even though the speed of the audio 2828 03:01:06,800 --> 03:01:10,066 changes, the tone of the audio doesn't change. 2829 03:01:10,400 --> 03:01:14,533 I mean, the voices do not sound like squirrel or very slow. 2830 03:01:15,666 --> 03:01:16,266 But will 2831 03:01:16,266 --> 03:01:20,033 you already know how to modify the speed of any clip? 2832 03:01:20,033 --> 03:01:23,700 And this is the most important thing related to this lesson. 2833 03:01:24,366 --> 03:01:26,900 Until the next time 2834 03:01:36,400 --> 03:01:56,400 or perfect. 2835 03:01:56,600 --> 03:02:00,433 We are here again in the Adobe premiere in this lesson 2836 03:02:00,566 --> 03:02:04,000 are going to learn to use this toolbar over here. 2837 03:02:04,500 --> 03:02:07,133 So this bar next to the timeline contains 2838 03:02:07,133 --> 03:02:09,800 the main tools that we will use when editing. 2839 03:02:10,200 --> 03:02:15,933 So I would say that the main purpose of this a lesson the main objective is, 2840 03:02:16,100 --> 03:02:20,100 is to give you a powerful insight on these buttons over here. 2841 03:02:20,400 --> 03:02:22,933 The buttons in the toolbar. 2842 03:02:22,933 --> 03:02:26,700 So we are going to look for the sequence we have already created 2843 03:02:27,300 --> 03:02:31,166 in the previous lessons and we are going to add a video fragment, 2844 03:02:31,166 --> 03:02:34,566 the timeline that is to say to this sequence. 2845 03:02:35,133 --> 03:02:38,100 So here I have selected a piece of video. 2846 03:02:38,100 --> 03:02:41,600 Remember that you must use the AI in oh two said 2847 03:02:41,600 --> 03:02:44,466 the beginning and the end of that piece of video. 2848 03:02:44,966 --> 03:02:48,000 For example, the video fragment could be up to here. 2849 03:02:49,200 --> 03:02:52,533 So we press oh to select the end. 2850 03:02:53,133 --> 03:02:55,600 So we are going to drag the video to the timeline, 2851 03:02:56,100 --> 03:02:58,433 holding down the right mouse button. 2852 03:02:58,433 --> 03:03:00,600 We pull the video to the timeline 2853 03:03:00,600 --> 03:03:03,866 and we are going to click on keep existing settings. 2854 03:03:04,366 --> 03:03:08,333 Remember that it's to maintain the sequence configuration. 2855 03:03:09,600 --> 03:03:13,200 So already have our piece of video on the timeline. 2856 03:03:13,733 --> 03:03:17,866 But before dig into the Timeline toolbar, I want to address this 2857 03:03:18,100 --> 03:03:22,033 yellow line over here that appears here on the timeline. 2858 03:03:22,433 --> 03:03:26,500 So this yellow line indicates that the computer's dedicated video card 2859 03:03:26,833 --> 03:03:30,900 that is the DPU is generating temporary previews 2860 03:03:30,900 --> 03:03:33,400 so we can see what we are editing on the program. 2861 03:03:33,400 --> 03:03:37,800 Monitor that the yellow line represents a partial render. 2862 03:03:37,933 --> 03:03:41,333 If you had a powerful computer or, the preview will look good enough 2863 03:03:41,533 --> 03:03:43,400 on the program's monitor. 2864 03:03:43,400 --> 03:03:47,366 However, depending on the complexity of what we are editing or how heavy 2865 03:03:47,366 --> 03:03:51,833 the fires we are working with are, we will have to advance in the render 2866 03:03:52,133 --> 03:03:56,233 that is, convert that yellow line into a green line. 2867 03:03:56,533 --> 03:03:57,000 I mean that 2868 03:03:57,000 --> 03:04:01,100 the computer makes a complete render so that what we see on the programs 2869 03:04:01,100 --> 03:04:06,066 monitor looks completely continuous without interruptions, without delays. 2870 03:04:06,233 --> 03:04:07,200 And you will need these, 2871 03:04:07,200 --> 03:04:11,333 especially if you don't have sufficiently powerful computer. 2872 03:04:11,500 --> 03:04:15,300 So what you have to do is select the input and output of the section 2873 03:04:15,300 --> 03:04:18,966 you want to render by pressing right and o on the keyboard 2874 03:04:19,933 --> 03:04:21,366 and once you have the section 2875 03:04:21,366 --> 03:04:24,933 selected, you are going to go to the sequence tab 2876 03:04:25,533 --> 03:04:28,866 and then you are going to click and render in two out 2877 03:04:29,366 --> 03:04:33,033 and then immediately a kind of final render of the entire montage 2878 03:04:33,100 --> 03:04:37,266 of what is between the scene in the out will begin to be made. 2879 03:04:37,666 --> 03:04:41,066 Of course, you will have to wait a bit, especially depending 2880 03:04:41,066 --> 03:04:44,000 on how many effects each of those video clips have. 2881 03:04:44,566 --> 03:04:48,166 Additionally, that render will also have a higher quality. 2882 03:04:48,166 --> 03:04:52,566 So regardless of whether our computer is powerful or not, if we want to see what 2883 03:04:52,566 --> 03:04:56,700 we have edited with the higher quality, we must do that render. 2884 03:04:57,300 --> 03:04:58,433 Now look the line. 2885 03:04:58,433 --> 03:05:01,800 It's now green, indicating that the render is finished 2886 03:05:15,933 --> 03:05:47,000 after. 2887 03:05:47,000 --> 03:05:50,366 This is very important when it comes to editing music videos 2888 03:05:50,366 --> 03:05:54,833 because we are supposed to the video with the music it to perfection. 2889 03:05:55,433 --> 03:05:58,700 So let's start in with the first button on the toolbar. 2890 03:05:59,200 --> 03:06:01,633 This arrow over here. 2891 03:06:01,633 --> 03:06:05,166 So these are all is like the most general tool that allows me 2892 03:06:05,166 --> 03:06:09,666 to select anything in the Adobe premiere and especially in the timeline. 2893 03:06:09,933 --> 03:06:13,166 And of course, move what want as a nanny software. 2894 03:06:13,566 --> 03:06:15,966 It's the default selection tool of the software. 2895 03:06:16,666 --> 03:06:19,266 So there's no minor thing to be confused with. 2896 03:06:19,566 --> 03:06:23,733 This is simply the programs, two settings to move the mouse in the software 2897 03:06:23,733 --> 03:06:27,600 and use all the functions right below the arrow tool. 2898 03:06:27,600 --> 03:06:30,166 We will find the track select for word tool. 2899 03:06:30,633 --> 03:06:34,500 This allows me to select all video clips that are in front 2900 03:06:34,533 --> 03:06:37,733 or behind the position where I am with the mouse. 2901 03:06:38,266 --> 03:06:42,300 So basically it allows me to select several clips at the same time 2902 03:06:42,366 --> 03:06:45,866 when necessary, thereby making it easier for us to work. 2903 03:06:46,400 --> 03:06:50,066 So if we press the old key on the keyboard, we can change 2904 03:06:50,066 --> 03:06:51,600 the direction of the selection. 2905 03:06:51,600 --> 03:06:54,700 That is, if we want it to be forward backward. 2906 03:06:55,533 --> 03:06:56,733 I'm going to give you an example. 2907 03:06:56,733 --> 03:07:00,633 I'm going to add a portion of the video from the short film 2908 03:07:01,000 --> 03:07:03,366 in order to overlap the clips. 2909 03:07:03,966 --> 03:07:06,166 I'm going to drag the video along 2910 03:07:06,600 --> 03:07:09,333 and I'm going to drop the video just over here. 2911 03:07:10,066 --> 03:07:13,133 So going to bring the track, select forward button, 2912 03:07:13,300 --> 03:07:17,966 making sure it's in the right direction, which would be forward. 2913 03:07:18,333 --> 03:07:21,000 So when I have this tool activated and click 2914 03:07:21,000 --> 03:07:24,933 on the timeline, it will select all the clips that are to the right. 2915 03:07:24,933 --> 03:07:27,233 That is those that are forward. 2916 03:07:27,400 --> 03:07:31,100 It doesn't matter how many they are, they will all be selected. 2917 03:07:31,566 --> 03:07:35,833 So I'm going to do it again and notice that it's even going to select 2918 03:07:35,900 --> 03:07:40,766 the respective audio clips that are connected to those video clips. 2919 03:07:40,766 --> 03:07:42,633 Now I'm going to press the old key 2920 03:07:42,633 --> 03:07:45,500 on the keyboard to flip the direction of the tool. 2921 03:07:45,866 --> 03:07:50,033 I mean, select everything that is behind that mouse cursor. 2922 03:07:50,033 --> 03:07:51,566 Try to notice the difference. 2923 03:07:51,566 --> 03:07:55,000 Pay attention that when it's activated, select backwards 2924 03:07:55,400 --> 03:07:58,500 in a click on the timeline over here, as there is not clear 2925 03:07:58,500 --> 03:08:02,066 behind the mouse cursor, it will not select anything 2926 03:08:02,666 --> 03:08:06,133 because there is nothing to the left that is backwards. 2927 03:08:06,766 --> 03:08:09,966 But conversely, if I click to the right of the clips, 2928 03:08:09,966 --> 03:08:12,033 the clips will be on the left, 2929 03:08:12,033 --> 03:08:15,800 so the tool will select them because they are in the back. 2930 03:08:16,600 --> 03:08:20,166 So the tool is very simple, simply with the old key on the keyboard. 2931 03:08:20,166 --> 03:08:24,400 We changed the direction of the selection when it comes to selecting many clips 2932 03:08:24,400 --> 03:08:26,033 at the same time. 2933 03:08:26,033 --> 03:08:28,166 So let's go now with the third button 2934 03:08:28,166 --> 03:08:32,700 of the timeline toolbar, which is a bit more complicated, 2935 03:08:33,466 --> 03:08:35,700 but there is an important detail to highlight 2936 03:08:35,700 --> 03:08:38,700 before moving on to the third tool, which is that, well, 2937 03:08:38,700 --> 03:08:43,000 the Arrow tool is selected, we can stretch in a squeeze, two clips. 2938 03:08:43,366 --> 03:08:47,200 I mean to travel in all extension of the original video file. 2939 03:08:47,600 --> 03:08:50,800 For instance, although we had this of the short film, 2940 03:08:51,300 --> 03:08:53,733 if we stretch the video clip backwards, 2941 03:08:53,966 --> 03:08:56,400 we will travel backwards in the short film. 2942 03:08:56,433 --> 03:08:58,400 Adding more of the short film. 2943 03:08:58,400 --> 03:09:02,533 Obviously, and explained these because the third button has to do with this. 2944 03:09:02,533 --> 03:09:07,400 The first button is the replay tool, but actually press an old on the keyboard. 2945 03:09:07,400 --> 03:09:08,600 We have rolling. 2946 03:09:08,600 --> 03:09:11,033 Edit in red Stretch tool. 2947 03:09:11,300 --> 03:09:14,500 So what is the first one for the rebuilt added tool? 2948 03:09:14,500 --> 03:09:18,000 This function allows me to move the transition between two clips 2949 03:09:18,266 --> 03:09:20,266 that are next to each other. 2950 03:09:20,266 --> 03:09:23,600 For example, here we have two video clips that are together 2951 03:09:24,066 --> 03:09:26,300 and they have this function activated. 2952 03:09:26,600 --> 03:09:30,200 This allows me that whenever you stretch the video clip or exquisite, 2953 03:09:30,666 --> 03:09:34,500 the next video clip will not change its beginning or its exit. 2954 03:09:34,700 --> 03:09:37,200 It's like pushing or pulling the next clip. 2955 03:09:37,800 --> 03:09:41,766 Pay attention that, the clip stretching and right and the character's face. 2956 03:09:42,233 --> 03:09:44,966 And immediately the next clip starts when the character 2957 03:09:44,966 --> 03:09:47,400 is on the raft with his back visible. 2958 03:09:48,000 --> 03:09:50,700 So The replay tool allows me to stretch this clip 2959 03:09:50,700 --> 03:09:54,300 by pushing the next one without changing the beginning of the next one. 2960 03:09:54,666 --> 03:09:58,933 It's a very useful tool for not changing the beginning of the next. 2961 03:09:58,933 --> 03:10:02,300 The next function in this same third button is the rolling 2962 03:10:02,300 --> 03:10:05,300 edit tool, which we can switch to by pressing old. 2963 03:10:05,600 --> 03:10:10,233 So the rolling tool function allows me to the clip as well, but this time 2964 03:10:10,233 --> 03:10:14,833 it will not push the next one, but it will advance its extension. 2965 03:10:15,200 --> 03:10:19,500 It's as if it were inviting the next pay attention to the fact 2966 03:10:19,500 --> 03:10:23,600 that the part where the character's back is seen no longer appears, 2967 03:10:23,800 --> 03:10:27,066 but rather the clip advanced to farther forward. 2968 03:10:27,066 --> 03:10:30,300 So it's as if I had to move the transition forward, 2969 03:10:30,600 --> 03:10:33,600 as if I had made a cut in the clips by the forward. 2970 03:10:34,100 --> 03:10:37,900 So you already know the difference between the first and second function. 2971 03:10:38,100 --> 03:10:41,933 The first one to rebuild the tool allows me to stretch 2972 03:10:41,933 --> 03:10:44,900 a clip by pushing the next one. 2973 03:10:45,466 --> 03:10:47,800 I mean, without changing its beginning 2974 03:10:48,633 --> 03:10:52,166 in the second option to which we change in old on 2975 03:10:52,166 --> 03:10:56,433 the keyboard allows me to stretch clip, but this time I do. 2976 03:10:56,433 --> 03:11:01,300 By the next clip, I mean, the beginning of the next clip is not preserved. 2977 03:11:02,300 --> 03:11:03,366 So the third 2978 03:11:03,366 --> 03:11:07,566 option of this third button is to rate stretch tool. 2979 03:11:07,833 --> 03:11:11,366 This option is related to the speed the video clip will have, 2980 03:11:11,666 --> 03:11:14,000 which is something that we are going to see later on. 2981 03:11:14,300 --> 03:11:17,533 But basically this tool allows to stretch with squeeze 2982 03:11:17,533 --> 03:11:20,400 the video clip, altering its speed. 2983 03:11:20,700 --> 03:11:23,600 In other words, when I get stretch it, I make it to slower. 2984 03:11:23,900 --> 03:11:26,866 And when you squeeze it, I it faster. 2985 03:11:27,233 --> 03:11:29,366 Look how I stretch the clip. 2986 03:11:29,366 --> 03:11:37,200 And now the video looks slower. 2987 03:11:37,200 --> 03:11:41,100 So when I use stretch the video, obviously the frames separate 2988 03:11:41,500 --> 03:11:44,100 and run at a slower speed, thereby 2989 03:11:44,200 --> 03:11:46,866 slowing down the movement of the video. 2990 03:11:47,333 --> 03:11:51,233 That is a function of that great stretch tool. 2991 03:11:52,166 --> 03:11:55,666 So I'm going to press on to reset, which is on the two, 2992 03:11:55,666 --> 03:11:59,600 particularly back like before, and keep moving forward in the tools. 2993 03:12:00,133 --> 03:12:03,600 So the next tool is the racer tool. 2994 03:12:03,600 --> 03:12:07,000 So the racer tool is the tool that we are going to use the most. 2995 03:12:07,366 --> 03:12:12,733 It allows me to cut the clips as I want in, where I want using this tool, 2996 03:12:12,733 --> 03:12:16,400 I will be able to cut a portion of the video from any clip 2997 03:12:16,400 --> 03:12:19,933 on the timeline to be able to move it to where I want. 2998 03:12:20,000 --> 03:12:23,466 Remember that you must cut the beginning and end to be able 2999 03:12:23,466 --> 03:12:26,700 to separate it from the clip as if it were a cake. 3000 03:12:27,066 --> 03:12:30,900 I mean, to cut a piece of cake, you must make two cuts. 3001 03:12:31,333 --> 03:12:35,466 So as I told you, the tool that we are going to use the most in the editing 3002 03:12:35,933 --> 03:12:39,933 and it's not too complicated, we simply selected and got where I want. 3003 03:12:40,166 --> 03:12:45,633 Of course, once we cut to move that that we cut, we must be in the Arrow tool. 3004 03:12:46,066 --> 03:12:49,700 Obviously you can also use the racer tool in the audio clips. 3005 03:12:50,333 --> 03:12:54,100 Now we go to the fourth button, the fourth tool. 3006 03:12:54,133 --> 03:12:55,366 This tool is very useful. 3007 03:12:55,366 --> 03:12:59,400 In fact, it has two options that we can change with the old key 3008 03:12:59,400 --> 03:13:03,300 on the keyboard slip tool and slide tool. 3009 03:13:03,666 --> 03:13:05,633 Let's review the first option. 3010 03:13:05,633 --> 03:13:10,266 This tool allows me to modify the input output of one. 3011 03:13:10,266 --> 03:13:13,500 Be the clip that is between two other clips. 3012 03:13:13,966 --> 03:13:17,133 For example, when clicking on this small portion of video, 3013 03:13:17,533 --> 03:13:20,333 these four screens will appear on the programs. 3014 03:13:20,333 --> 03:13:24,566 Monitor the image above, and to the left belongs to the end of the clip 3015 03:13:24,566 --> 03:13:28,500 that is before it in the image to the right and above belongs 3016 03:13:28,500 --> 03:13:29,866 to the beginning of the clip. 3017 03:13:29,866 --> 03:13:34,000 That is after each the two images below belong to the beginning 3018 03:13:34,000 --> 03:13:36,466 and the end of the clip that we have selected. 3019 03:13:37,200 --> 03:13:40,766 So this sleep tool allows me to change the entrance 3020 03:13:40,766 --> 03:13:46,033 and exit of the clip they have selected without altering the position of the clip. 3021 03:13:46,133 --> 03:13:51,166 With respect to the other two clips that are before and after respectively. 3022 03:13:51,833 --> 03:13:54,300 So holding down the left mouse button 3023 03:13:54,633 --> 03:13:57,700 and at the same time moving to the right or left. 3024 03:13:57,700 --> 03:14:00,466 A change to start in the end of that clip. 3025 03:14:00,766 --> 03:14:03,166 Moving in the short film. 3026 03:14:03,166 --> 03:14:08,000 So it allows me to move where I want that little clip to start in the end 3027 03:14:08,233 --> 03:14:11,833 without having to go to the reference monitor and separately 3028 03:14:12,133 --> 03:14:15,400 edit the clip and then put it right there. 3029 03:14:16,200 --> 03:14:19,966 I mean, it's useful because sometimes we want to change little things, 3030 03:14:19,966 --> 03:14:25,066 but it's tricky to get the clip out to where it is and put it back in its place. 3031 03:14:25,666 --> 03:14:29,766 The truth is that I didn't use that too much, but it's important to know 3032 03:14:29,766 --> 03:14:34,600 that this tool exists so that IT workflow is as pleasant as possible. 3033 03:14:35,500 --> 03:14:40,866 The second option, which would be slide tool, works differently. 3034 03:14:40,866 --> 03:14:44,100 This tool allows me to move for the position that the clip will have. 3035 03:14:44,100 --> 03:14:48,100 With respect to the other two clips, I mean, the one that is after 3036 03:14:48,100 --> 03:14:51,400 and the one that is before, but without altering beginning 3037 03:14:51,400 --> 03:14:56,200 and the end of that clip that I have selected, be attention to the timeline. 3038 03:14:56,200 --> 03:15:01,033 Notice that I am moving the clip in now its position is moved. 3039 03:15:01,100 --> 03:15:05,433 With respect to the other two clips, look how I am moving 3040 03:15:05,433 --> 03:15:07,633 the clip to the place where I want. 3041 03:15:08,466 --> 03:15:12,000 So now in the program monitor the small images are both 3042 03:15:12,433 --> 03:15:15,033 now belong to the beginning and the end of the clip 3043 03:15:15,033 --> 03:15:19,233 that I have selected, and both the images below belong to the clips 3044 03:15:19,400 --> 03:15:22,500 that are before and after respectively. 3045 03:15:23,233 --> 03:15:27,166 So it's a very useful tool because it allows me to edit clips 3046 03:15:27,300 --> 03:15:31,200 without having to separate them in another part, the timeline, 3047 03:15:31,600 --> 03:15:34,466 which would be more work for us. 3048 03:15:34,466 --> 03:15:36,633 So let's move on to the next button 3049 03:15:36,766 --> 03:15:39,266 on the toolbar, which would be the pan 3050 03:15:39,800 --> 03:15:44,100 depend tool allows me to modify the automation line on the clips 3051 03:15:44,433 --> 03:15:48,266 that by default are volume for audio incapacity for video. 3052 03:15:48,600 --> 03:15:53,533 By making this points called Keyframes, we construct software to change 3053 03:15:53,533 --> 03:15:58,433 both volume and opacity automatically as the timeline progresses. 3054 03:15:58,633 --> 03:16:02,300 But I do not want to go into this right now because there's going to be 3055 03:16:02,300 --> 03:16:06,666 a separate lesson regarding editing, audio and also editing opacity 3056 03:16:07,100 --> 03:16:10,600 as well as a lesson where we are going to explain what a keyframe is. 3057 03:16:10,933 --> 03:16:14,700 The important thing for now is that you know that the pencil allows me 3058 03:16:14,700 --> 03:16:18,900 to alter these automations simply by making points 3059 03:16:18,900 --> 03:16:23,733 on those horizontal lines that have both the audio and video clips. 3060 03:16:24,566 --> 03:16:28,833 And the last button on the timeline toolbar is the text tool, 3061 03:16:29,200 --> 03:16:31,833 which of course we will also see in detail 3062 03:16:31,833 --> 03:16:34,133 in a specific lesson for that, 3063 03:16:34,833 --> 03:16:38,400 because obviously I have to explain the parameters in detail 3064 03:16:38,666 --> 03:16:42,266 in how you're going to be able to use the letters in place 3065 03:16:42,533 --> 03:16:45,000 and move them on the video for now. 3066 03:16:45,000 --> 03:16:47,833 The important thing to know is that when this option is selected, 3067 03:16:47,900 --> 03:16:50,500 we simply click anywhere on the program monitor 3068 03:16:50,966 --> 03:16:54,000 and immediately the option to write opens in. 3069 03:16:54,000 --> 03:16:58,100 At the same time, a graphic clip is created on the timeline 3070 03:16:58,466 --> 03:17:00,000 and I will be able to modify 3071 03:17:00,000 --> 03:17:03,633 that clip as I want, as if it were one more video clip. 3072 03:17:03,733 --> 03:17:07,666 I mean, I can change how long it will last and move it exactly 3073 03:17:07,666 --> 03:17:09,833 the same as if it were a video clip. 3074 03:17:09,833 --> 03:17:12,300 If I can show you a little bit at once, 3075 03:17:12,800 --> 03:17:17,266 simply when I have selected that graphic clip, the effects control 3076 03:17:17,266 --> 03:17:21,533 will open all the parameters to move that, as I told you, as if it were. 3077 03:17:21,533 --> 03:17:23,400 One more video clip here. 3078 03:17:23,400 --> 03:17:25,166 We are going to be able to obviously 3079 03:17:25,166 --> 03:17:29,233 move the characteristics of the typography as well. 3080 03:17:29,233 --> 03:17:33,100 There are quite a few features, but since they want to go step by step, 3081 03:17:33,500 --> 03:17:37,100 I need to first explain what defects control is like 3082 03:17:37,533 --> 03:17:40,933 before tackling how to the text in the premiere. 3083 03:17:42,000 --> 03:17:42,800 So this would 3084 03:17:42,800 --> 03:17:46,166 be all about the time line toolbar buttons. 3085 03:17:46,600 --> 03:17:48,800 You already have a general notion of those 3086 03:17:49,633 --> 03:17:53,633 that are going to be very useful for you from now on. 3087 03:17:53,933 --> 03:17:56,433 Try to review all the content again 3088 03:17:56,766 --> 03:18:29,100 and I see you in the next lesson. 3089 03:18:29,100 --> 03:18:29,900 Hello people. 3090 03:18:29,900 --> 03:18:32,700 In this module we are going to work on color correction. 3091 03:18:33,300 --> 03:18:36,133 First, we're going to learn how to make masks 3092 03:18:36,533 --> 03:18:40,666 because in fact masks are the tool that will allow us not only to do 3093 03:18:40,666 --> 03:18:44,800 color correction, but also to apply an effect to an image. 3094 03:18:45,000 --> 03:18:46,333 So try to be patient. 3095 03:18:46,333 --> 03:18:50,000 I mean, there are several lessons and I explain everything 3096 03:18:50,000 --> 03:18:53,266 in step by step so that you can do it yourself. 3097 03:18:53,900 --> 03:18:58,600 There is something important to take into account in terms of dynamic range. 3098 03:18:59,233 --> 03:19:01,800 The dynamic range of colors in an image is 3099 03:19:01,800 --> 03:19:04,566 the number of color tones and gradients in an image. 3100 03:19:05,133 --> 03:19:09,166 As I mentioned in a previous lesson, an image with a higher resolution 3101 03:19:09,400 --> 03:19:12,133 will have a greater amount of dynamic range. 3102 03:19:12,333 --> 03:19:17,766 But remember, that resolution doesn't necessarily mean a larger image size, 3103 03:19:17,766 --> 03:19:21,133 but a greater amount of information for each pixel. 3104 03:19:21,733 --> 03:19:25,133 There are now strategies to make the viewer feel that the image 3105 03:19:25,366 --> 03:19:28,933 they are watching on the screen has more dynamic range. 3106 03:19:29,400 --> 03:19:31,966 For example, if in an image we change the color 3107 03:19:31,966 --> 03:19:36,300 of certain objects within the frame, we're going to create a look 3108 03:19:36,300 --> 03:19:40,300 or a sensation that the camera was able to detect those colors, 3109 03:19:40,633 --> 03:19:42,966 those colors, variations, thereby 3110 03:19:42,966 --> 03:19:46,400 improving the prurience of our video substantially. 3111 03:19:46,500 --> 03:19:50,900 But this will not only make the image look better in terms of dynamic range, 3112 03:19:51,366 --> 03:19:53,866 but also in terms of cinematography. 3113 03:19:54,200 --> 03:19:57,900 I mean, the static quality of any image itself. 3114 03:19:57,900 --> 03:20:02,333 So take a look at this example, which in my opinion is excellent. 3115 03:20:02,333 --> 03:20:04,633 In fact, I highly recommend this film. 3116 03:20:05,233 --> 03:20:09,500 Is this kind of films seen in photography seems magnificent to me. 3117 03:20:10,000 --> 03:20:12,900 As you can see these the scene was shot in a beach, 3118 03:20:13,166 --> 03:20:16,866 which is one of the main factors that makes the image look good 3119 03:20:17,400 --> 03:20:20,633 because this scene was shot at the best time of day. 3120 03:20:21,566 --> 03:20:24,066 But it happens that even in perfect conditions, 3121 03:20:24,400 --> 03:20:27,466 the gap to record is never too. 3122 03:20:27,466 --> 03:20:31,033 Therefore, the production team will prioritize the scenes 3123 03:20:31,033 --> 03:20:33,966 that need the presence of their direct sunset flight. 3124 03:20:34,833 --> 03:20:37,133 But what about the other? 3125 03:20:37,133 --> 03:20:39,600 Those that are necessary for the scene 3126 03:20:39,933 --> 03:20:43,366 but in which the sky is not directly visible? 3127 03:20:43,900 --> 03:20:45,066 Look at this example. 3128 03:20:45,066 --> 03:20:49,033 This shot vigorously clean, being a kind of hill near the beach. 3129 03:20:49,433 --> 03:20:53,400 But even when the sky is not there, we must give information 3130 03:20:53,400 --> 03:20:56,566 in the shot that the place is close to that beach 3131 03:20:56,966 --> 03:21:01,100 and that the action is taking place at the very moment of the sunset. 3132 03:21:01,800 --> 03:21:05,333 So how we can do it, We attention to the bottom rocks. 3133 03:21:05,766 --> 03:21:08,366 You can see the bottom's rocks are pink 3134 03:21:08,833 --> 03:21:11,800 as if the evening light is projected on them. 3135 03:21:12,500 --> 03:21:15,833 But the truth is that in the original the shot, surely the pink color 3136 03:21:15,833 --> 03:21:16,666 was not there. 3137 03:21:17,733 --> 03:21:19,200 Okay, You may think, well, 3138 03:21:19,200 --> 03:21:23,300 maybe it's a big red lamp that is illuminating the rocks, 3139 03:21:23,700 --> 03:21:27,333 but it would be much more expensive to do that today. 3140 03:21:27,333 --> 03:21:30,533 In this age that is no longer necessary. 3141 03:21:30,966 --> 03:21:34,866 That direct the color of the rocks can perfectly be done in color. 3142 03:21:34,866 --> 03:21:38,233 Correction, in reality is much easier than you think. 3143 03:21:38,900 --> 03:21:43,500 If the movie was recorded it in high resolution, much easier still. 3144 03:21:43,766 --> 03:21:46,866 Obviously, in the case of a film like is, it's evident 3145 03:21:46,866 --> 03:21:50,133 that everything was recorded in a maximum resolution. 3146 03:21:50,766 --> 03:21:54,266 Now the most difficult thing is not to change the color of the rocks 3147 03:21:54,766 --> 03:21:58,200 the most difficult thing is to know when it's necessary 3148 03:21:58,200 --> 03:22:01,800 to change the color of the rocks to match the sunset. 3149 03:22:02,233 --> 03:22:06,233 Now, to be able to know these, you must have a great visual culture. 3150 03:22:06,566 --> 03:22:11,133 You must feel the visual need to add something to an image to make it complete. 3151 03:22:11,633 --> 03:22:13,966 I tell you these I tell you all of these 3152 03:22:14,133 --> 03:22:16,933 because today's has multiple jobs. 3153 03:22:17,200 --> 03:22:19,000 Many of you take many courses 3154 03:22:19,000 --> 03:22:21,800 because you want to learn how to do everything yourself. 3155 03:22:22,333 --> 03:22:25,533 But where do I want to go with this example? 3156 03:22:26,000 --> 03:22:27,300 If you are giving it out to 3157 03:22:27,300 --> 03:22:32,100 I mean, the video files of a scene recorded on a beach like these 3158 03:22:32,100 --> 03:22:35,200 and in the data there are, for example, paint shots, 3159 03:22:35,666 --> 03:22:39,233 but only three of them show the afternoon light. 3160 03:22:39,466 --> 03:22:42,833 You should be capable of modifying elements, you name it, 3161 03:22:42,833 --> 03:22:46,766 to suggest that all the shots was recorded at the same time. 3162 03:22:47,033 --> 03:22:48,500 That is your job. 3163 03:22:48,500 --> 03:22:51,966 So even if you are just someone who does color correction, 3164 03:22:52,366 --> 03:22:55,300 you should be prepared not only to get the image corrected 3165 03:22:55,500 --> 03:22:58,333 but to know when the image needs to be corrected. 3166 03:22:58,500 --> 03:23:00,633 So I always insist on this. 3167 03:23:00,633 --> 03:23:03,000 Try to watch good movies so that you can have 3168 03:23:03,000 --> 03:23:06,766 good reference sources when it comes to doing color correction. 3169 03:23:07,100 --> 03:23:08,000 Let's start in 3170 03:23:39,066 --> 03:23:40,266 perfect who you are here. 3171 03:23:40,266 --> 03:23:45,000 In the first lesson about quarter regrading or correction, 3172 03:23:46,066 --> 03:23:48,566 what is the first thing you must know 3173 03:23:48,566 --> 03:23:53,100 to have a powerful inside of color correction in color grading? 3174 03:23:53,100 --> 03:23:56,800 The first thing is that what I'm going to teach you in this lesson, 3175 03:23:57,200 --> 03:23:59,700 in this module, in the following lessons. 3176 03:24:00,233 --> 03:24:03,266 It's my point of view of this past production stage. 3177 03:24:03,733 --> 03:24:06,400 I mean, every single teacher you're going to find around, 3178 03:24:06,533 --> 03:24:07,900 they will have their own 3179 03:24:07,900 --> 03:24:11,000 point of view of how to color grading and color correction, 3180 03:24:11,266 --> 03:24:16,100 because actually that point of view is the byproduct of their experiences. 3181 03:24:16,500 --> 03:24:19,800 So I would say that is like painting or drawing. 3182 03:24:20,133 --> 03:24:23,366 Everyone is able to develop his style. 3183 03:24:23,700 --> 03:24:25,700 And why I am telling you this 3184 03:24:25,700 --> 03:24:29,033 because I'm focused on creating art to create in his stories. 3185 03:24:29,366 --> 03:24:30,600 I am an artist. 3186 03:24:30,600 --> 03:24:31,900 It's what I love to do. 3187 03:24:31,900 --> 03:24:34,233 It's what dedicate myself to. 3188 03:24:34,766 --> 03:24:37,966 And so from my point of view, there are certain technical elements 3189 03:24:37,966 --> 03:24:42,400 that we should not follow completely, or we can have the respect for complete. 3190 03:24:42,400 --> 03:24:44,733 In other words, we must be able to break the rules 3191 03:24:44,733 --> 03:24:47,566 a little or bend the arm of the rules a little. 3192 03:24:48,233 --> 03:24:50,766 And I'm going to start this by differentiating 3193 03:24:51,100 --> 03:24:53,766 between color correction important gradient. 3194 03:24:54,066 --> 03:24:55,600 What is the difference? 3195 03:24:55,600 --> 03:24:58,966 So from a technical point of view, color correction is to fix 3196 03:24:59,400 --> 03:25:03,000 the various colors of the image colors, to make the image match. 3197 03:25:03,000 --> 03:25:06,766 And the original idea that the cinematographer had in the shooting, 3198 03:25:07,233 --> 03:25:10,200 I mean, the director of photography or cinematographer 3199 03:25:10,466 --> 03:25:14,266 was carrying out that job in the shooting and he had a purpose. 3200 03:25:14,500 --> 03:25:17,733 I mean, he had an objective, a kind of objective 3201 03:25:17,733 --> 03:25:21,800 in terms of color and illumination lighting. 3202 03:25:21,800 --> 03:25:25,966 So when you are shooting, you are supposed to look over the images 3203 03:25:26,366 --> 03:25:30,000 in the monitor and that monitors provides information 3204 03:25:30,000 --> 03:25:33,000 about what is passing through the camera sensor. 3205 03:25:33,300 --> 03:25:37,833 So it's possible that in the day of the shooting, you as a cinematographer 3206 03:25:37,833 --> 03:25:42,633 or film director or videographer, you are pretty confident about. 3207 03:25:42,633 --> 03:25:44,800 You are watching on the camera monitor. 3208 03:25:45,200 --> 03:25:48,900 But it happens that by the time you will be reviewing the footage, 3209 03:25:49,166 --> 03:25:54,100 you realize that the footage done match what you were watching on the monitor. 3210 03:25:54,666 --> 03:25:59,233 And so, for example, in this in this image about this gear on the pool, 3211 03:25:59,466 --> 03:26:04,333 you can notice there is a kind of seal a white veil upon the image. 3212 03:26:04,600 --> 03:26:09,700 But it happens that that veil that you can notice is a kind of rough configuration 3213 03:26:09,700 --> 03:26:14,100 that the veil has in order to be modified in terms of color. 3214 03:26:14,800 --> 03:26:17,433 So it's a kind of forward configuration. 3215 03:26:17,800 --> 03:26:22,500 So going back to knowing what is color correction, color correction 3216 03:26:22,500 --> 03:26:27,133 would be to return that image to that look to that appearance 3217 03:26:27,466 --> 03:26:30,233 that the cinematographer was watching on 3218 03:26:30,233 --> 03:26:33,766 the camera monitor or the external monitor in the date of the shooting. 3219 03:26:34,266 --> 03:26:36,966 But just at this point, conclusions come out 3220 03:26:37,166 --> 03:26:40,500 because maybe the initial idea of the original idea 3221 03:26:40,500 --> 03:26:44,900 that the cinematographer had was to modify the color of the image, 3222 03:26:45,366 --> 03:26:48,300 the color of the video in the post-production stage. 3223 03:26:48,466 --> 03:26:50,933 So in this sense, when you talking about 3224 03:26:51,300 --> 03:26:53,800 distorting the original colors of the image 3225 03:26:54,000 --> 03:26:58,566 in order to enhance its appearance, you are talking about color grading. 3226 03:26:58,766 --> 03:27:03,766 And so sometimes these borders between color correction and go to end 3227 03:27:04,200 --> 03:27:07,200 are very closed, are caused and mixed. 3228 03:27:07,800 --> 03:27:12,666 So for me, everything all the time is a quarter of grading because your purpose, 3229 03:27:12,700 --> 03:27:16,900 your objective is to enhance the image as well as possible. 3230 03:27:17,166 --> 03:27:18,700 So let's start it. 3231 03:27:18,700 --> 03:27:22,033 The first thing we must do is to change to quarter percent. 3232 03:27:22,633 --> 03:27:25,833 I personally always use the editing preset 3233 03:27:26,100 --> 03:27:30,566 that only because is the more efficient, but also because is the better 3234 03:27:30,566 --> 03:27:34,266 in terms of performance and computer resources. 3235 03:27:34,633 --> 03:27:36,866 But this time you are going to need to research them. 3236 03:27:36,900 --> 03:27:42,033 You made three scopes in this color presets and what is this? 3237 03:27:42,033 --> 03:27:44,566 You made three scopes to the naked eye. 3238 03:27:44,700 --> 03:27:48,633 It seems very complicated because you are watching a kind of 3239 03:27:49,200 --> 03:27:53,966 strange waves, but they really tell you that it's not that complicated at all. 3240 03:27:54,300 --> 03:27:57,766 So the lemaitre scopes is a tool to ensure that your image 3241 03:27:57,766 --> 03:28:00,433 is filling the entire spectrum of color Gamuts. 3242 03:28:00,900 --> 03:28:05,400 So you can notice that in this panel in the left side of this panel, 3243 03:28:05,900 --> 03:28:11,066 there is a ruler or a now of a matter that goes from 0 to 100. 3244 03:28:11,100 --> 03:28:14,000 And you can notice also this wave of three colors 3245 03:28:14,133 --> 03:28:18,000 that is located in a specific section of this panel. 3246 03:28:18,566 --> 03:28:21,300 For example, we attention to this blue stripe. 3247 03:28:21,633 --> 03:28:22,766 White is blue. 3248 03:28:22,766 --> 03:28:26,066 This stripe is about it happens that the 100 value 3249 03:28:26,366 --> 03:28:29,766 represents the maximum amount of light in the image. 3250 03:28:29,866 --> 03:28:34,000 You know, the other hand is zero represents the minimum amount of light. 3251 03:28:34,500 --> 03:28:36,600 So pay attention to the program monitor. 3252 03:28:37,233 --> 03:28:41,400 You can notice that the blue color extends out because the pool is blue 3253 03:28:41,666 --> 03:28:44,233 in the water has the maximum amount of light 3254 03:28:44,500 --> 03:28:47,433 and the on the other hand, the skin has less amount of light. 3255 03:28:47,733 --> 03:28:49,866 And you can notice in the center of the pale 3256 03:28:50,066 --> 03:28:53,000 that there is a kind of fall in terms of light in the center 3257 03:28:53,000 --> 03:28:56,300 of the image in that fall is represents in the hair. 3258 03:28:56,433 --> 03:29:00,300 For example, in the girls swimsuit that is black, actually. 3259 03:29:00,900 --> 03:29:03,066 But the problem is that at this moment, 3260 03:29:03,400 --> 03:29:07,066 this wave that you're watching in the panel is just filling 3261 03:29:07,100 --> 03:29:11,966 a small section of the spectrum, a section closer to the light than to the shadow. 3262 03:29:12,266 --> 03:29:15,900 So we are supposed to expand and stretch that color 3263 03:29:15,900 --> 03:29:20,433 range of the image to fill as much as possible DC spectrum of colors. 3264 03:29:20,833 --> 03:29:23,566 But pay attention to this because I don't mean to say that 3265 03:29:23,566 --> 03:29:27,600 it is imperative to fill the entire spectrum of colors 3266 03:29:27,600 --> 03:29:30,966 because maybe your artistic purpose is not to do that 3267 03:29:31,500 --> 03:29:34,000 in entirely these, because maybe your objective 3268 03:29:34,000 --> 03:29:38,133 is to to reach a kind of vintage look in the video. 3269 03:29:38,133 --> 03:29:40,033 And that look is inspired by it. 3270 03:29:40,033 --> 03:29:44,700 By a time where there were not that sophisticated TVs or cameras, 3271 03:29:45,100 --> 03:29:47,733 I mean, there were cameras, there were not able 3272 03:29:48,333 --> 03:29:51,800 portrayed a great deal of colors and gamuts. 3273 03:29:52,133 --> 03:29:57,966 So if it's the case that you want to match that, look, maybe that appearance 3274 03:29:57,966 --> 03:30:01,233 that you are watching at this moment is the most suitable for you. 3275 03:30:01,600 --> 03:30:03,600 But let's suppose that this is not the case. 3276 03:30:03,600 --> 03:30:07,166 But suppose that you want to to a kind of equalize 3277 03:30:07,166 --> 03:30:11,166 in the colors of this video, to come out this video as quick as possible. 3278 03:30:11,500 --> 03:30:14,966 So you're going to need to add some video effects in terms of color. 3279 03:30:15,200 --> 03:30:17,666 So we need to go to the effect. 3280 03:30:18,166 --> 03:30:20,366 It's important to stress that 3281 03:30:20,366 --> 03:30:23,633 that there are a great deal of tools in terms of color. 3282 03:30:23,733 --> 03:30:27,000 But I'm going to show you those that I used the most. 3283 03:30:27,000 --> 03:30:31,400 So we go to the effects folder, we go to video effects, 3284 03:30:31,466 --> 03:30:34,100 and this time we are going to add levels. 3285 03:30:34,400 --> 03:30:38,800 Also, we're going to add you may three color and also a color balance. 3286 03:30:38,800 --> 03:30:43,700 RGV I have already added these effects, but they are all activated. 3287 03:30:43,700 --> 03:30:45,533 I'm going to do it from scratch. 3288 03:30:45,533 --> 03:30:48,900 So the levels effect is located in the adjust folder, 3289 03:30:49,566 --> 03:30:52,666 so the direct effect to the effect control panel. 3290 03:30:53,200 --> 03:30:56,433 And then we go to the color correction folder 3291 03:30:57,000 --> 03:30:58,966 and we pick the illuminated color effect. 3292 03:31:00,666 --> 03:31:03,000 And lastly, the color balance. 3293 03:31:03,000 --> 03:31:05,866 We are going to find it in the image control 3294 03:31:09,600 --> 03:31:10,900 over here. 3295 03:31:11,700 --> 03:31:14,300 So what is the level effects used for? 3296 03:31:14,800 --> 03:31:18,600 I usually use this effect to stress the black tones in the image. 3297 03:31:18,900 --> 03:31:22,266 I mean, for me is the first step in order to banish 3298 03:31:22,733 --> 03:31:25,033 that the forge revealed in the footage. 3299 03:31:25,400 --> 03:31:29,400 So in levels, parameters, you are going to find several color correctors 3300 03:31:29,666 --> 03:31:34,800 that are focus and adding more light or remove light from the image, either 3301 03:31:34,800 --> 03:31:40,100 modifying the whole range of colors or a specific range of color in the image. 3302 03:31:40,466 --> 03:31:45,000 And that is the reason why you can see different tracks in terms of range 3303 03:31:45,533 --> 03:31:50,400 black input or white input, and not only in terms of RGV, 3304 03:31:50,400 --> 03:31:54,633 but also for the red or green or blue separately. 3305 03:31:55,133 --> 03:31:57,800 But as I told you, I use this level effect 3306 03:31:58,033 --> 03:32:01,833 to enhance and strengthen the black tones in the image. 3307 03:32:02,200 --> 03:32:05,533 So by moving this first track, you can enhance the black tones. 3308 03:32:06,300 --> 03:32:08,700 So I'm going to move this parameter to the right 3309 03:32:09,000 --> 03:32:11,933 and you're going to notice the difference in the program monitor 3310 03:32:12,400 --> 03:32:15,733 So you can notice a difference and you can notice how the image 3311 03:32:16,066 --> 03:32:18,566 is going to the original state. 3312 03:32:19,066 --> 03:32:21,733 So now you're going to going back to the you made three scopes 3313 03:32:21,900 --> 03:32:26,300 to review the spectrum, so you can notice how the color wave is 3314 03:32:27,100 --> 03:32:29,200 to the downside of the spectrum. 3315 03:32:29,566 --> 03:32:32,533 I'm going to deactivate effect so you can notice the difference. 3316 03:32:33,000 --> 03:32:35,633 Pay attention where are located, the red tones. 3317 03:32:35,866 --> 03:32:40,500 I'm going activate it again and pay attention to the new major scopes. 3318 03:32:41,066 --> 03:32:45,366 So by moving this first parameter, this first track, adding 3319 03:32:45,366 --> 03:32:49,966 almost points in terms of black tones to the entire image, 3320 03:32:50,100 --> 03:32:53,400 thereby increasing dramatically its range of colors. 3321 03:32:53,700 --> 03:32:58,133 And pay attention that scene as tigers swimsuit is reaching the black tones 3322 03:32:58,133 --> 03:32:59,500 completely in the hair. 3323 03:32:59,500 --> 03:33:02,600 Also, you can notice in the center of the panel 3324 03:33:02,666 --> 03:33:06,133 that the color wave is reaching zero in the spectrum. 3325 03:33:06,133 --> 03:33:09,766 And you know, that zero represents the minimum amount of light. 3326 03:33:10,500 --> 03:33:13,900 But you can also modify I know there are tracks of the levels. 3327 03:33:14,366 --> 03:33:18,100 I mean in order to fix the tones and return the appearance 3328 03:33:18,100 --> 03:33:20,100 to the original state. 3329 03:33:20,100 --> 03:33:22,333 I mean you can add, for example, light 3330 03:33:22,500 --> 03:33:28,033 to the whites that sometimes are necessary because maybe the video lacks of light 3331 03:33:28,266 --> 03:33:32,033 and you can fix that problem by moving that parameter, that track. 3332 03:33:32,233 --> 03:33:33,500 But pay attention to that you made there. 3333 03:33:33,500 --> 03:33:36,466 SCOPES In this time, since they move white input 3334 03:33:36,700 --> 03:33:39,766 the color wave that which is the maximum amount of light. 3335 03:33:40,433 --> 03:33:45,400 But some reason I use this effect and this little effect to equalize 3336 03:33:45,633 --> 03:33:49,900 the tones is the first step in terms of color correction in color grading. 3337 03:33:50,366 --> 03:33:52,433 But let's move on to the following effect, 3338 03:33:52,433 --> 03:33:54,500 and that is that you may add three color. 3339 03:33:54,500 --> 03:33:58,500 And here going to add some contrast to the entire image 3340 03:33:58,666 --> 03:34:02,600 in another very important thing, saturation, the first iris 3341 03:34:02,600 --> 03:34:07,266 and an in saturation is because the image is called 3342 03:34:07,700 --> 03:34:11,066 I mean, even though you can notice the sunlight reflected on the pool, 3343 03:34:11,300 --> 03:34:13,500 I mean is an outdoor shooting. 3344 03:34:13,500 --> 03:34:16,933 There were a of clouds in the sky in the clouds 3345 03:34:16,966 --> 03:34:20,800 were preventing the light reaches the objects directly. 3346 03:34:21,033 --> 03:34:23,300 I mean, light is filtered by clouds. 3347 03:34:23,300 --> 03:34:27,100 So when it happens, everything around loses color immediately. 3348 03:34:27,300 --> 03:34:29,966 But I'm going to modify a little bit the highlights 3349 03:34:30,666 --> 03:34:34,433 in order to decrease the amount of highlight of it. 3350 03:34:34,833 --> 03:34:37,233 And I'm going to level the highlights with the whites 3351 03:34:38,566 --> 03:34:41,433 to this point just right here. 3352 03:34:41,933 --> 03:34:46,200 Now you're going to go back to the numerator scopes to review the spectrum. 3353 03:34:46,600 --> 03:34:50,333 Now you can notice how the red stripe in the color wave 3354 03:34:50,466 --> 03:34:53,866 is reaching almost 30 in the spectrum. 3355 03:34:53,866 --> 03:34:56,033 But pay close attention to this. You don't need that. 3356 03:34:56,033 --> 03:35:00,366 The color wave reaches the zero 100 level. 3357 03:35:00,400 --> 03:35:04,766 Actually, that is not good, just like it is is well enough to come out of video. 3358 03:35:04,833 --> 03:35:07,933 But it also depends on what you want or your style. 3359 03:35:08,333 --> 03:35:10,700 But additionally, we can add another effect 3360 03:35:11,366 --> 03:35:14,200 these color balance effect, color balance. 3361 03:35:14,200 --> 03:35:18,700 RGV And this effect allows you to add a kind of extra 3362 03:35:18,700 --> 03:35:23,366 veil of color that covers the entire image, not altering. 3363 03:35:23,366 --> 03:35:27,466 So nature, I mean, its nature in terms of light in tones. 3364 03:35:28,100 --> 03:35:32,100 So you can notice that in enhancing the blue tones and removing 3365 03:35:32,100 --> 03:35:36,666 also the red tones in the image in actually it looks very nice. 3366 03:35:36,966 --> 03:35:40,633 It looks like the shooting was in an indoor pool 3367 03:35:40,933 --> 03:35:44,066 that had some windows where the light is coming through. 3368 03:35:44,633 --> 03:35:46,300 And pay attention to this. 3369 03:35:46,300 --> 03:35:50,566 I'm turning the image blue and you can notice that blue veil. 3370 03:35:51,000 --> 03:35:53,700 But let's go back to the lumen scopes. 3371 03:35:54,000 --> 03:35:57,566 Now you can notice how powerful was this color correction? 3372 03:35:57,566 --> 03:36:01,300 I mean, the color wave is filling almost the entire spectrum. 3373 03:36:01,300 --> 03:36:03,033 But in this case, we shoot the low. 3374 03:36:03,033 --> 03:36:05,200 The blue reached the 100 level, 3375 03:36:05,500 --> 03:36:08,566 so we must try to level the red tones and blue tones. 3376 03:36:08,933 --> 03:36:10,933 No reaching the limits. 3377 03:36:10,933 --> 03:36:15,366 So reaching the limits means that you are saturating the image in terms of color. 3378 03:36:15,966 --> 03:36:18,633 So I'm going to move the blue track a little bit. 3379 03:36:19,100 --> 03:36:23,866 And the red track also now pertains to how the limiter scopes behaves. 3380 03:36:24,200 --> 03:36:29,633 You can notice now how the blue stripe is next to 100, but it's not reaching 100. 3381 03:36:29,966 --> 03:36:32,700 And that means that it's not saturate often. 3382 03:36:33,100 --> 03:36:36,533 Well, that would be what I usually do in terms of color. 3383 03:36:36,533 --> 03:36:38,900 Correction the first steps. 3384 03:36:38,900 --> 03:36:42,266 But pay attention, which in the limits doesn't mean that the image is 3385 03:36:43,166 --> 03:36:47,500 maybe your creative purpose is to do that you're esthetic purposes. 3386 03:36:47,966 --> 03:36:52,533 So feel free to experiment and to play with these parameters and tools. 3387 03:36:52,833 --> 03:36:55,266 So I'm going to leave you this shot for the screen 3388 03:36:55,766 --> 03:37:33,900 and I see you in the next lesson. 3389 03:37:33,900 --> 03:37:35,266 Perfect to be here. Here again. 3390 03:37:35,266 --> 03:37:37,600 This time you're going to use this another example. 3391 03:37:38,066 --> 03:37:40,866 It's the same film setting with the same actress, 3392 03:37:41,100 --> 03:37:44,666 but this time you can notice that the sunlight is not filtered. 3393 03:37:44,733 --> 03:37:47,633 And this is a perfect example to make you understand that 3394 03:37:47,666 --> 03:37:50,866 even under the same conditions in terms of production 3395 03:37:51,233 --> 03:37:54,600 and film setting, just the fact that the sunlight is filter 3396 03:37:54,600 --> 03:38:00,500 by clouds brings about another different look in that features in the hair. 3397 03:38:00,500 --> 03:38:03,233 For example, you can notice that the highlights 3398 03:38:03,266 --> 03:38:06,300 reveals the brown tones in the hair, for example. 3399 03:38:06,700 --> 03:38:10,066 So this time I'm not using the levels I'm 3400 03:38:10,066 --> 03:38:13,233 using only the new metric color and the color balance. 3401 03:38:13,266 --> 03:38:16,433 RGV But additionally amusing, another effect 3402 03:38:16,433 --> 03:38:19,933 called sharpen to add definition to image. 3403 03:38:20,566 --> 03:38:23,533 So we are going to go to the folders to look for those effects 3404 03:38:23,900 --> 03:38:26,066 to do this from scratch. 3405 03:38:26,066 --> 03:38:29,300 Of course, we are going to continue analyzing that you made through 3406 03:38:30,300 --> 03:38:31,266 while doing 3407 03:38:31,266 --> 03:38:45,266 these color correction. 3408 03:38:45,266 --> 03:38:50,833 So let's go to the new miter scopes to analyze the spectrum. 3409 03:38:50,833 --> 03:38:54,366 So here you can notice that the color wave looks differently, 3410 03:38:55,200 --> 03:38:57,900 I mean, differently than the previous lesson. 3411 03:38:58,433 --> 03:39:01,366 And the first you can notice in the illuminator scopes is said 3412 03:39:01,366 --> 03:39:05,433 there is a kind of white color covering the color wave. 3413 03:39:05,866 --> 03:39:07,700 And what does it mean? 3414 03:39:07,700 --> 03:39:10,800 That means that the image is 3415 03:39:10,800 --> 03:39:12,900 I mean, the footage is burned. 3416 03:39:12,900 --> 03:39:17,500 I mean that the camera settings were not more suitable for those light conditions. 3417 03:39:17,700 --> 03:39:21,000 And the reason why that it happened was due to the weather 3418 03:39:21,000 --> 03:39:24,266 conditions, I mean, clouds were moving quickly. 3419 03:39:24,366 --> 03:39:28,333 I mean, the camera was set to work with the light filter by the clouds, 3420 03:39:28,633 --> 03:39:31,366 but that weather conditions were not as stable. 3421 03:39:31,600 --> 03:39:35,700 But even though the video is a little bit burned, it's not exposed at all. 3422 03:39:36,133 --> 03:39:39,900 But we must try to adapt the color correction to this conditions. 3423 03:39:40,500 --> 03:39:43,833 So since the sunlight is reaching the objects directly, 3424 03:39:44,100 --> 03:39:47,266 we must try to create that effect of the afternoon light. 3425 03:39:47,700 --> 03:39:50,633 So I'm moving the temperature, the warm tones 3426 03:39:51,000 --> 03:39:54,800 and at the same time adding some contrast to the video. 3427 03:39:55,033 --> 03:39:58,800 So in this case we must try to focus on the black tones in the shadows 3428 03:39:59,233 --> 03:40:02,266 to compensate that overexposure of light 3429 03:40:02,833 --> 03:40:05,800 by attention that you can notice that these blacks track 3430 03:40:06,133 --> 03:40:10,333 is almost exactly the same, that the first track in the levels effect. 3431 03:40:10,500 --> 03:40:11,566 I mean, remember that 3432 03:40:11,566 --> 03:40:15,000 the first track in the label, this effect was two black inputs. 3433 03:40:15,400 --> 03:40:19,500 So you are supposed to make the black tones of the image to reach 3434 03:40:19,500 --> 03:40:25,166 completely the black level, most of all in the tones of the girls swimsuit. 3435 03:40:25,666 --> 03:40:30,233 On the other hand, you must differentiate between in whites 3436 03:40:30,933 --> 03:40:33,166 or between shadows in black. 3437 03:40:33,533 --> 03:40:37,800 When you are modifying the highlights, you are modifying in the highest levels 3438 03:40:37,800 --> 03:40:41,933 in terms of light but not torching the whites in the lowest 3439 03:40:42,000 --> 03:40:43,200 level of light. 3440 03:40:43,200 --> 03:40:46,366 I mean, you can modify some objects that are illuminated 3441 03:40:46,600 --> 03:40:48,166 but are not white at all. 3442 03:40:48,166 --> 03:40:52,500 But when you modifying the white, you are going to modify the whites 3443 03:40:52,666 --> 03:40:55,366 whole range of tones in terms of light. 3444 03:40:55,800 --> 03:40:59,266 So for shadows in black, it works the same. 3445 03:40:59,700 --> 03:41:01,100 Pay attention that since I'm 3446 03:41:01,100 --> 03:41:04,933 moving the black track, only the black swimsuit is changing. 3447 03:41:05,266 --> 03:41:06,900 But if you modify the shadows, 3448 03:41:06,900 --> 03:41:10,333 you're going to modify the whole of shades in the image. 3449 03:41:10,700 --> 03:41:12,933 So once you make this first step, 3450 03:41:13,433 --> 03:41:15,466 you're ready to move on to the color balance. 3451 03:41:16,033 --> 03:41:20,033 And what we are going to do, it's supposed that the sunlight 3452 03:41:20,033 --> 03:41:24,300 is reaching the objects directly, I mean, like they're after in the light. 3453 03:41:24,500 --> 03:41:26,800 So I'm going to decrease the blue tones. 3454 03:41:27,133 --> 03:41:30,433 But additionally, you must know that the sunlight produces 3455 03:41:30,666 --> 03:41:35,200 more saturation in the image and enhancing the color of the objects. 3456 03:41:35,600 --> 03:41:39,833 So we are supposed to increase the color saturation in the luminance reflect. 3457 03:41:40,300 --> 03:41:44,700 So we go back to the limited color and we look for the last parameter 3458 03:41:44,700 --> 03:41:49,900 in the basic correction is the saturation and we increase the values. 3459 03:41:50,100 --> 03:41:57,600 Pay attention to the leap's color and also to the hair color, 3460 03:41:57,600 --> 03:42:02,500 so we can go back to the caller balance and try to level the amount of blue 3461 03:42:03,000 --> 03:42:07,600 and removing blue actually, thereby increasing the red tones. 3462 03:42:08,100 --> 03:42:10,500 You can add more or less as you want. 3463 03:42:10,833 --> 03:42:14,233 Remember that it depends tones your creativity also. 3464 03:42:14,666 --> 03:42:19,500 And now we are going to go back to the illuminator scopes to review the image 3465 03:42:20,033 --> 03:42:24,300 for pay attention that the color wave is filling the entire spectrum. 3466 03:42:24,633 --> 03:42:28,233 But additionally you can notice that every single color 3467 03:42:28,233 --> 03:42:32,200 a strap is located in a specific section of the spectrum. 3468 03:42:32,466 --> 03:42:34,800 But you can continue modifying the color 3469 03:42:34,800 --> 03:42:38,333 parameters, I mean, in order not to reach limits. 3470 03:42:38,600 --> 03:42:41,600 But even though you are reaching the limits, but you like 3471 03:42:41,600 --> 03:42:45,700 what you are watching and the program monitor, try to be confident with that. 3472 03:42:45,700 --> 03:42:49,466 And additionally, in this specific case, I already told you 3473 03:42:49,466 --> 03:42:51,366 that the video was burned. 3474 03:42:51,366 --> 03:42:56,466 I mean, in terms of light in any way, even though you can notice that the image 3475 03:42:56,466 --> 03:43:01,633 look very well, the color look very well, you can increase the reds, for example. 3476 03:43:01,866 --> 03:43:06,900 I'm increasing the reds by removing blue and for me, the video looks better. 3477 03:43:07,633 --> 03:43:11,233 And you can notice also that even adding more red to the image, 3478 03:43:11,666 --> 03:43:15,566 the color wave is filling more of that spectrum. 3479 03:43:15,566 --> 03:43:20,966 Now we are going to move on to the next effect of this lesson that is sharpen. 3480 03:43:21,533 --> 03:43:26,133 The sharpen is used for adding more definition to the image. 3481 03:43:26,500 --> 03:43:29,300 You can add as much sharpening as you want. 3482 03:43:29,366 --> 03:43:31,033 The reason why I use this 3483 03:43:31,033 --> 03:43:35,633 is because most of the blades from the users are going to your video. 3484 03:43:35,733 --> 03:43:39,433 The coming user is going to use the less amount of resolution in the player. 3485 03:43:39,500 --> 03:43:44,766 So by adding this sharpen effect, we can create that effect of more resolution. 3486 03:43:44,766 --> 03:43:49,500 Even though the video is displayed in a player with a low resolution setting. 3487 03:43:49,700 --> 03:43:54,333 So is a trick very useful for YouTube and those kind of platforms. 3488 03:43:54,600 --> 03:43:58,466 But you must pay close attention that when you are working with high 3489 03:43:58,500 --> 03:44:03,166 end cameras, you will be able to add a graded amount of sharpen to the 3490 03:44:03,800 --> 03:44:06,900 I mean, the video is going to reach more image quality. 3491 03:44:06,933 --> 03:44:09,966 It's exponentially actually, and it's related 3492 03:44:09,966 --> 03:44:13,066 also to the amount of information per pixel. 3493 03:44:13,066 --> 03:44:17,233 But on the other hand, if it's the case of a DSL or camera, 3494 03:44:17,400 --> 03:44:19,433 you cannot play with this in that way 3495 03:44:19,433 --> 03:44:23,233 because it will be noticeable that you are forcing in sharpen. 3496 03:44:23,466 --> 03:44:25,466 Perfect. This lesson is up to here. 3497 03:44:25,466 --> 03:44:30,966 Remember to review all the counters, to digest all the information better. 3498 03:44:31,166 --> 03:45:10,833 I see you in the next lesson. 3499 03:45:10,833 --> 03:45:12,766 Perfect. We are here again. 3500 03:45:12,766 --> 03:45:15,266 We're going to work with this to last takes. 3501 03:45:15,633 --> 03:45:18,033 On the one hand, if are going to work on this take 3502 03:45:18,566 --> 03:45:21,233 that is it is horse galloping. 3503 03:45:22,133 --> 03:45:24,300 Let me stress that this footage belong 3504 03:45:24,933 --> 03:45:27,466 to one of my music videos. 3505 03:45:27,466 --> 03:45:30,366 So on the other hand, we are going to work on this other take, 3506 03:45:30,866 --> 03:45:33,333 which is the same actress getting out of the car. 3507 03:45:33,733 --> 03:45:38,033 So are we going to do we are going to start with this first, taking the horse 3508 03:45:38,733 --> 03:45:41,933 in this case, we are going to change the color of the horse. 3509 03:45:42,266 --> 03:45:45,133 We are able to change the color of some objects, 3510 03:45:45,133 --> 03:45:48,933 but not using After Effects or DaVinci, for example. 3511 03:45:49,633 --> 03:45:53,100 I mean, it's not necessary always to use those software 3512 03:45:53,600 --> 03:45:56,600 to change the color of objects, but additionally, 3513 03:45:56,600 --> 03:45:58,766 we are going to use all their effects also. 3514 03:45:59,100 --> 03:46:02,600 So we go to the VFX folder to look for those effects. 3515 03:46:02,600 --> 03:46:03,600 We need to change. 3516 03:46:03,600 --> 03:46:05,233 The color effect is located 3517 03:46:05,233 --> 03:46:08,700 in the color correction folder and also brightness and contrast. 3518 03:46:09,100 --> 03:46:11,666 But we are going to use also the illuminated color. 3519 03:46:12,600 --> 03:46:16,466 So can check the limit for scopes to review the image, 3520 03:46:17,000 --> 03:46:19,266 to review the color weight. 3521 03:46:19,266 --> 03:46:21,466 And you can notice that in this case 3522 03:46:22,200 --> 03:46:26,200 the wave located in the middle section of the spectrum. 3523 03:46:26,600 --> 03:46:29,266 But the color with is a still too small. 3524 03:46:29,700 --> 03:46:33,933 I mean, we still need to stretch the color wave to the whole spectrum, 3525 03:46:33,933 --> 03:46:36,900 but we are going to the red spheres to change, to color effect. 3526 03:46:37,800 --> 03:46:39,433 So we opened effect. 3527 03:46:39,433 --> 03:46:42,700 We must go where it reads from. 3528 03:46:42,700 --> 03:46:46,333 So we must click on the dropper and we are going to select on the screen 3529 03:46:46,666 --> 03:46:50,066 the exact color we want to change and we are going to select a color 3530 03:46:50,066 --> 03:46:54,166 that is not visible in a greater of sections in the horse here. 3531 03:46:54,433 --> 03:46:57,466 Then over here into we are going to click on the dropper 3532 03:46:57,766 --> 03:47:00,233 and we are going to select the color we want. 3533 03:47:00,633 --> 03:47:04,866 So you can notice automatically the color has changed immediately, 3534 03:47:05,300 --> 03:47:09,233 but we must try to level that by modifying this parameter hue. 3535 03:47:09,666 --> 03:47:10,533 I mean, to do right 3536 03:47:10,533 --> 03:47:15,033 is a more deal of color and to the left is to decrease the level. 3537 03:47:15,033 --> 03:47:18,500 I'm going to change the specific tone in the frame parameter. 3538 03:47:19,100 --> 03:47:22,966 I mean, we are supposed to select the specific tone with precision. 3539 03:47:23,300 --> 03:47:26,933 And additionally, I'm going to set the other color more red. 3540 03:47:27,266 --> 03:47:29,866 I mean, so that the change is noticeable 3541 03:47:30,433 --> 03:47:32,666 so we can increase the hue as we want, 3542 03:47:33,233 --> 03:47:36,366 But I'm going to increase it a little more just right here. 3543 03:47:36,966 --> 03:47:41,066 Then we move on to the brightness and contrast. 3544 03:47:41,066 --> 03:47:52,300 And here we are going to lower the brightness a little bit. 3545 03:47:52,300 --> 03:47:54,666 The following effect is the Lumiere true color. 3546 03:47:55,233 --> 03:47:57,600 We must go to the basic color correction 3547 03:47:58,533 --> 03:48:01,533 and then we go to the saturation parameter. 3548 03:48:01,533 --> 03:48:04,666 If we are going to increase the amount of color dramatically, 3549 03:48:05,400 --> 03:48:09,600 we can move the temperature parameter to the warmer color, 3550 03:48:10,000 --> 03:48:13,500 but also you can move to contrast to level 3551 03:48:13,500 --> 03:48:19,200 the amount of black tones in the image. 3552 03:48:19,200 --> 03:48:24,333 We can modify also the black track a little bit to bring out 3553 03:48:24,366 --> 03:48:26,966 all those black tones 3554 03:48:26,966 --> 03:48:30,866 and you can notice how the horse hair color looks like this. 3555 03:48:31,133 --> 03:48:36,066 It's completely red and you can notice the difference by deactivating those effects 3556 03:48:36,600 --> 03:48:39,300 that is the original Take the original look 3557 03:48:40,100 --> 03:48:42,300 so we can go back to the Lumen 3558 03:48:42,300 --> 03:48:44,633 through scopes to review the spectrum. 3559 03:48:45,566 --> 03:48:48,866 And you can notice that color wave is stretched to the spectrum. 3560 03:48:49,033 --> 03:48:51,933 But in the case of this video of Tears take, 3561 03:48:52,500 --> 03:48:57,733 we cannot reach the highest amount of light because this steak is also burnt. 3562 03:48:58,200 --> 03:49:00,000 I mean, a little bit burned. 3563 03:49:00,000 --> 03:49:03,500 And that is the reason why the better the direction of photography, 3564 03:49:03,500 --> 03:49:05,633 the better quality of the image. 3565 03:49:05,633 --> 03:49:07,633 Because if the image is burnt. 3566 03:49:07,633 --> 03:49:10,500 It doesn't matter how much resolution the camera has. 3567 03:49:11,000 --> 03:49:14,666 The sensor is not detecting all the full colors of the spectrum, 3568 03:49:15,033 --> 03:49:18,800 so you won't be able expand the color wave throughout the spectrum. 3569 03:49:19,200 --> 03:49:23,633 So in this case, I'm going to try to find a specific setting to try 3570 03:49:23,633 --> 03:49:28,566 to fill the spectrum as much as possible so we now add a color balance effect. 3571 03:49:29,100 --> 03:49:38,133 I'm going to decrease the blue range, thereby increasing the order to ranges. 3572 03:49:38,133 --> 03:49:44,800 And you can notice now that the color wave is more expanded. 3573 03:49:44,800 --> 03:49:49,500 But will that would be to change the color of some objects in the image. 3574 03:49:50,433 --> 03:49:52,100 You can notice the difference. 3575 03:49:52,100 --> 03:49:54,900 The activate in the change, the color effect, 3576 03:49:56,233 --> 03:49:59,066 and you can notice the change. 3577 03:49:59,066 --> 03:50:03,500 I think it's very nice. 3578 03:50:03,500 --> 03:50:04,666 But let's move on to this. 3579 03:50:04,666 --> 03:50:09,500 Another example, the girl in the car, which is very interesting shot 3580 03:50:09,566 --> 03:50:12,600 because the image of the girl is filtered the window. 3581 03:50:12,900 --> 03:50:17,066 So there is not only a veil, which is the byproduct of the veil 3582 03:50:17,066 --> 03:50:21,766 settings of the camera, but a veil upon the object in terms of production 3583 03:50:22,100 --> 03:50:25,166 and you can notice that veil in the made through scopes. 3584 03:50:25,566 --> 03:50:29,200 You can notice that even in the darker tones of the spectrum, 3585 03:50:29,466 --> 03:50:32,066 there is a wide stripe across in the panel. 3586 03:50:32,066 --> 03:50:35,133 But that doesn't mean that the cinematography is run 3587 03:50:35,366 --> 03:50:37,033 actually is quite well. 3588 03:50:37,033 --> 03:50:40,400 I mean, that is the look of a window and there are those conditions 3589 03:50:40,633 --> 03:50:45,200 of that nature because those are stains that you can notice on the window 3590 03:50:45,566 --> 03:50:47,833 would be the byproduct of the time. 3591 03:50:48,266 --> 03:50:51,000 And actually it could be dust, for example, 3592 03:50:51,233 --> 03:50:53,700 or maybe that the window is not clean at all. 3593 03:50:54,100 --> 03:50:57,233 And I'm telling you, these in order not to force the camera 3594 03:50:57,666 --> 03:51:00,533 to detect something that it's not noticeable 3595 03:51:00,600 --> 03:51:04,066 to the naked eye, most of all to the naked eye for the human sight. 3596 03:51:04,800 --> 03:51:07,100 So for the moment, I'm going to use a lumens 3597 03:51:07,100 --> 03:51:09,700 recorder to correct this video. 3598 03:51:10,366 --> 03:51:11,433 So we go to the video 3599 03:51:11,433 --> 03:51:15,300 set folder and we go to color correction in select lumen through color. 3600 03:51:16,300 --> 03:51:17,466 So we go to basic 3601 03:51:17,466 --> 03:51:23,366 correction and we are going to modify only the black tones, the shadow tones, 3602 03:51:23,666 --> 03:51:26,666 and the contrast to bring out the girl's face. 3603 03:51:26,666 --> 03:51:31,533 We must try not to exaggerate the black tones we can have as a reference 3604 03:51:31,533 --> 03:51:36,066 point, the black frame on the window, I mean the black essence of the car. 3605 03:51:37,000 --> 03:51:41,433 So we can play with these parameters until we reach the look we like. 3606 03:51:41,733 --> 03:51:45,866 But I highly recommend you to experiment, to move all the parameters 3607 03:51:45,866 --> 03:51:52,733 with a lot of patience. 3608 03:51:52,733 --> 03:51:57,300 Additionally, you can notice also that I modified the temperature 3609 03:51:57,366 --> 03:52:01,500 to the cold tones and also the saturation. 3610 03:52:01,800 --> 03:52:04,233 And now we can check the limiter scopes 3611 03:52:04,500 --> 03:52:07,933 and you can notice how the color wave is more expanded. 3612 03:52:08,366 --> 03:52:11,800 Obviously, image is not rich in the brighter tones 3613 03:52:12,066 --> 03:52:16,400 because it's caught and it also has a kind of dark vibe. 3614 03:52:16,866 --> 03:52:20,433 I mean, it's not necessary to reach the most illuminated 3615 03:52:20,433 --> 03:52:24,133 sections of the spectrum and we can notice the difference. 3616 03:52:24,433 --> 03:52:26,700 I'm going to deactivate the effects. 3617 03:52:26,700 --> 03:52:28,233 It's completely different. 3618 03:52:28,233 --> 03:52:29,700 It looks more professional. 3619 03:52:31,566 --> 03:52:33,033 So for me, this is color 3620 03:52:33,033 --> 03:52:37,633 grading because even though I'm not adding an extra color to the image, 3621 03:52:38,233 --> 03:52:42,033 I modify the major color parameters to reach another look. 3622 03:52:42,500 --> 03:52:45,666 But I highly recommend you to experiment with your footage 3623 03:52:46,100 --> 03:52:50,833 and with your recordings in order to have chances to modify the corners. 3624 03:52:51,133 --> 03:52:53,533 I mean, if you have a very cinematography, 3625 03:52:53,933 --> 03:52:57,966 you will have more chances to reach a more professional color grading. 3626 03:52:58,266 --> 03:53:28,466 So lesson is set here in until the next one. 3627 03:53:28,466 --> 03:53:30,900 Perfect. We are here again at the Adobe premiere. 3628 03:53:31,000 --> 03:53:33,000 What we are going to address in this lesson, 3629 03:53:33,000 --> 03:53:37,066 we are going to learn how to create a mask for the color correction of color, 3630 03:53:37,066 --> 03:53:41,600 a rating of a moving object, a mask with motion tracking in. 3631 03:53:41,600 --> 03:53:42,900 What is this work? 3632 03:53:42,900 --> 03:53:46,500 This allows me to correct the color of an object that is moving 3633 03:53:46,766 --> 03:53:49,733 or that a space that is around that object. 3634 03:53:50,033 --> 03:53:53,866 I mean, I am able to correct and the color spell with elements. 3635 03:53:54,000 --> 03:53:55,733 So you're going to use an example. 3636 03:53:55,733 --> 03:53:59,866 These are seen where these categories moving in this room, the ship cabin. 3637 03:53:59,866 --> 03:54:01,200 What I want is to be able 3638 03:54:01,200 --> 03:54:05,033 to correct the color of the character without altering the color 3639 03:54:05,133 --> 03:54:09,100 to room, or vice versa, to be able to correct the color of the room 3640 03:54:09,100 --> 03:54:13,800 without altering the character in Why do I teach you with a moving object? 3641 03:54:14,233 --> 03:54:18,033 Because once you learn to do it, this way, it will be easier to master 3642 03:54:18,033 --> 03:54:21,533 a mask of an element that is a static without moving, 3643 03:54:22,033 --> 03:54:24,133 which is much easier, obviously. 3644 03:54:24,600 --> 03:54:29,433 So I find much more useful to teach you guys the hard way at once. 3645 03:54:29,866 --> 03:54:32,200 Be attention, because at first it may seem that way. 3646 03:54:32,200 --> 03:54:35,533 It's tricky, but in reality it's not. 3647 03:54:35,533 --> 03:54:36,566 So let's start. 3648 03:54:36,566 --> 03:54:40,466 We already know that this is our scene and we must make a mask 3649 03:54:40,466 --> 03:54:43,666 to isolate the character from the point where he is walking 3650 03:54:43,666 --> 03:54:46,833 until the moment he opens quarantine on the window. 3651 03:54:47,033 --> 03:54:50,900 So the first thing we are supposed to do is that we need to add 3652 03:54:50,933 --> 03:54:54,066 a color correction effect from the premiere effects bank 3653 03:54:54,066 --> 03:54:57,000 to the effects control corresponding to this clip. 3654 03:54:57,633 --> 03:55:01,300 So we click on this a small tab, and then we click on Effects, 3655 03:55:01,666 --> 03:55:04,133 and then we must look for the bead effects folder. 3656 03:55:04,400 --> 03:55:06,600 And then the color correction folder. 3657 03:55:07,166 --> 03:55:11,766 So once there we must click on the color you made through effect in bullet 3658 03:55:11,833 --> 03:55:15,766 to the effects control panel of the clip in which we are working. 3659 03:55:15,766 --> 03:55:19,700 So when you add that effect, it will be as if it were one more effect 3660 03:55:19,700 --> 03:55:22,800 and those that come in the control panel by default. 3661 03:55:23,133 --> 03:55:27,300 So once we add that effect we must pay attention to the mask patterns 3662 03:55:27,533 --> 03:55:29,966 that we saw in one of the best lessons, 3663 03:55:30,366 --> 03:55:33,266 if you don't remember it, I'm going to remind you again, 3664 03:55:34,133 --> 03:55:38,066 remember that there is a circle, a square, and the result is a feather. 3665 03:55:38,066 --> 03:55:41,766 And this later is used to create customizable masks. 3666 03:55:42,033 --> 03:55:45,366 So let's check the first one. The Circle. 3667 03:55:45,366 --> 03:55:47,233 Remember that you can modify the nature 3668 03:55:47,233 --> 03:55:50,700 of that circle to make it more or less oval. 3669 03:55:51,166 --> 03:55:53,800 So all the changes you make in that effect 3670 03:55:53,800 --> 03:55:57,133 will everything that is inside that circle 3671 03:55:57,400 --> 03:56:01,266 or what is outside that circle, and we will be able to choose that. 3672 03:56:01,533 --> 03:56:04,466 On the other hand, once we click on the Circle, for example, 3673 03:56:04,466 --> 03:56:07,400 it automatically creates a first mask 3674 03:56:07,766 --> 03:56:10,533 that we are going to see right here in the effects control panel. 3675 03:56:10,833 --> 03:56:14,833 Notice that if I now click on the square a second is created 3676 03:56:15,200 --> 03:56:19,200 and this time we can modify the nature of that square however we want. 3677 03:56:20,333 --> 03:56:21,000 And finally, 3678 03:56:21,000 --> 03:56:24,833 we have the third option that is customizable here. 3679 03:56:24,833 --> 03:56:28,300 We will be able to create the shape that we want by joining 3680 03:56:28,333 --> 03:56:30,833 these points as if it were a cancellation. 3681 03:56:31,300 --> 03:56:34,366 And this is a matter that we have to use to create masks 3682 03:56:34,566 --> 03:56:36,800 for regular, reshaped objects. 3683 03:56:37,566 --> 03:56:40,700 So we simply have to make as many points as we think 3684 03:56:40,700 --> 03:56:43,833 are necessary to match the shape of the object. 3685 03:56:43,833 --> 03:56:45,933 We want to isolate it. 3686 03:56:45,966 --> 03:56:48,600 Not only you will be able to make the shape you want, 3687 03:56:48,600 --> 03:56:52,200 but even rotate the mask in changing its position. 3688 03:56:52,433 --> 03:56:56,033 So I'm going to delete the three masks I have created 3689 03:56:56,033 --> 03:56:58,666 so far to make it the one we need to from scratch. 3690 03:56:59,600 --> 03:57:02,400 So I'm going to try to better defines a video fragment. 3691 03:57:02,400 --> 03:57:04,433 Sorry one to edit. 3692 03:57:04,433 --> 03:57:08,766 I'm not going to use the whole clip so I'm going to use from this point 3693 03:57:08,766 --> 03:57:11,800 until the moment the character reaches the window. 3694 03:57:12,300 --> 03:57:16,033 So I'm going to cut a bit of video at the beginning to work more. 3695 03:57:16,133 --> 03:57:26,700 Unfortunately. 3696 03:57:26,700 --> 03:57:30,366 So once we have defined the exact clip in which we are going to work, 3697 03:57:30,800 --> 03:57:34,333 we go back to the control panel and position the course or 3698 03:57:34,500 --> 03:57:35,766 the beginning of the clip 3699 03:57:36,833 --> 03:57:37,400 and we are going to 3700 03:57:37,400 --> 03:57:42,100 select the customizable mask called free draw base here. 3701 03:57:42,866 --> 03:57:46,200 So automatically I click on that little feather. 3702 03:57:46,200 --> 03:57:48,300 The mask is created as we are ready. 3703 03:57:48,400 --> 03:57:52,033 So there's something very important to take into account before 3704 03:57:52,100 --> 03:57:55,900 start to create a mask, and that is that we must assume out of it 3705 03:57:56,000 --> 03:57:59,400 the program's monitor to allow us to make the points freely. 3706 03:57:59,566 --> 03:58:01,166 I mean, that is far enough away 3707 03:58:01,166 --> 03:58:04,700 so that we can either make points outside the Monitor's frame. 3708 03:58:04,700 --> 03:58:09,666 So I'm using the monitor at 25% and I'm going to start making points. 3709 03:58:09,733 --> 03:58:11,666 Don't worry that it's perfect. 3710 03:58:11,666 --> 03:58:15,800 It's just an approximation and that you can get out of the frame 3711 03:58:15,833 --> 03:58:16,866 of the monitor. 3712 03:58:16,866 --> 03:58:19,500 I mean, the mask can be outside the screen as well. 3713 03:58:20,066 --> 03:58:21,833 Obviously, when you had to draw points 3714 03:58:21,833 --> 03:58:25,366 in the smaller areas, you can zoom in to try to be more precise. 3715 03:58:25,633 --> 03:58:29,366 But remember that no matter how precise you are, an approximation 3716 03:58:29,366 --> 03:58:36,500 is more than enough for the mask to work. 3717 03:58:36,500 --> 03:58:40,233 So we are supposed to create the necessary points to create a mask. 3718 03:58:40,233 --> 03:58:42,000 That mask be closed. 3719 03:58:42,000 --> 03:58:45,400 I mean, the shape we create mass enclose a space. 3720 03:58:45,666 --> 03:58:48,066 It doesn't matter if it's regular or not. 3721 03:58:48,300 --> 03:58:50,766 We must close this shape. 3722 03:58:50,766 --> 03:58:54,000 So after finishing close in mask shape, 3723 03:58:54,300 --> 03:58:59,133 we must go to this perimeter that is here, which is the mask bath. 3724 03:58:59,533 --> 03:59:02,966 So here we are going to activate the mask automation 3725 03:59:03,600 --> 03:59:06,066 we need click on this little cloud. 3726 03:59:06,066 --> 03:59:08,666 It automatically creates a new friend 3727 03:59:08,666 --> 03:59:12,100 corresponding to the mask in that specific frame. 3728 03:59:12,333 --> 03:59:16,600 So from now on, what we have to do is to move the mask as the shot progresses. 3729 03:59:16,833 --> 03:59:20,533 Obviously, the mask belongs to the character shape, but the character 3730 03:59:20,533 --> 03:59:23,566 is going to get out of the mask as the shot progresses. 3731 03:59:23,833 --> 03:59:28,566 So we are supposed to change the shape and position of the mask every few seconds 3732 03:59:28,900 --> 03:59:32,000 so that it matches the character as the shot progresses. 3733 03:59:32,400 --> 03:59:35,100 But Let me mention that this process for many people, 3734 03:59:35,100 --> 03:59:38,933 coaches and society fear they think it's very complicated. 3735 03:59:38,933 --> 03:59:42,700 But the truth is that it's not the only thing I can tell you 3736 03:59:42,700 --> 03:59:46,666 is that depending on the shot, it may take more or less time, 3737 03:59:46,900 --> 03:59:51,666 but actually try to think how long a take can be for this to be really impossible. 3738 03:59:51,933 --> 03:59:54,433 Shots always last seconds. 3739 03:59:55,300 --> 03:59:59,166 So approximately every half seconds you're going to change the mask 3740 03:59:59,166 --> 04:00:00,466 to match the character. 3741 04:00:00,466 --> 04:00:02,533 You must do point by point. 3742 04:00:02,533 --> 04:00:05,000 Do not get stuck in too many details. 3743 04:00:05,000 --> 04:00:07,800 Remember that the mask is always an approximation, 3744 04:00:08,266 --> 04:00:12,166 so the mask will follow a path of changes, a type of 3745 04:00:13,133 --> 04:00:15,900 where it will adapt from one keyframe to another. 3746 04:00:16,200 --> 04:00:20,233 But to find that gap between one keyframe in another, The recent moment 3747 04:00:20,233 --> 04:00:23,866 to wear the mask loses too much of the character's shape. 3748 04:00:24,233 --> 04:00:26,600 We must set an intermediate keyframe 3749 04:00:26,600 --> 04:00:29,800 so that we make the mask continue to match the character. 3750 04:00:30,500 --> 04:00:33,100 For example, here, due to the movement of the arm, 3751 04:00:33,266 --> 04:00:36,900 there are some frames were the mask loses the shape of the character 3752 04:00:37,100 --> 04:00:39,200 leaving that extra space. 3753 04:00:39,200 --> 04:00:41,000 Those moments must be corrected 3754 04:00:41,000 --> 04:00:44,766 because they will be noticeable when we do the color correction. 3755 04:00:45,033 --> 04:00:48,300 So we positioned the line between the two key frames and correct 3756 04:00:48,300 --> 04:00:52,866 the mask in automatically and other keyframe will be created. 3757 04:00:52,866 --> 04:00:58,066 So we should continue like this, I would say, adding a change every half a second. 3758 04:00:58,333 --> 04:01:00,966 Actually, I think it's less than half a second. 3759 04:01:01,300 --> 04:01:03,366 But creating necessary keyframe 3760 04:01:03,400 --> 04:01:07,100 so that the mask follows the character as well as possible. 3761 04:01:07,500 --> 04:01:11,666 You should take into account that you have the possibility of creating more points 3762 04:01:12,033 --> 04:01:15,166 as many as you want, especially for those parts 3763 04:01:15,200 --> 04:01:18,966 where there are curves and very irregular shapes. 3764 04:01:19,166 --> 04:01:22,800 On the other hand, remember that it doesn't matter if the mask goes 3765 04:01:22,800 --> 04:01:26,933 out of the screen frame, that will not affect the image. 3766 04:01:27,433 --> 04:01:30,166 But additionally, this mask bath parameter 3767 04:01:30,166 --> 04:01:33,100 gives us the possibility of tracking movement. 3768 04:01:33,533 --> 04:01:38,300 I mean, by using artificial intelligence, the software will create a mask 3769 04:01:38,300 --> 04:01:42,433 approximately adapted to the shape we create in each the frames. 3770 04:01:42,666 --> 04:01:46,766 But the problem is that this is never exact, so sometimes 3771 04:01:46,766 --> 04:01:48,666 it causes problems. 3772 04:01:48,666 --> 04:01:51,900 So what I recommend is to use this tool partially. 3773 04:01:51,900 --> 04:01:55,100 In other words, we press play in the tracking tool 3774 04:01:55,400 --> 04:01:58,766 and immediately that mirror of the creation process will appear. 3775 04:01:59,066 --> 04:02:02,266 So we shouldn't let the process finish. 3776 04:02:02,266 --> 04:02:05,733 But as soon as we see the blue stripe starts to advance, 3777 04:02:06,100 --> 04:02:09,833 we stop it because the whole process belongs to the whole clip. 3778 04:02:10,066 --> 04:02:13,900 But what we need is that some moments it does the tracking, 3779 04:02:14,366 --> 04:02:16,633 but not in the whole clip. 3780 04:02:16,633 --> 04:02:21,266 So as you can see, the software created a keyframe for each frame. 3781 04:02:21,266 --> 04:02:23,366 But as you can see, the mask is not perfect, 3782 04:02:23,900 --> 04:02:25,433 so we have to correct it anyway. 3783 04:02:25,433 --> 04:02:29,366 So I recommend using it, but deleting all those key frames 3784 04:02:29,600 --> 04:02:31,933 where the mask doesn't match. 3785 04:02:31,933 --> 04:02:36,600 So this is the reason why I don't use it too much because it's a lot of work. 3786 04:02:37,066 --> 04:02:40,733 I mean, I had to delete the key frames that are not correct. 3787 04:02:40,733 --> 04:02:45,366 So I would say that this tool is useful when the shape of the mask is regular. 3788 04:02:45,800 --> 04:02:49,333 I mean when throughout the whole clip, the shape of the mask 3789 04:02:49,333 --> 04:02:51,666 is not going to change much. 3790 04:02:51,666 --> 04:02:54,866 But anyway, I think that combining the two tools, 3791 04:02:54,900 --> 04:03:00,066 I mean, tracking and doing it manually would be a good option. 3792 04:03:00,066 --> 04:03:02,033 So I'm going to leave this lesson here. 3793 04:03:02,033 --> 04:03:05,866 I'm going to finish the mask until the character reaches the window. 3794 04:03:06,333 --> 04:03:08,100 And we continue in the next lesson. 3795 04:03:08,100 --> 04:03:40,800 To start with, the color correction correction, 3796 04:03:40,800 --> 04:03:43,533 we are going to continue knowing the mask parameters. 3797 04:03:43,900 --> 04:03:46,400 One of the most important parameters is Tibetan. 3798 04:03:46,400 --> 04:03:49,833 That allows us to merge the selection made by the mask 3799 04:03:50,233 --> 04:03:54,300 I mean, if we want the fact to change what is inside the mask 3800 04:03:54,500 --> 04:03:59,566 or what is outside, by default, the mask will affect what is inside. 3801 04:03:59,566 --> 04:04:04,500 But if you check this box where it's rich inverted, you can change that. 3802 04:04:04,800 --> 04:04:08,066 And now the mask will affect everything that is not inside. 3803 04:04:08,066 --> 04:04:09,533 The mask. 3804 04:04:09,533 --> 04:04:12,166 Before we continue, let me remind you again 3805 04:04:12,166 --> 04:04:16,033 that you can create a mask for any premiere effect, a meaning, 3806 04:04:16,033 --> 04:04:20,400 any of the effects that are down here in the folders can add masks. 3807 04:04:20,900 --> 04:04:25,266 For example, if I choose to brightness and contrast, 3808 04:04:25,666 --> 04:04:29,700 notice how I can also create a mask that effect. 3809 04:04:30,300 --> 04:04:34,500 It's important to know these because obviously there are hundreds of effects. 3810 04:04:35,000 --> 04:04:39,900 So knowing that you can create a mask on any of them is important. 3811 04:04:40,466 --> 04:04:43,200 So let's continue with the new made through color effect. 3812 04:04:43,566 --> 04:04:46,166 We had activated the selection inversion. 3813 04:04:46,533 --> 04:04:50,733 So when we do these in change example, the exposure of the image 3814 04:04:51,100 --> 04:04:53,700 be attention to what happens. 3815 04:04:53,700 --> 04:04:57,633 I'm going to hide the mask so that the blue guide is not noticeable 3816 04:04:57,800 --> 04:05:00,433 and we see the changing lighting more clearly. 3817 04:05:01,033 --> 04:05:04,166 Now you realize how important the mask is. 3818 04:05:04,600 --> 04:05:08,433 Look how the light in the room changed without affecting character. 3819 04:05:08,733 --> 04:05:13,200 Then you can imagine everything you could do in change with this procedure. 3820 04:05:13,766 --> 04:05:16,766 In this case, I'm modifying the exposure which allows me 3821 04:05:16,766 --> 04:05:20,200 to change the range of the light in a more general way. 3822 04:05:20,466 --> 04:05:24,266 The exposure is a parameter that mixes the brightness and contrast. 3823 04:05:24,266 --> 04:05:28,800 At the same time, we attention to the fact that the is not perfect 3824 04:05:29,133 --> 04:05:32,666 and errors are noticeable and we mask correct him of course, 3825 04:05:33,233 --> 04:05:36,533 but in general what we should do after creating the mask 3826 04:05:36,533 --> 04:05:41,633 is to try to blur the edges of the mask so the effects look convincing. 3827 04:05:42,000 --> 04:05:45,233 That is crucial when it comes to creating masks. 3828 04:05:45,500 --> 04:05:47,566 So once we create the mask, 3829 04:05:47,566 --> 04:05:51,566 we must modify that important parameter that is the feather. 3830 04:05:52,500 --> 04:05:56,400 That parameter allows you to soften the edges of the mask 3831 04:05:56,400 --> 04:06:00,766 so that the mask is not noticeable and blends more with the background. 3832 04:06:01,366 --> 04:06:02,100 Pay attention. 3833 04:06:02,100 --> 04:06:07,000 I'm going to hide the blue guide of the mask so you can see better. 3834 04:06:07,000 --> 04:06:08,033 It works. 3835 04:06:08,033 --> 04:06:11,700 Pay attention that at the edges it expands an extra guide 3836 04:06:11,866 --> 04:06:16,466 that widens the edges of the mask that is the blue area. 3837 04:06:16,466 --> 04:06:19,100 So we are carrying out the sharpening the edges, 3838 04:06:19,333 --> 04:06:22,666 and that is the reason why we don't need the mask to be perfect, 3839 04:06:22,900 --> 04:06:27,366 because when we bluer edges, it softens the hole, the shape of the mask 3840 04:06:27,633 --> 04:06:29,833 thereby blends in better with the background. 3841 04:06:31,233 --> 04:06:34,700 No, the edges are going to be a lot less noticeable. 3842 04:06:35,166 --> 04:06:39,033 I'm going to hide the Blue Guide again and I'm going to modify the exposure. 3843 04:06:39,700 --> 04:06:41,833 Look how much better it looks. 3844 04:06:42,600 --> 04:06:45,000 It's also important not to exaggerate. 3845 04:06:45,000 --> 04:06:49,333 I mean that we must develop a sensitivity to light and we cannot modify 3846 04:06:49,333 --> 04:06:52,300 the background lighting in a way that is not convincing. 3847 04:06:52,766 --> 04:06:57,133 We must be subtitled in is static, so we must right above all that 3848 04:06:57,133 --> 04:07:00,900 the modifications in the lighting are convincing during the whole shot 3849 04:07:01,366 --> 04:07:03,833 from the beginning to the end. 3850 04:07:03,833 --> 04:07:08,200 So the next parameter can modify in the mask is to it. 3851 04:07:08,833 --> 04:07:12,866 I mean, it's as if we were activating the mask or deactivating it. 3852 04:07:12,866 --> 04:07:15,933 But with transparency, actually, there's 3853 04:07:15,933 --> 04:07:18,500 nothing complicated about that parameter. 3854 04:07:19,066 --> 04:07:23,300 The next parameter is expansion, which is similar to the feather. 3855 04:07:23,300 --> 04:07:28,066 This parameter closest enlarge the mask and also make it smarter. 3856 04:07:28,566 --> 04:07:30,533 It's not very complicated either. 3857 04:07:30,533 --> 04:07:34,966 It's simply help us to better land the mask with the background. 3858 04:07:34,966 --> 04:07:38,600 Now you can see more of the difference in terms of lighting in the room 3859 04:07:38,600 --> 04:07:39,900 using the mask. 3860 04:07:39,900 --> 04:07:42,933 This tool is really useful for refining the image. 3861 04:07:43,433 --> 04:07:47,166 So another very important feature when it comes to creating masks 3862 04:07:47,566 --> 04:07:52,800 is that we can copy and paste the same mask and use it in all other effects. 3863 04:07:53,100 --> 04:07:56,933 For example, I can add another limited three effect to the clip. 3864 04:07:57,400 --> 04:08:00,133 Then I select a mask of the first limit 3865 04:08:00,133 --> 04:08:03,566 three color, and then we press on the key word control. 3866 04:08:03,566 --> 04:08:05,533 See, come and see. 3867 04:08:05,533 --> 04:08:10,133 And then we go to the other Lumi three color in breast control Z 3868 04:08:10,500 --> 04:08:14,366 and then we will have in this new effect the same mask above. 3869 04:08:14,733 --> 04:08:18,100 But for example, in this case we could select the box 3870 04:08:18,200 --> 04:08:20,533 for inverting this election. 3871 04:08:20,533 --> 04:08:23,200 So by doing this, we can now correct 3872 04:08:23,200 --> 04:08:26,100 only the color in light of the character, 3873 04:08:26,700 --> 04:08:29,200 so we can modify, for example, the saturation, 3874 04:08:29,200 --> 04:08:33,633 so you can see more or less how the colors change in the character. 3875 04:08:33,633 --> 04:08:37,033 The saturation is to strengthen colors in an image. 3876 04:08:37,633 --> 04:08:40,800 So pay attention to how the color of the skin changes. 3877 04:08:40,800 --> 04:08:44,200 For example, it looks more tanned with, more color. 3878 04:08:44,966 --> 04:08:48,200 So whenever you make a change, you can check how it looks 3879 04:08:48,200 --> 04:08:53,200 with respect to the original video by turning the effect of art on you 3880 04:08:53,200 --> 04:09:00,633 only had to click on that effect symbol. 3881 04:09:00,633 --> 04:09:02,100 I'm going to modify the color 3882 04:09:02,100 --> 04:09:06,000 temperature of the character to notice the difference much more 3883 04:09:17,266 --> 04:09:17,900 so in the 3884 04:09:17,900 --> 04:09:21,200 same way that we are able to change the color of the character 3885 04:09:21,633 --> 04:09:24,666 and and the background and we could also modify 3886 04:09:24,666 --> 04:09:27,466 the color of that window that is there. 3887 04:09:28,233 --> 04:09:32,366 So all we have to do is add another unitard color or to the clip 3888 04:09:32,700 --> 04:09:35,800 and this time, since the window is at the end of the clip, 3889 04:09:36,100 --> 04:09:39,966 we go to the last frame of the clip and we are going to create a mask 3890 04:09:39,966 --> 04:09:41,266 for the window. 3891 04:09:41,266 --> 04:09:45,800 But whose automation is going to be created in the opposite direction. 3892 04:09:46,300 --> 04:09:47,733 So we draw the mask. 3893 04:09:47,733 --> 04:09:52,966 This time it's easier because the window is a much more regular object than others. 3894 04:09:53,400 --> 04:09:55,466 It's a static, it doesn't move. 3895 04:09:56,100 --> 04:10:00,866 So once created, we activate the automation in the path of parameter. 3896 04:10:01,500 --> 04:10:05,266 Then we go to the timeline of the effects control panel 3897 04:10:05,700 --> 04:10:10,033 and we are going to create the automation, but this time backwards. 3898 04:10:10,533 --> 04:10:13,233 So I'm going to hide the Blue Guide so 3899 04:10:13,233 --> 04:10:17,100 it can be seen. 3900 04:10:17,100 --> 04:10:19,333 So pay attention. That is much easier. 3901 04:10:19,333 --> 04:10:24,666 Or simply as we go backwards, we must make the mask always stay in the window 3902 04:10:24,766 --> 04:10:28,966 and remember that doesn't matter if the mask leaves the screen frame 3903 04:10:29,300 --> 04:10:31,600 because the window also leaves the frame, 3904 04:10:32,033 --> 04:10:40,266 then the mask must also do it. 3905 04:10:40,266 --> 04:10:44,933 So we are ready to modify the corner of the window as we want and. 3906 04:10:44,933 --> 04:10:48,100 Then we return to the parameters of the LUMI tricolor. 3907 04:10:48,366 --> 04:10:51,933 It's important to highlight that we don't need to bird disinfection 3908 04:10:51,933 --> 04:10:55,133 because we want to modify the window along. 3909 04:10:55,133 --> 04:11:00,300 So we go to the basic correction and then we go, for example, to temperature. 3910 04:11:00,666 --> 04:11:04,166 And for example, we can make the light color, for example, 3911 04:11:04,166 --> 04:11:09,866 if we want the light outside the shape to be morning or to have a cold environment. 3912 04:11:10,966 --> 04:11:14,033 So here we already have the window with cold light 3913 04:11:14,066 --> 04:11:17,300 and we can compare it with the original color of the image. 3914 04:11:17,500 --> 04:11:21,900 It's important to always make that comparison to see the difference. 3915 04:11:22,866 --> 04:11:27,000 But to the extent that we can modify and colors at the start of the window, 3916 04:11:27,300 --> 04:11:30,566 we must be aware that this light with that temperature 3917 04:11:30,766 --> 04:11:33,400 should affect the objects that are inside the room. 3918 04:11:33,400 --> 04:11:35,266 In this case the character. 3919 04:11:35,266 --> 04:11:38,233 So we are supposed to go to the character's mask 3920 04:11:38,466 --> 04:11:41,700 and modify its color and even the contrast 3921 04:11:41,700 --> 04:11:46,266 so that it would also be embellished with cold colors in one. 3922 04:11:46,266 --> 04:11:49,566 So with the type of contrast that matches all the lighting 3923 04:11:49,566 --> 04:12:06,100 that is in the place, we attention 3924 04:12:06,100 --> 04:12:09,700 that since the colors are colder and we had darkened the entire room, 3925 04:12:10,000 --> 04:12:12,666 the contrast suits the character very well. 3926 04:12:13,200 --> 04:12:15,333 We can make the comparison again. 3927 04:12:15,333 --> 04:12:19,200 We deactivate all the limit to reflect and we activate them 3928 04:12:19,200 --> 04:12:21,900 one by one so you can see the difference. 3929 04:12:22,733 --> 04:12:25,200 Look at the first limit three for the background. 3930 04:12:25,200 --> 04:12:27,266 Look at the difference. 3931 04:12:27,266 --> 04:12:29,666 The whole room is darkened the cabin. 3932 04:12:30,000 --> 04:12:31,400 Now look at the second limit. 3933 04:12:31,400 --> 04:12:33,433 Three that of the character. It's very good. 3934 04:12:33,633 --> 04:12:36,533 It Makes it blend very well with the garden lighting. 3935 04:12:36,933 --> 04:12:39,500 And finally that gloomy tree of the window. 3936 04:12:39,633 --> 04:12:42,966 We can even exaggerate in the cold light from the window 3937 04:12:43,266 --> 04:12:52,633 so that much more noticeable. 3938 04:12:52,633 --> 04:12:57,000 It's very important to see good movies and paintings with good lighting 3939 04:12:57,000 --> 04:13:00,900 to inspire us in three to do this work in more detail. 3940 04:13:01,100 --> 04:13:04,100 Notice that in fact it seems that inside the cabin 3941 04:13:04,100 --> 04:13:06,800 there is some kind of artificial warm light 3942 04:13:07,166 --> 04:13:10,566 and the cool light of the morning enters through the window. 3943 04:13:10,866 --> 04:13:13,000 So try to practice creative masks 3944 04:13:13,300 --> 04:13:17,100 and we will continue to delve into color correction in the next lesson I 3945 04:13:47,200 --> 04:13:47,866 perfect. 3946 04:13:47,866 --> 04:13:52,266 Now we go with a more detailed process of color grading H. 3947 04:13:52,266 --> 04:13:54,466 S l color correction. 3948 04:13:54,466 --> 04:13:58,300 This tool allows you to modify the color in a much more precise 3949 04:13:58,333 --> 04:14:00,833 way within the same mask. 3950 04:14:01,300 --> 04:14:03,833 I mean that the changes that we make to the colors 3951 04:14:03,833 --> 04:14:09,033 will not only happen in the mask, but within a specific range of colors 3952 04:14:09,033 --> 04:14:14,033 within the mask, that would be a more professional step of this same process. 3953 04:14:14,300 --> 04:14:17,433 For example, here you see the mask selects the character. 3954 04:14:17,733 --> 04:14:22,033 And what we are going to do now is correct the colors or light of specific areas 3955 04:14:22,033 --> 04:14:23,166 within the mask. 3956 04:14:23,166 --> 04:14:25,300 So the result is much more professional. 3957 04:14:25,500 --> 04:14:26,833 It's one more step in 3958 04:14:26,833 --> 04:14:30,666 everything we had been doing up to now in terms of color grading. 3959 04:14:31,000 --> 04:14:35,066 So in the previous lessons we had created some mask to correct 3960 04:14:35,166 --> 04:14:37,000 different parts of the image. 3961 04:14:37,000 --> 04:14:41,233 But this time we are going to focus on the mask that selects the character 3962 04:14:41,633 --> 04:14:43,133 because what we are going to correct 3963 04:14:43,133 --> 04:14:46,833 is the skin and the illuminated areas of the character only. 3964 04:14:47,300 --> 04:14:48,533 So I have received 3965 04:14:48,533 --> 04:14:52,466 everything we changed in terms of color in light to use this method. 3966 04:14:52,933 --> 04:14:54,433 So let's start then. 3967 04:14:54,433 --> 04:14:58,133 Once we have created our mask in the new meet to reflect, 3968 04:14:58,433 --> 04:15:02,733 we must go to the following parameter h s l secondary. 3969 04:15:03,000 --> 04:15:07,700 So this parameter is located a little below the basic parameter. 3970 04:15:08,300 --> 04:15:10,766 So at first sight it looks complex, 3971 04:15:10,800 --> 04:15:14,833 but in reality it's not because in fact we didn't have to use all the buttons. 3972 04:15:15,233 --> 04:15:18,033 So I'm going to hide the Blue Guide before continuing. 3973 04:15:18,466 --> 04:15:22,000 So once we are attach parameter, we are going to try to find 3974 04:15:22,000 --> 04:15:25,933 a neutral point in the video clip to correct the screen. 3975 04:15:25,933 --> 04:15:27,733 I mean, you are supposed to find a moment 3976 04:15:27,733 --> 04:15:32,066 in the clipped where the character's skin is known as well enough to correct it. 3977 04:15:32,066 --> 04:15:35,166 So once this is done, we go to where it reads set 3978 04:15:35,166 --> 04:15:38,733 color, and we click on that little dropper that is there. 3979 04:15:39,000 --> 04:15:40,033 And in this case, I'm 3980 04:15:40,033 --> 04:15:43,500 going to click on the cheek, which is the area I want to correct, 3981 04:15:44,100 --> 04:15:48,300 then automatically defect, select the color ranges of the cheek 3982 04:15:48,600 --> 04:15:52,000 and in order to check it, if we go down here in this a small tab 3983 04:15:52,233 --> 04:15:55,500 and we must select white black, and then you're 3984 04:15:55,500 --> 04:15:58,533 going to check the little box that the reads show mask. 3985 04:15:58,833 --> 04:16:03,166 So as you can see, the software is only selecting the area that looks white. 3986 04:16:03,566 --> 04:16:07,033 But in turn, this election parameter only take into account 3987 04:16:07,033 --> 04:16:10,833 everything that is inside that mask we did previously. 3988 04:16:11,000 --> 04:16:14,233 So since we can automate all the parameters in the premiere, 3989 04:16:14,666 --> 04:16:19,866 we could also automate the selection ranges using these three selection lines 3990 04:16:20,266 --> 04:16:23,800 that belong to the light saturation and color range. 3991 04:16:24,000 --> 04:16:27,800 For example, remember that the light changes as the character works. 3992 04:16:28,100 --> 04:16:31,466 So the selection could also change if we automate it. 3993 04:16:31,900 --> 04:16:34,000 For example, pay attention to the of light. 3994 04:16:34,100 --> 04:16:35,400 The light in light. 3995 04:16:35,400 --> 04:16:37,166 Look at how the selection changes 3996 04:16:37,166 --> 04:16:41,266 in the character selecting the illuminated areas of the face in the shirt. 3997 04:16:41,633 --> 04:16:43,800 So this is interesting for two reasons. 3998 04:16:44,000 --> 04:16:47,733 On the one hand we're realized that both the sheer and the face have 3999 04:16:47,733 --> 04:16:52,000 similar colors, even though it doesn't seem that way to the naked eye. 4000 04:16:52,000 --> 04:16:56,333 And on the other hand, it's interesting because in the end it's that same light 4001 04:16:56,333 --> 04:17:00,700 that enters through the window that is illuminating the entire character. 4002 04:17:00,933 --> 04:17:03,166 And these are the kind of things you should learn 4003 04:17:03,166 --> 04:17:07,033 in terms of lighting by your own, knowing how to use the software or not. 4004 04:17:07,166 --> 04:17:08,866 So once we have made the selection, 4005 04:17:08,866 --> 04:17:12,066 it mean that we are sure that the selection we had made is correct. 4006 04:17:12,733 --> 04:17:16,866 We uncheck the show mask box and we go a little farther down 4007 04:17:16,866 --> 04:17:19,933 where we are going to find the doors to make it The color grading. 4008 04:17:20,400 --> 04:17:24,000 We are going to find, for example, the same parameters of the basic color 4009 04:17:24,000 --> 04:17:28,266 correction, such as temperature, contrast, saturation, etc. 4010 04:17:28,500 --> 04:17:32,400 But there's also this wheel here, which is very useful because by moving 4011 04:17:32,400 --> 04:17:36,033 the center point to either side, the software will change the color 4012 04:17:36,033 --> 04:17:40,533 of those selected areas to worst with those colors that are on the wheel. 4013 04:17:40,966 --> 04:17:45,000 And of course we can combine the parameters to achieve a result. 4014 04:17:45,266 --> 04:17:47,366 For example, I'm going to move the temperature, 4015 04:17:47,500 --> 04:17:50,500 I'm going to increase it enough for you to notice the difference. 4016 04:17:51,100 --> 04:17:55,533 So look at how the light that illuminates the character has a warm color. 4017 04:17:55,800 --> 04:18:00,733 And in fact, if we go back in the clip, we realize that as the character advances, 4018 04:18:00,733 --> 04:18:06,900 the light becomes warmer. 4019 04:18:06,900 --> 04:18:08,300 So, for example, 4020 04:18:08,300 --> 04:18:12,033 we combined this technique with what we saw in the previous lessons. 4021 04:18:12,300 --> 04:18:13,866 The result is much better. 4022 04:18:13,866 --> 04:18:16,966 For example, we could change the temperature of that light 4023 04:18:17,000 --> 04:18:20,133 in the window to match what we just did in the character. 4024 04:18:21,666 --> 04:18:22,233 So by 4025 04:18:22,233 --> 04:18:25,266 doing the color correction in this way it looks much better 4026 04:18:25,266 --> 04:18:28,633 because notice that it really seems that the light from the window 4027 04:18:28,966 --> 04:18:33,333 is illuminating the character because we are doing gradient gradient. 4028 04:18:34,500 --> 04:18:37,600 But as I told you, it's not enough to learn to use the software. 4029 04:18:37,900 --> 04:18:40,500 We had to be aware of the behavior of light 4030 04:18:40,966 --> 04:18:44,566 and we will only achieve by consuming quality art. 4031 04:18:44,833 --> 04:18:48,000 I mean, you are supposed to go to galleries to see good paintings, 4032 04:18:48,300 --> 04:18:50,966 good photographs, qualified exhibitions. 4033 04:18:51,233 --> 04:18:53,233 Of course go to movies. 4034 04:18:53,233 --> 04:18:57,500 So I'm going to deactivate the effects so that we can make the comparison 4035 04:18:57,733 --> 04:19:00,933 and we can see the difference from what we have done so far. 4036 04:19:00,966 --> 04:19:03,200 So this is what the original image looks like. 4037 04:19:03,433 --> 04:19:06,600 Then we darken the background, then the characters color layer 4038 04:19:06,866 --> 04:19:08,466 and then the window layer. 4039 04:19:08,466 --> 04:19:11,700 So from here we can add one more effect layer. 4040 04:19:11,700 --> 04:19:12,500 I mean another. 4041 04:19:12,500 --> 04:19:15,566 You meet the recorder and in this last effect we can add 4042 04:19:15,566 --> 04:19:18,600 that contrast that affects the entire combination of layers 4043 04:19:18,633 --> 04:19:27,566 to combine them much more and make them look better integrated. 4044 04:19:27,566 --> 04:19:29,566 So this contrast is perfect 4045 04:19:29,666 --> 04:19:34,000 because it even reinforces the shadows that are projected on the wall. 4046 04:19:34,000 --> 04:19:38,166 And it really seems that the light that is coming through the window is real. 4047 04:19:38,900 --> 04:19:41,766 So we can do one last comparison to see the difference. 4048 04:19:42,133 --> 04:19:44,700 I'm going to turn off all the effect layers again. 4049 04:19:45,233 --> 04:19:48,500 So we attention to the nature of the original image. 4050 04:19:49,433 --> 04:19:53,700 I would say that there is a much more constant range of colors. 4051 04:19:53,700 --> 04:19:56,933 So now I'm going to activate all the layers again 4052 04:19:57,033 --> 04:20:00,300 one by one. 4053 04:20:00,300 --> 04:20:02,400 I think the difference is amazing. 4054 04:20:02,400 --> 04:20:06,066 And since the video is of high quality because it's a good camera, 4055 04:20:06,066 --> 04:20:10,766 actually we have the chance that these will turn out very. 4056 04:20:10,766 --> 04:20:13,100 On the other hand, we must pay attention to correct. 4057 04:20:13,100 --> 04:20:17,400 And those are small frames where the general mask doesn't match the character. 4058 04:20:17,733 --> 04:20:21,133 Because remember that the age as the mask works 4059 04:20:21,133 --> 04:20:40,400 inside that blue mask. 4060 04:20:40,400 --> 04:20:45,066 So this is a possible color grading, but this could be totally different 4061 04:20:45,333 --> 04:20:48,333 as it was in the original color grading of the project. 4062 04:20:48,866 --> 04:20:52,200 But you should always take into account that the better the resolution 4063 04:20:52,200 --> 04:20:56,366 of the camera, the more possibilities there are to correct the lighting 4064 04:20:56,400 --> 04:21:01,400 and the colors of the image. 4065 04:21:01,400 --> 04:21:05,500 So let's move on to this another example of how the color graded was done 4066 04:21:05,500 --> 04:21:25,333 in the following a scene of this short film. 4067 04:21:25,333 --> 04:21:29,433 So pay attention that mainly a mask was used to illuminate 4068 04:21:29,500 --> 04:21:32,800 the character in the same way as we did in the previous exercises. 4069 04:21:33,633 --> 04:21:37,200 So if the camera has a good resolution in dynamic range, 4070 04:21:37,500 --> 04:21:40,866 this will be possible to do without my your problem. 4071 04:21:40,866 --> 04:21:45,000 But pay attention to this other layer that is almost imperceptible. 4072 04:21:45,433 --> 04:21:49,166 This mask is adding a warm morning color to the shield. 4073 04:21:49,733 --> 04:21:53,100 Remember, the quality of the color grading is the byproduct 4074 04:21:53,100 --> 04:21:57,566 of a set of small details that in turn make the image look better. 4075 04:21:57,800 --> 04:22:01,733 In this case, the morning light is warm, so the shield should adapt 4076 04:22:01,733 --> 04:22:03,266 as much as possible to that. 4077 04:22:04,633 --> 04:22:07,633 So here we can see the difference of how it looks 4078 04:22:07,633 --> 04:22:18,400 with the mask and without the masks. 4079 04:22:18,400 --> 04:22:22,333 Another important detail of this shot was the lighting in the place, 4080 04:22:22,833 --> 04:22:27,700 and this detail is quite similar to that of the movie Portrait of a Lady on Fire. 4081 04:22:28,133 --> 04:22:32,800 I mean, the color of a specific part of the image had to be modified 4082 04:22:32,833 --> 04:22:36,800 so the whole image would match with a previously seen shot. 4083 04:22:36,966 --> 04:22:37,800 In this case, 4084 04:22:37,800 --> 04:22:40,866 they are those parts that you are looking at where you can see the ball 4085 04:22:40,966 --> 04:22:43,400 in the background, peeking through the trees 4086 04:22:43,400 --> 04:22:46,466 in those parts where a lead to match up with these shots 4087 04:22:46,733 --> 04:22:50,100 in that previous take was these these are being shot. 4088 04:22:50,166 --> 04:22:53,100 That tells us that the actions are happening in the morning 4089 04:22:54,300 --> 04:22:54,633 here. 4090 04:22:54,633 --> 04:22:57,566 You can see how I deactivate and activate the mask 4091 04:22:58,200 --> 04:23:02,166 so you can see how it looked for it, how it looks with the effect. 4092 04:23:02,600 --> 04:23:06,100 These was all these in the exact same grading that we saw 4093 04:23:06,100 --> 04:23:10,666 with the character in the cabin. 4094 04:23:10,666 --> 04:23:13,200 Take a look at this other shot here. 4095 04:23:13,200 --> 04:23:17,700 We had to do more or less the same thing that selected part of the sky. 4096 04:23:17,700 --> 04:23:19,733 That part that peeks out the trees. 4097 04:23:20,000 --> 04:23:21,500 We had to change the color 4098 04:23:21,500 --> 04:23:24,733 so that somehow it seems that the sun was speaking out there. 4099 04:23:25,366 --> 04:23:29,033 So we made the mask and then we selected just illuminated 4100 04:23:29,033 --> 04:23:31,500 area with the secondary edge as well. 4101 04:23:32,100 --> 04:23:37,300 And then we added the red color so that the color would look warm or not cold. 4102 04:23:38,100 --> 04:23:40,900 And here you can the difference between the original shot 4103 04:23:40,900 --> 04:23:54,733 and with the mask. 4104 04:23:54,733 --> 04:23:58,666 But pay attention to these other more advanced examples here. 4105 04:23:58,666 --> 04:24:01,533 As you can see in the different shots of the forest, 4106 04:24:01,933 --> 04:24:05,900 the sunlight manages to pass through the trees and reach the ground. 4107 04:24:06,166 --> 04:24:09,300 Like in this shot, for example, The problem was 4108 04:24:09,466 --> 04:24:12,766 since the sky conditions are never perfect, it is stable. 4109 04:24:13,200 --> 04:24:15,400 That lasts for a very short time. 4110 04:24:16,066 --> 04:24:19,466 So in one take it was necessary to directly create 4111 04:24:19,466 --> 04:24:23,400 the light on the ground because at that precise moment of the shooting, 4112 04:24:23,566 --> 04:24:26,133 the light in the ground had almost disappeared. 4113 04:24:26,866 --> 04:24:29,700 So we created a mask of the little trail of light 4114 04:24:29,700 --> 04:24:34,733 that was barely visible in the shot, and we increased the light from that part. 4115 04:24:35,300 --> 04:24:38,633 This example is excellent because precisely gazes like 4116 04:24:38,700 --> 04:24:41,300 is visual culture is necessary. 4117 04:24:41,700 --> 04:24:42,233 I mean that 4118 04:24:42,233 --> 04:24:46,566 you know about painting, for example, we attention to this important detail. 4119 04:24:46,866 --> 04:24:48,866 The mask doesn't change. 4120 04:24:48,866 --> 04:24:50,800 Even the camera moves forward 4121 04:24:50,800 --> 04:24:55,033 because the camera traveling has nothing to do with the sunlight, the light. 4122 04:24:55,033 --> 04:24:57,100 It's supposed to be in the same place. 4123 04:24:57,333 --> 04:25:01,533 So we automated the mask to stay in the same place on the ground, 4124 04:25:01,800 --> 04:25:09,233 taking 80 parts of the ground as a reference point. 4125 04:25:09,233 --> 04:25:11,833 Here you can see what the image looked like before 4126 04:25:12,466 --> 04:25:14,933 the original image without the light on the ground. 4127 04:25:15,566 --> 04:25:17,700 I think difference is fantastic. 4128 04:25:17,866 --> 04:25:32,500 It's a proof of how far you can go using this technique. 4129 04:25:32,500 --> 04:25:36,266 In this other example, you can see how we can use exactly this 4130 04:25:36,300 --> 04:25:39,800 same technique to enhance the color of something in the image, 4131 04:25:40,433 --> 04:25:44,300 the blood that the character has on his arm during shooting. 4132 04:25:44,333 --> 04:25:47,000 The blood on the arm was not completely perfect. 4133 04:25:47,433 --> 04:25:49,500 I mean, it was not red enough. 4134 04:25:49,866 --> 04:25:52,500 So this had to be corrected with color grading. 4135 04:25:52,766 --> 04:25:55,833 So we created a mask that selects just a red 4136 04:25:55,833 --> 04:25:59,100 color that was barely visible on the shirt. 4137 04:25:59,300 --> 04:26:01,533 And then when has that red color 4138 04:26:04,800 --> 04:26:09,033 here you can see what it looked like before. 4139 04:26:09,033 --> 04:26:11,166 Here you can see it in more detail. 4140 04:26:11,700 --> 04:26:15,633 Look at how the color changes as I move the color on the garment will. 4141 04:26:16,400 --> 04:26:18,866 But you must pay close attention that the changes 4142 04:26:18,900 --> 04:26:24,833 must be subtle. 4143 04:26:24,833 --> 04:26:28,633 So all these are examples of everything you can do using the color 4144 04:26:28,633 --> 04:26:32,033 gradient technique that I teach you in this lessons. 4145 04:26:32,400 --> 04:26:34,400 But as I told you, you must practice. 4146 04:26:34,433 --> 04:26:36,766 You have good references to achieve it 4147 04:26:37,500 --> 04:27:09,900 until the next lesson. 4148 04:27:09,900 --> 04:27:10,500 Hello people. 4149 04:27:10,500 --> 04:27:13,233 In this lesson we are going to talk about performance and cameras, 4150 04:27:13,700 --> 04:27:16,500 but above all going to show you on the screen videos 4151 04:27:16,500 --> 04:27:20,933 recorded with different cameras and different lenses so you can learn 4152 04:27:20,933 --> 04:27:25,666 to recognize the difference when it comes to seeing the quality of an image. 4153 04:27:25,733 --> 04:27:26,566 On the other hand, 4154 04:27:26,566 --> 04:27:29,966 although in this lesson I'm going to talk about technical aspects, 4155 04:27:30,366 --> 04:27:34,466 I highly recommend you to consume movies with a good cinematography 4156 04:27:35,100 --> 04:27:38,266 so that you can recognize when one image is better than another 4157 04:27:38,266 --> 04:27:41,066 in terms of lighting or cinematography. 4158 04:27:41,366 --> 04:27:45,300 And I tell you these because it's our task to improve image quality 4159 04:27:45,600 --> 04:27:48,433 and we must know what are the weaknesses of an image 4160 04:27:48,666 --> 04:27:52,333 in order to correct them and to improve the appearance of a video. 4161 04:27:52,633 --> 04:27:53,533 This is start in 4162 04:27:54,700 --> 04:27:56,833 this is the Sony NEX five. 4163 04:27:56,833 --> 04:28:01,666 This is a medium low quality DSLR with awesome medium quality lenses. 4164 04:28:02,300 --> 04:28:05,366 The image looks good because the cinematography was good. 4165 04:28:05,800 --> 04:28:09,000 I mean, it was recorded at the best time of day. 4166 04:28:09,333 --> 04:28:13,400 However, if we freeze the image, we can realize the weaknesses of. 4167 04:28:13,400 --> 04:28:18,300 This format, first of all, everything is synthesized in general, shapes and colors. 4168 04:28:18,900 --> 04:28:21,366 Maybe you don't realize it with the naked eye, 4169 04:28:21,533 --> 04:28:25,900 but when you see a high quality later on, you will see the difference. 4170 04:28:26,300 --> 04:28:28,800 This synthesis has to do with both 4171 04:28:28,933 --> 04:28:33,000 the dynamic range of the sensor and the resolution of the camera. 4172 04:28:33,000 --> 04:28:34,466 And in addition to the fact 4173 04:28:34,466 --> 04:28:38,700 that the lens doesn't allow a large number of light points to reach the sensor, 4174 04:28:38,966 --> 04:28:43,366 we can notice this in the small details and especially in the dark areas 4175 04:28:43,366 --> 04:28:47,433 that lack information because they are completely compressed by default. 4176 04:28:48,066 --> 04:28:51,700 This is the typical image in which the technique of modifying the colors 4177 04:28:51,700 --> 04:28:55,166 of some objects or elements like the sky, for example, 4178 04:28:55,533 --> 04:28:58,333 is one of the best ways to improve experience 4179 04:28:58,333 --> 04:29:02,100 and quality. 4180 04:29:02,100 --> 04:29:04,600 This next example is a little better here. 4181 04:29:04,600 --> 04:29:05,266 A Canon five. 4182 04:29:05,266 --> 04:29:08,566 The camera with AIL series lenses was used. 4183 04:29:08,933 --> 04:29:13,233 Additionally, the real footage belonged to a Phantom four drone. 4184 04:29:13,566 --> 04:29:16,900 However, from my point of view, although it looks better than the 4185 04:29:16,900 --> 04:29:20,700 previous video, we can still notice signs of compression. 4186 04:29:20,700 --> 04:29:24,000 The image like the compression we can notice in the hair 4187 04:29:24,000 --> 04:29:27,266 details. 4188 04:29:27,266 --> 04:29:30,800 In the case of the drone images there is flickering 4189 04:29:30,800 --> 04:29:33,866 in the water areas that have complex reflections. 4190 04:29:34,366 --> 04:29:37,900 This flickering can often be cleaned up using this tool 4191 04:29:37,900 --> 04:29:39,933 in the effects control panel. 4192 04:29:39,933 --> 04:29:43,566 But the problem is that it doesn't usually remove the flicker completely. 4193 04:29:43,933 --> 04:29:48,366 In the case of the Canon five D, it does exactly the same as the previous camera. 4194 04:29:48,733 --> 04:29:52,033 I mean, it compresses two colors that are apparently flat. 4195 04:29:52,566 --> 04:29:55,566 Additionally, you can notice on the edge of the mountains 4196 04:29:55,566 --> 04:29:59,266 the lack detail captured by both the camera and the lens. 4197 04:29:59,566 --> 04:30:03,166 So my take is for a video to look really good with a5d camera. 4198 04:30:03,166 --> 04:30:06,066 It's necessary to use very high end lenses 4199 04:30:06,300 --> 04:30:09,966 to compensate for the lack of dynamics in the sensor in. 4200 04:30:09,966 --> 04:30:13,500 Finally, in the same way, changing the color of some elements 4201 04:30:13,500 --> 04:30:20,100 in the image or improving them will help the quality of the image. 4202 04:30:20,100 --> 04:30:23,433 Now we are going to move on to the following example A Black Magic 4203 04:30:23,433 --> 04:30:25,966 four key with Canon L series lenses. 4204 04:30:26,500 --> 04:30:29,500 Here, the appearance begins to look more professional. 4205 04:30:29,500 --> 04:30:33,233 I don't mean to say that the previous works did not look professional. 4206 04:30:33,233 --> 04:30:36,133 I mean that the raw image looks more professional. 4207 04:30:36,400 --> 04:30:39,400 Pay attention to the gear's hair, looks. 4208 04:30:39,400 --> 04:30:41,900 Each strand of hair is noticeable on the screen. 4209 04:30:42,400 --> 04:30:44,666 However, even under these conditions, 4210 04:30:45,000 --> 04:30:47,066 I mean that the black magic sensor is better. 4211 04:30:47,400 --> 04:30:50,833 The kind of lens blur in the background, Not the best of all 4212 04:30:51,166 --> 04:30:53,333 because it seemed that this is too much 4213 04:30:54,600 --> 04:30:54,900 in the 4214 04:30:54,900 --> 04:30:57,666 following example, which is in fact in the same work 4215 04:30:57,900 --> 04:31:01,766 we used a rare two Scarlett with a Canon L series lenses. 4216 04:31:02,100 --> 04:31:05,366 The most noticeable difference is the dynamic range. 4217 04:31:05,700 --> 04:31:07,333 It's better than the black magic. 4218 04:31:07,333 --> 04:31:09,500 Pay attention to the rough color. 4219 04:31:09,500 --> 04:31:12,433 The neck arrangement is a kind of pearly white 4220 04:31:12,733 --> 04:31:15,466 that you can only notice with a good sensor like that. 4221 04:31:15,866 --> 04:31:17,600 Obviously there is a great light 4222 04:31:17,600 --> 04:31:20,933 in the place as well, but even under this conditions, 4223 04:31:20,933 --> 04:31:24,933 the red helps to improve that blurred background, to look really professional. 4224 04:31:25,733 --> 04:31:28,800 This is another example with the black magic, but with all other 4225 04:31:29,733 --> 04:31:32,433 rocking and lenses that I personally don't 4226 04:31:32,433 --> 04:31:35,100 like so much because they are not very bright. 4227 04:31:35,433 --> 04:31:39,333 But even though it looks professional because of the lighting and the color 4228 04:31:39,333 --> 04:31:44,033 correction, for example, that green color you see in the grass in the branches 4229 04:31:44,033 --> 04:31:48,866 below was modified in the color correction to make it look greener than normal. 4230 04:31:48,866 --> 04:31:53,100 So in this way it appears that the image has a higher dynamic range. 4231 04:31:53,400 --> 04:31:56,366 The same with those fainter blue lights in the background. 4232 04:31:56,700 --> 04:31:59,566 They weren't originally like that, but where it turned 4233 04:31:59,566 --> 04:32:01,433 blue in the color correction. 4234 04:32:01,433 --> 04:32:04,966 Not to mention that the color of the skies was also modified to make 4235 04:32:04,966 --> 04:32:06,200 them look like these. 4236 04:32:07,466 --> 04:32:09,200 Look at this other example here. 4237 04:32:09,200 --> 04:32:12,400 The quality of the image becomes completely professional, 4238 04:32:12,700 --> 04:32:15,166 but it's not because of the quality of the camera 4239 04:32:15,533 --> 04:32:19,366 that because the lenses that were used where a completely professional 4240 04:32:19,600 --> 04:32:23,866 Carl Zeiss lenses look at the way the background is out of focus, 4241 04:32:24,166 --> 04:32:27,300 you get the distance in which those horses are in. 4242 04:32:27,300 --> 04:32:28,800 It's even out of focus. 4243 04:32:28,800 --> 04:32:31,533 At that distance you can see that they are horses. 4244 04:32:32,400 --> 04:32:35,733 And not only that, but you can notice the strengths of the horses hair. 4245 04:32:36,233 --> 04:32:39,600 Additionally, pay attention to the outlines of all the shapes. 4246 04:32:39,866 --> 04:32:42,800 They don't look like that outline of the mountains 4247 04:32:43,066 --> 04:32:47,300 in the first example with the kind of five to pay attention to this frame. 4248 04:32:47,400 --> 04:32:49,966 Look the drops of water on the grass AMI 4249 04:32:50,400 --> 04:32:53,100 and look how good the blurred background looks 4250 04:33:08,233 --> 04:33:10,900 in this last example is the work we are going to use 4251 04:33:10,900 --> 04:33:14,800 in the color correction lessons, and that every camera was used here, 4252 04:33:14,866 --> 04:33:19,500 which has the best dynamic range of all the ones I had shown you so far. 4253 04:33:19,900 --> 04:33:23,833 But nevertheless, the lenses used here are not half as good 4254 04:33:23,933 --> 04:33:26,266 as they once in the previous music video. 4255 04:33:26,266 --> 04:33:29,400 However, will use this video because it's the camera with the best 4256 04:33:29,466 --> 04:33:38,700 dynamic range. 4257 04:33:38,700 --> 04:33:40,933 There is something important to take into account 4258 04:33:40,933 --> 04:33:43,800 when trying to discover how a scene was shot 4259 04:33:44,333 --> 04:33:49,500 or what was the format to use in a short film or a movie or a music video. 4260 04:33:49,900 --> 04:33:52,100 Take a look at the next example. 4261 04:33:52,100 --> 04:33:54,366 This To a layperson, we sit with you. 4262 04:33:54,366 --> 04:33:57,633 If you pay attention, you can notice that since the videos is shot 4263 04:33:57,633 --> 04:34:00,666 in France, in Paris and in France, 4264 04:34:00,800 --> 04:34:04,533 there is an obsession, a kind of obsession with the independent look. 4265 04:34:05,033 --> 04:34:08,000 I mean, that independent movie type look. 4266 04:34:08,000 --> 04:34:10,800 So the video of Dua LIPA is inspired by that. 4267 04:34:11,200 --> 04:34:15,066 So those images of Dua LIPA sharing tonight with another girl 4268 04:34:15,066 --> 04:34:18,266 or another singer as if she where her friend, 4269 04:34:18,500 --> 04:34:21,766 it seems that they are totally spontaneous, random, 4270 04:34:22,133 --> 04:34:25,700 as if it were a simple camera and they are recording random moments 4271 04:34:25,700 --> 04:34:27,033 on one single night. 4272 04:34:27,033 --> 04:34:31,266 But it turns out that despite the fact that the music video is representing 4273 04:34:31,266 --> 04:34:34,800 almost a kind of documentary project of that night, 4274 04:34:35,266 --> 04:34:38,933 the camera they are using not as cheap as most of believe. 4275 04:34:39,466 --> 04:34:42,533 In fact, suffice it to say that there are shooting at night 4276 04:34:42,800 --> 04:34:47,633 and the lenses are so good that they capture details of the blurred background. 4277 04:34:47,633 --> 04:34:50,100 And it tells you this because there are naive filmmakers 4278 04:34:50,100 --> 04:34:53,733 in naive videographers who think they can take any camera 4279 04:34:54,066 --> 04:34:57,266 and record the same video and it will look at the same. 4280 04:34:57,266 --> 04:34:59,100 And it doesn't work like that. 4281 04:34:59,100 --> 04:35:03,866 And in the same way, there are also video editors who think there is a plugin 4282 04:35:04,066 --> 04:35:07,833 or a filter that can replace a car sized lens, for example, 4283 04:35:08,633 --> 04:35:10,800 and they tell you this not to discourage you, 4284 04:35:11,200 --> 04:35:14,333 but because one of the most important things in terms of film 4285 04:35:14,333 --> 04:35:17,900 production is to note and recognize the nature of a film production, 4286 04:35:18,466 --> 04:35:23,233 this is necessary to be sure of how far the color correction can go to have 4287 04:35:23,233 --> 04:35:28,100 a quality resort that the client requires an advertisement, for example. 4288 04:35:28,366 --> 04:35:33,300 So independent films in Europe are very expensive, not as expensive 4289 04:35:33,300 --> 04:35:38,433 as Hollywood ones, obviously not, but they are more expensive than most believe. 4290 04:35:38,733 --> 04:35:41,633 Believe me, what I tell you, I studied cinema here 4291 04:35:41,633 --> 04:35:44,166 and I tell you with certainty you get noted 4292 04:35:45,066 --> 04:35:49,966 was a clip in French custom. 4293 04:35:49,966 --> 04:35:52,033 The same things happens when in a production 4294 04:35:52,300 --> 04:35:56,900 we use a cheap camera, but with a super expensive, very high down lenses. 4295 04:35:57,400 --> 04:35:59,500 For example, this video 30 seconds 4296 04:36:10,266 --> 04:36:12,466 desperate and 4297 04:36:12,466 --> 04:36:15,900 broken, the 4298 04:36:15,900 --> 04:36:20,100 sound of many people will be shocked 4299 04:36:20,266 --> 04:36:24,333 to realize that many of the shots were recorded with a can of five. 4300 04:36:24,333 --> 04:36:26,933 The the use of our camera. 4301 04:36:26,933 --> 04:36:30,266 But what is the reason why the image looks so good? 4302 04:36:30,600 --> 04:36:33,866 Because it's evident that they used a high down lens 4303 04:36:34,400 --> 04:36:37,466 which goes to thousands and thousands of dollars 4304 04:36:37,766 --> 04:36:41,900 no matter how it all the camera is, the image coming through the lens. 4305 04:36:41,966 --> 04:36:43,966 Sensors will be beautiful. 4306 04:36:43,966 --> 04:36:47,333 So try to be aware of all of this and have a world and get fooled 4307 04:36:47,700 --> 04:36:51,233 by supposed plug ins that are supposed to give your videos 4308 04:36:51,466 --> 04:36:53,500 a completely cinematic look. 4309 04:36:53,500 --> 04:36:55,100 That is impossible. 4310 04:36:55,100 --> 04:36:56,733 So. Well, thank you very much. 4311 04:36:56,733 --> 04:36:59,033 And until the next lesson 4312 04:37:10,100 --> 04:37:28,133 or hello people. 4313 04:37:28,500 --> 04:37:31,900 In a previous lesson, I was talking about the blurred backgrounds 4314 04:37:32,333 --> 04:37:36,100 and scenes that feature related to the quality of the lenses. 4315 04:37:36,100 --> 04:37:40,733 Obviously the ideal scenario would be to work with the best lenses, 4316 04:37:41,166 --> 04:37:44,733 but if this is not the case, we must be able improve this feature 4317 04:37:44,733 --> 04:37:48,800 on the videos when it comes to improving the visual quality of the project. 4318 04:37:49,066 --> 04:37:51,966 So let's start in perfect 4319 04:37:52,000 --> 04:37:56,100 because here again in the premiere, what are we going to do this time? 4320 04:37:57,333 --> 04:37:59,600 First of all, I want you to see a comparison 4321 04:37:59,600 --> 04:38:04,233 between a shot recorded with an iPhone and one with a cinema camera. 4322 04:38:04,233 --> 04:38:06,900 Obviously, they are shots of the same object. 4323 04:38:07,133 --> 04:38:08,766 There are the same conditions. 4324 04:38:08,766 --> 04:38:10,333 It's an exercise. 4325 04:38:10,333 --> 04:38:13,000 So the objective of showing you this 4326 04:38:13,333 --> 04:38:17,466 and the goal of this lesson is that by using the premier camera real effect, 4327 04:38:17,700 --> 04:38:21,533 we can try to approximate the cinematic look of a movie camera. 4328 04:38:21,666 --> 04:38:27,566 So I'm going to start by showing you the shot of recorded with the iPhone. 4329 04:38:27,566 --> 04:38:30,600 So here we have this shot of this bust 4330 04:38:31,133 --> 04:38:36,033 recorded with an iPhone 14 that I would say that using a DSLR 4331 04:38:36,033 --> 04:38:40,200 camera would average lenses, I mean, normal lenses would look more 4332 04:38:40,200 --> 04:38:41,500 or less the same. 4333 04:38:41,500 --> 04:38:45,200 Of course, the exception will be that we were using scene lenses 4334 04:38:45,433 --> 04:38:48,200 with a D SLR, but this is not the case. 4335 04:38:48,900 --> 04:38:53,766 So an average DSLR looks more or less like a last generation iPhone. 4336 04:38:54,233 --> 04:38:57,766 But anyway, in this shot you can relevant details 4337 04:38:58,366 --> 04:39:02,066 like, for example, that there is a slight blurring of the background. 4338 04:39:02,566 --> 04:39:05,966 But pay attention now to an image recorded with a movie camera 4339 04:39:06,233 --> 04:39:09,300 of the same object with more or less the same conditions. 4340 04:39:09,933 --> 04:39:13,800 Okay, obviously it looks much better, especially for the dynamic range. 4341 04:39:14,266 --> 04:39:17,200 I mean, the amount of tones, the whites and grays. 4342 04:39:17,600 --> 04:39:20,366 But look at the nature of the blur in the background 4343 04:39:20,700 --> 04:39:24,666 as they get closer to background changes in a more cinematic way. 4344 04:39:25,100 --> 04:39:28,300 Obviously more to focus than in the previous image 4345 04:39:28,733 --> 04:39:32,466 because the lenses allow more light to enter the camera sensor. 4346 04:39:33,066 --> 04:39:35,766 And this is one of the reasons why I have always said 4347 04:39:36,000 --> 04:39:38,766 it's very difficult to try to imitate this quality 4348 04:39:39,100 --> 04:39:42,966 with a plug in effect because it will never look the same. 4349 04:39:43,833 --> 04:39:46,100 But nevertheless we can get closer, 4350 04:39:46,333 --> 04:39:48,400 we can get closer to that look 4351 04:39:49,300 --> 04:39:51,566 and we are going to do it using the blur 4352 04:39:52,266 --> 04:39:53,466 because that parameter, 4353 04:39:53,466 --> 04:39:56,466 that characteristic tells us about the depth of field 4354 04:39:56,466 --> 04:40:00,166 in the lenses as well as the sensitivity they have to light. 4355 04:40:01,233 --> 04:40:03,966 So we are going to click on our clip 4356 04:40:04,766 --> 04:40:07,300 and we are going to look for the V defect folder. 4357 04:40:07,800 --> 04:40:10,600 And in that folder we are going to look for the blur 4358 04:40:10,600 --> 04:40:17,300 and sharpen. 4359 04:40:17,300 --> 04:40:19,500 And here we are going to choose the camera blur. 4360 04:40:20,233 --> 04:40:25,133 So this effect allows me to imitate that look of a cinema lens. 4361 04:40:25,500 --> 04:40:28,333 Pay attention that it not only blurs image, but 4362 04:40:28,333 --> 04:40:31,000 also stretches the image slightly to the sides. 4363 04:40:31,966 --> 04:40:35,766 So we must to the effect parameters and we are going to decrease to 4364 04:40:36,366 --> 04:40:40,100 and the percentage in the percent of layer parameter. 4365 04:40:40,733 --> 04:40:43,366 Now we are going to look for a midpoint of the clip, 4366 04:40:43,600 --> 04:40:47,900 I mean, not at the beginning or at the end, more or less in the middle. 4367 04:40:48,633 --> 04:40:54,033 So now we must create a mask to select a region that should be more out focus in. 4368 04:40:54,033 --> 04:40:55,833 What would the region be? 4369 04:40:55,833 --> 04:40:58,666 Well, the entire area of the canvas in the background 4370 04:40:59,000 --> 04:41:01,400 and everything that is at that distance. 4371 04:41:01,666 --> 04:41:06,266 So we the option to create customizable mask and we create a mask 4372 04:41:06,566 --> 04:41:10,333 that selects all of that with the great care and patience. 4373 04:41:10,333 --> 04:41:13,500 It's always so point by point we created. 4374 04:41:13,500 --> 04:41:17,200 Remember that the mask can get out of the frame and nothing happens. 4375 04:41:18,200 --> 04:41:20,700 You can zoom in or out the program monitor. 4376 04:41:21,166 --> 04:41:22,666 I see. Once 4377 04:41:42,366 --> 04:41:42,933 perfect. 4378 04:41:42,933 --> 04:41:44,966 We already have our mask ready. 4379 04:41:45,266 --> 04:41:48,533 Now we have to do is activate the automation of the mask 4380 04:41:48,933 --> 04:41:51,433 so that the first keyframe is created. 4381 04:41:52,000 --> 04:41:55,233 Then we complete the mask in the other parts of the clip. 4382 04:41:55,633 --> 04:41:58,000 It's not necessary to make mannequin frames 4383 04:41:59,700 --> 04:42:01,700 as the forward movement of the shot. 4384 04:42:01,700 --> 04:42:03,333 It's not very strong. 4385 04:42:03,333 --> 04:42:06,466 The mask will not get too out of the shape of the bust. 4386 04:42:06,766 --> 04:42:08,333 Therefore, we just have to adapt. 4387 04:42:08,333 --> 04:42:26,566 What has changed, especially in the past, in the candle on the right. 4388 04:42:26,566 --> 04:42:28,966 So we are going to try to make some more keyframes, 4389 04:42:28,966 --> 04:42:32,433 but it's not necessary to make too many, as they told you. 4390 04:42:33,033 --> 04:42:37,233 Just do a few throughout the entire clip paying attention, above 4391 04:42:37,233 --> 04:42:56,766 all to the main objects. 4392 04:42:56,766 --> 04:42:57,266 Perfect. 4393 04:42:57,266 --> 04:43:00,633 We already have our mask made throughout the entire clip. 4394 04:43:01,166 --> 04:43:03,500 Now we simply have to to the blur effect. 4395 04:43:03,866 --> 04:43:08,300 We must determine which is the appropriate torch for each part of the clip. 4396 04:43:08,700 --> 04:43:12,666 Because at the beginning of the clip, the background should be less blurred. 4397 04:43:12,666 --> 04:43:15,933 So pay attention that only raising three points in the Blur 4398 04:43:15,933 --> 04:43:18,566 parameter is more than enough to improve the Blur 4399 04:43:18,933 --> 04:43:23,933 and make it more cinematic right At this point, at this moment in the clip 4400 04:43:25,200 --> 04:43:25,666 so we 4401 04:43:25,666 --> 04:43:28,433 can see how it looks with effect and without the effect. 4402 04:43:28,800 --> 04:43:31,033 Here at eight, you can notice the difference. 4403 04:43:31,433 --> 04:43:33,000 Now it's not activated. 4404 04:43:33,000 --> 04:43:36,100 I'm going to activate it again and look at the difference. 4405 04:43:36,900 --> 04:43:39,900 So since the clip continues a little farther forward, 4406 04:43:40,166 --> 04:43:43,800 we must be aware that 18 it must be more out of focus. 4407 04:43:44,433 --> 04:43:48,100 So I think that the race in three more points would be good. 4408 04:43:48,333 --> 04:43:49,900 Reaching six. 4409 04:43:49,900 --> 04:43:53,200 It's important to note that when comes to improving the flowers, 4410 04:43:53,200 --> 04:43:55,466 we must be very delicate, precise. 4411 04:43:56,166 --> 04:43:59,933 I mean, not exaggerate with the blur because it looks unreal. 4412 04:44:00,466 --> 04:44:03,033 I mean, a slight changes are perfect. 4413 04:44:03,500 --> 04:44:06,300 You should also remember to bring the feather up a bit 4414 04:44:06,300 --> 04:44:09,966 to soften the edges of the mask 4415 04:44:12,600 --> 04:44:14,900 so we can automate the lower percentage. 4416 04:44:14,900 --> 04:44:18,700 Now, if we already know what the final point of maximum blur 4417 04:44:18,700 --> 04:44:23,633 is, we add the first one at the beginning, which should be less blurred 4418 04:44:23,633 --> 04:44:35,400 and that's it. 4419 04:44:35,400 --> 04:44:38,766 So with the crease of LA Beat, yes, right here. 4420 04:44:39,500 --> 04:44:42,666 And that is enough. 4421 04:44:42,666 --> 04:44:50,966 Now, we rendered the clip to see it more fluently. 4422 04:44:50,966 --> 04:44:53,400 And here we have our shot. 4423 04:44:53,400 --> 04:44:54,766 With the blurred background, 4424 04:44:55,766 --> 04:44:57,700 it looks more 4425 04:44:57,700 --> 04:45:01,833 because as the shot advances, the background becomes more blurred. 4426 04:45:02,133 --> 04:45:07,600 You can notice it in the edges of that canvas and that kind of canvas. 4427 04:45:07,600 --> 04:45:09,766 Obviously, this shot is just an example. 4428 04:45:09,766 --> 04:45:13,400 If you were working on a similar one with a person in the middle, 4429 04:45:13,766 --> 04:45:17,366 the closer you get to the person, the more blurred the background will be. 4430 04:45:17,966 --> 04:45:21,300 Obviously we cannot tolerate like in the example with the movie camera, 4431 04:45:21,566 --> 04:45:24,466 because although they are different lenses in terms of quality, 4432 04:45:24,466 --> 04:45:28,800 they are also different in terms of millimeters depth of field. 4433 04:45:29,233 --> 04:45:31,966 So you have to take that into account. 4434 04:45:31,966 --> 04:45:34,033 Now pay attention, this blurred background, 4435 04:45:34,033 --> 04:45:37,733 we can combine it with a slight flaw in the front part of the chair 4436 04:45:38,100 --> 04:45:41,700 making that slight blur noticeable when the camera approaches it. 4437 04:45:41,700 --> 04:45:45,600 Here we simply have to add another camera, 4438 04:45:45,600 --> 04:45:48,166 a blur effect to that clip. 4439 04:45:49,100 --> 04:45:51,533 Obviously at the beginning you must decrease 4440 04:45:51,766 --> 04:45:54,900 the percent blur to zero 4441 04:45:58,100 --> 04:46:00,033 and you are supposed to create a mass 4442 04:46:00,033 --> 04:46:03,233 that only occupies the front area of the chair. 4443 04:46:03,900 --> 04:46:07,833 But we must find a maximum approach point of the camera towards the tier 4444 04:46:08,200 --> 04:46:15,266 and we must create the mask right at that point. 4445 04:46:15,266 --> 04:46:18,633 Now, the mask is supposed to only affect front parts of the tier 4446 04:46:19,100 --> 04:46:22,500 because that part is the one closest to the camera. 4447 04:46:22,500 --> 04:46:25,566 So we can make a kind of polygon that only focuses 4448 04:46:25,566 --> 04:46:38,933 on that part of the chair. 4449 04:46:38,933 --> 04:46:41,966 So we must raise the feather 4450 04:46:41,966 --> 04:46:45,233 to soften the edges, 4451 04:46:45,233 --> 04:46:47,966 and then we add the lower 4452 04:46:49,633 --> 04:46:52,233 we can use expansion if we want. It's 4453 04:46:53,400 --> 04:46:56,400 always trying to not overuse the fact, 4454 04:46:57,066 --> 04:47:20,133 try to make it real. 4455 04:47:20,133 --> 04:47:23,866 So from now on we can create the keyframe. 4456 04:47:24,466 --> 04:47:27,666 I mean, to activate the outer lines in The Blur, 4457 04:47:28,233 --> 04:47:30,600 we already have the last Keyframe. 4458 04:47:31,300 --> 04:47:34,166 You only had to create the first keyframe, 4459 04:47:34,800 --> 04:47:36,900 and you must know that defining 4460 04:47:37,500 --> 04:47:40,300 the blah shouldn't be noticeable. 4461 04:47:40,300 --> 04:47:41,200 And they would say that 4462 04:47:41,200 --> 04:47:44,833 before the beginning is simply when the chair moves away from the camera. 4463 04:47:45,166 --> 04:48:00,000 You should no be out of focus. 4464 04:48:00,000 --> 04:48:11,966 So I'm going to render it again. 4465 04:48:11,966 --> 04:48:16,033 So you're really have the image with more blur, both 4466 04:48:16,033 --> 04:48:19,900 in the back room and in the front part of the chair. 4467 04:48:19,900 --> 04:48:22,400 All the it doesn't look like a film lens. 4468 04:48:22,400 --> 04:48:24,066 It looks more professional. 4469 04:48:24,066 --> 04:48:26,233 In addition, additionally, if we were working 4470 04:48:26,233 --> 04:48:29,766 with two cameras, for example, a film camera in a D SLR 4471 04:48:30,166 --> 04:48:33,566 or a film camera in a knife, and we could combine 4472 04:48:33,566 --> 04:48:37,000 the two formats in the same work and he would look pretty good. 4473 04:48:37,733 --> 04:48:42,266 But obviously the idea to also be aware of the differences between the formats 4474 04:48:42,833 --> 04:48:43,500 to understand 4475 04:48:43,500 --> 04:48:45,700 why one format looks better than the other, 4476 04:48:45,966 --> 04:48:47,033 especially when it comes 4477 04:48:47,033 --> 04:48:50,300 to working with lenses that are slightly better than others. 4478 04:48:51,033 --> 04:48:54,600 And I think that this is the most difficult thing to be aware of that 4479 04:48:55,100 --> 04:48:58,066 of course, in this example, I don't think the difference 4480 04:48:58,166 --> 04:49:00,566 is difficult know which is evidence. 4481 04:49:01,133 --> 04:49:03,466 Well, you know how to blur the backgrounds 4482 04:49:04,133 --> 04:49:38,233 and let's move on to the next lesson. 4483 04:49:38,800 --> 04:49:40,200 Hello, everyone. 4484 04:49:40,200 --> 04:49:42,200 What we're going to do in this lesson. 4485 04:49:42,200 --> 04:49:46,866 In this lesson, we are going to learn how to create a shot out of another shot 4486 04:49:47,366 --> 04:49:52,500 because eventually you're going to have to reframe a shot in order to fix it. 4487 04:49:52,800 --> 04:49:55,066 I mean, in terms of cinematography 4488 04:49:55,500 --> 04:50:00,600 and the byproduct of that process brings about the creation of another shot. 4489 04:50:01,033 --> 04:50:02,233 And this is going to happen to you 4490 04:50:02,233 --> 04:50:05,200 when you didn't have enough footage for your editing. 4491 04:50:05,566 --> 04:50:08,000 For me, it's a very common thing in terms of 4492 04:50:08,933 --> 04:50:12,166 so we are going to use this take of this camera. 4493 04:50:13,033 --> 04:50:17,066 You can notice that it has a color correction, a kind of color correction. 4494 04:50:17,500 --> 04:50:19,666 Let's a quick review. 4495 04:50:19,666 --> 04:50:24,100 There is a little effect limit recorder and also sharpen. 4496 04:50:24,700 --> 04:50:27,733 But before addressing the creation of another shot, 4497 04:50:27,733 --> 04:50:29,833 we are going to talk about something first. 4498 04:50:30,300 --> 04:50:34,200 When you are an editor, you're supposed to become sensitive with the changes. 4499 04:50:34,500 --> 04:50:38,233 And those changes could be in terms of color, violence, etc.. 4500 04:50:38,500 --> 04:50:43,066 For example, in this shot and there is a kind of wickedness in terms of balance. 4501 04:50:43,433 --> 04:50:46,900 I mean, you can notice that when the cars approach the camera, 4502 04:50:46,900 --> 04:50:51,133 there is more space in that gap between the car and the frame in the right side, 4503 04:50:51,300 --> 04:50:54,733 and we must try to fix that to level that so we can. 4504 04:50:54,733 --> 04:50:59,933 Sumi in the image modifying the scale and then move the take slightly to the right. 4505 04:51:00,066 --> 04:51:03,000 So when I was talking about being sensitive, 4506 04:51:03,133 --> 04:51:06,466 I mean, to be aware that the take needs to be fixed 4507 04:51:06,700 --> 04:51:10,033 in other words, you're supposed to detect that in balance. 4508 04:51:10,500 --> 04:51:14,033 You must also be aware that that imbalance could be related 4509 04:51:14,033 --> 04:51:18,333 to a specific point of to take moving to take it. 4510 04:51:18,366 --> 04:51:20,600 There is a kind of traveling in a movement. 4511 04:51:21,133 --> 04:51:26,266 For example, here there is a tilt up, but once the shot reveals the windshield, 4512 04:51:26,266 --> 04:51:29,100 the take seems to be moving too much to the left. 4513 04:51:29,333 --> 04:51:31,033 So in order to solve that, 4514 04:51:31,033 --> 04:51:35,933 we can create a kind of automation in the position to fix that movement. 4515 04:51:35,933 --> 04:51:38,066 The take in this example seems to be 4516 04:51:38,066 --> 04:51:41,700 not that complicated because the camera is in a tripod. 4517 04:51:41,900 --> 04:51:44,933 So just by automating the movement in the position 4518 04:51:44,933 --> 04:51:47,500 parameter is enough to fix that problem. 4519 04:51:48,300 --> 04:51:52,400 But anyway, as I told you, you must have a great deal of references 4520 04:51:52,400 --> 04:51:55,566 in order to know if a shot is violence or not. 4521 04:51:55,566 --> 04:51:57,933 But let's move on into the creation of the other shot. 4522 04:51:58,533 --> 04:52:02,833 First of all, we misled a photographic moment into take in, for example. 4523 04:52:02,833 --> 04:52:07,333 That moment could be when the car stops once we have selected that moment, 4524 04:52:07,333 --> 04:52:11,133 we are ready to focus on one single object in the picture. 4525 04:52:11,400 --> 04:52:15,300 I'm going to tell you these changes here in the automation for example, 4526 04:52:15,600 --> 04:52:19,466 this headlight on the right, we are able to zoom in the image, 4527 04:52:19,766 --> 04:52:23,400 move in this scale in order to find that balance 4528 04:52:23,700 --> 04:52:26,700 taking into account, that headlight, for example, 4529 04:52:27,166 --> 04:52:30,966 because actually the travel rules are a kind of constellations. 4530 04:52:31,166 --> 04:52:34,766 But even though this is not a travel in itself, there is a movement 4531 04:52:35,100 --> 04:52:36,300 the passage of time. 4532 04:52:36,300 --> 04:52:40,666 And that movement has moments where the picture, the image is balanced. 4533 04:52:40,866 --> 04:52:45,000 I talk about these in a lesson of my filmmaking course. 4534 04:52:45,000 --> 04:52:46,966 It's called anchor point. 4535 04:52:46,966 --> 04:52:50,266 So you can notice that from the moment the car stops, I'm 4536 04:52:50,300 --> 04:52:53,966 moving to take to the left, right to the left headlight 4537 04:52:54,400 --> 04:52:57,800 to create a kind of artificial movement in the take. 4538 04:52:58,100 --> 04:53:00,666 So I haven't automated the movement yet. 4539 04:53:01,200 --> 04:53:04,900 I'm trying to discover at those moments those anchor points 4540 04:53:05,100 --> 04:53:07,466 that I can use to create entire movement. 4541 04:53:07,900 --> 04:53:10,800 So let's go back again to the first anchor point. 4542 04:53:11,100 --> 04:53:15,800 I mean, at the beginning of the shot. 4543 04:53:15,800 --> 04:53:19,966 So once we find that moment, we can create a keyframe in the position parameter. 4544 04:53:20,066 --> 04:53:22,400 We must create a keyframe for the scale too. 4545 04:53:23,033 --> 04:53:25,133 But that's just right. Here comes a problem. 4546 04:53:25,666 --> 04:53:29,700 And it happens that when the car stops and the camera stops, also, 4547 04:53:29,900 --> 04:53:33,633 that movement created by editing will be more noticeable. 4548 04:53:33,633 --> 04:53:36,433 So we are supposed to place the keyframe. 4549 04:53:36,600 --> 04:53:40,800 That keyframe related to the position just before the camera stops. 4550 04:53:40,800 --> 04:53:43,000 I mean, in this way you will be creating an 4551 04:53:43,500 --> 04:53:47,533 that the camera has a longer movement because the take will be in motion 4552 04:53:47,533 --> 04:53:52,900 just before the camera stops, thereby deceiving the viewer a little bit. 4553 04:53:52,900 --> 04:53:54,300 And there you are. 4554 04:53:54,300 --> 04:53:56,966 You have another take out of the original take. 4555 04:53:57,533 --> 04:54:01,466 And it looks great because it seems that that movement to the left 4556 04:54:01,500 --> 04:54:12,400 is part of the entire take movement. 4557 04:54:12,400 --> 04:54:15,700 Now I'm going to show you how you are not supposed to do it. 4558 04:54:15,866 --> 04:54:16,933 Pay attention to these. 4559 04:54:16,933 --> 04:54:19,800 Take a movement. It begins in just right here. 4560 04:54:19,800 --> 04:54:22,433 The movements created in the software begins. 4561 04:54:22,600 --> 04:54:26,133 So the audience will notice that the movement is a strange 4562 04:54:26,600 --> 04:54:34,600 you can notice just right here, the artificial movement begins. 4563 04:54:34,600 --> 04:54:36,400 So you already know what is the difference. 4564 04:54:36,400 --> 04:54:38,600 I'm going to show you again the right way. 4565 04:54:38,600 --> 04:54:43,066 You can notice that yes, at this moment that, movement to the left is softer 4566 04:54:43,266 --> 04:54:46,900 and you are supposed to place that keyframe related to the position 4567 04:54:47,200 --> 04:54:49,100 just before the camera stops. 4568 04:54:50,266 --> 04:54:51,100 On the other hand, 4569 04:54:51,100 --> 04:54:54,566 wanted to mention something important related to the scale, 4570 04:54:55,166 --> 04:55:00,066 and that is that when you want to to create that sensation of interest 4571 04:55:00,066 --> 04:55:03,966 in the audience but in the shot you are working with is as static, 4572 04:55:04,266 --> 04:55:08,400 you can add a slide zooming in or zoom out to create that effect. 4573 04:55:08,833 --> 04:55:13,400 But in cinematic terms, this zooming or zoom out has two functions. 4574 04:55:13,733 --> 04:55:17,633 First of all, when you have a sequence which has several shots, 4575 04:55:17,833 --> 04:55:21,200 a most of the shots have traveling, and additionally 4576 04:55:21,200 --> 04:55:24,133 the shots are passing one after another very quickly. 4577 04:55:24,266 --> 04:55:28,466 So in those cases, they recommend you to add a little zoom in into the shots 4578 04:55:28,466 --> 04:55:32,333 to match with the rest of the shots I mean, it's a visual feature, 4579 04:55:32,466 --> 04:55:35,433 so the audience will come for it while watching the sequence. 4580 04:55:35,766 --> 04:55:37,600 So on the screen you can see an example. 4581 04:55:37,600 --> 04:55:40,800 The unit on shot has a slight zoom in 4582 04:55:41,466 --> 04:55:44,733 and the other function is when you want to represent the injuries 4583 04:55:44,766 --> 04:55:48,866 that the character is experiencing about an object or something that he 4584 04:55:48,866 --> 04:55:53,100 is looking at carefully in general terms, that interest is represented 4585 04:55:53,100 --> 04:55:57,000 by zooming in on the character's face to represent the thoughts. 4586 04:55:57,400 --> 04:55:57,900 Generally. 4587 04:55:57,900 --> 04:56:01,166 This is done and said, I mean, with Adaline example. 4588 04:56:01,300 --> 04:56:04,266 But additionally you also have to add a slight zooming in 4589 04:56:04,266 --> 04:56:08,100 to the object or theme or landscape that the character 4590 04:56:08,100 --> 04:56:11,633 is looking at here on the screen you can watch an example. 4591 04:56:12,333 --> 04:56:15,366 The character is looking at that arrow stick on the tree, 4592 04:56:15,633 --> 04:56:20,366 but there is assuming into the arrow, but is an artificial zoom in created 4593 04:56:20,566 --> 04:56:25,233 editing in that Sumi is representing that the character is thinking deeply 4594 04:56:25,233 --> 04:56:29,466 about that I wrote that he is looking at this is another example. 4595 04:56:29,466 --> 04:56:31,700 There is a slight zooming into the landscape 4596 04:56:31,966 --> 04:56:35,433 because this scene is a flashback out of the previous scene. 4597 04:56:35,700 --> 04:56:39,366 And he was remembering when he saw that family on the farm that day. 4598 04:56:39,800 --> 04:56:44,033 But this also works for dialog scenes to finish the lesson. 4599 04:56:44,033 --> 04:56:45,800 I'm going to leave you a complete scene 4600 04:56:45,800 --> 04:56:50,233 where two characters are interacting in dialog and assuming works. 4601 04:56:50,233 --> 04:56:51,900 Get into their thoughts. 4602 04:56:51,900 --> 04:56:56,633 All this up till some eons of thesis scene were created in editing. 4603 04:56:57,033 --> 04:56:59,766 So I'm going to leave you this scene and until the next 4604 04:57:07,800 --> 04:57:09,100 to know 4605 04:57:24,600 --> 04:57:25,833 during that point 4606 04:57:26,100 --> 04:57:31,766 when the images it 4607 04:57:49,200 --> 04:57:55,866 it it also 4608 04:57:55,866 --> 04:57:56,700 makes note 4609 04:58:39,066 --> 04:58:39,500 perfect. 4610 04:58:39,500 --> 04:58:40,966 We are here again at the premiere. 4611 04:58:40,966 --> 04:58:42,600 What we are going to do now 4612 04:58:42,600 --> 04:58:46,466 we are going to stabilize image a shot take in 4613 04:58:46,466 --> 04:58:49,533 this case is a sequence shot but I'm going to tell you this 4614 04:58:49,533 --> 04:58:54,433 from scratch from the beginning is stabilization is not that magic at all. 4615 04:58:54,866 --> 04:58:59,533 It stabilization can help us a lot to fix a shaky image. 4616 04:58:59,933 --> 04:59:01,000 But if the image 4617 04:59:01,000 --> 04:59:05,333 if the sequence is really shaky, we are not going be able to fix that. 4618 04:59:05,700 --> 04:59:07,366 I mean, if that were possible, 4619 04:59:07,366 --> 04:59:10,733 Steadicam would not continue to be used today, as simple as that. 4620 04:59:11,100 --> 04:59:14,533 So I think that with this example, you're going to how to do it 4621 04:59:14,800 --> 04:59:17,433 and get to understand the stabilization tool. 4622 04:59:17,866 --> 04:59:19,933 So this is a take we are going to fixed. 4623 04:59:20,366 --> 04:59:21,933 It was shot with a Steadicam. 4624 04:59:21,933 --> 04:59:25,200 But due to the nature of the ground where the assistance where 4625 04:59:25,333 --> 04:59:28,166 it was impossible for the shot to be completely stable. 4626 04:59:28,266 --> 04:59:32,166 So just at that moment where the camera slowly approaches the character, 4627 04:59:32,533 --> 04:59:35,000 the camera shakes, spoiling the sequence 4628 04:59:35,500 --> 04:59:38,333 so the destabilization could be even higher. 4629 04:59:38,366 --> 04:59:40,566 But this example is quite good. 4630 04:59:40,566 --> 04:59:43,466 In fact, the image shakes during the whole shot. 4631 04:59:44,233 --> 04:59:48,900 So we are going to repair all this with the tool that the premiere gives us. 4632 04:59:49,500 --> 04:59:52,633 So I'm going to select a portion of the sequence shot to fix. 4633 04:59:52,633 --> 04:59:54,700 I would say that this part where the camera 4634 04:59:54,700 --> 04:59:58,600 gets closer to the character is the best and I'm going to tell you way. 4635 04:59:59,733 --> 05:00:00,633 So I'm going to 4636 05:00:00,633 --> 05:00:03,966 drag the video portions of the timeline, as always, 4637 05:00:04,833 --> 05:00:07,266 and I'm going to open the program's monitor. 4638 05:00:08,233 --> 05:00:12,600 So here we already have the take on the timeline, the shot. 4639 05:00:12,600 --> 05:00:15,633 So the problem is that sometimes we as editors are going 4640 05:00:15,633 --> 05:00:18,833 to have to grab the frame to get closer to the character. 4641 05:00:19,533 --> 05:00:24,200 I mean, we are going to have to do this either by decision of the director 4642 05:00:24,200 --> 05:00:28,966 or by ourselves, because we think that the cinematography looks better like this. 4643 05:00:29,666 --> 05:00:31,233 But pay attention now. 4644 05:00:31,233 --> 05:00:35,133 How The destabilization in the sequence is much more noticeable. 4645 05:00:35,700 --> 05:00:39,900 And since many of you are videographers or filmmakers, I will tell you something. 4646 05:00:40,133 --> 05:00:41,000 This is the reason 4647 05:00:41,000 --> 05:00:45,600 why it's not recommended to use a lens larger than 50 millimeters 4648 05:00:45,833 --> 05:00:50,466 on a Steadicam, because this kind of lens is sumi of the image and the camera. 4649 05:00:50,466 --> 05:00:53,500 It still a long away from what we are capturing. 4650 05:00:53,733 --> 05:00:57,466 Then each millimeters of movement will be much more noticeable. 4651 05:00:57,900 --> 05:01:00,866 But anyway, we must go to the video effects folder 4652 05:01:01,400 --> 05:01:03,900 and then we open the store to folder. 4653 05:01:04,300 --> 05:01:07,200 So here we're going to find RGB stabilizer. 4654 05:01:07,600 --> 05:01:13,433 So we are going to drag this effect to our clip and it so now the software 4655 05:01:13,433 --> 05:01:16,366 will automatically begin to analyze this shot 4656 05:01:16,666 --> 05:01:18,833 frame by frame to try to fix it. 4657 05:01:19,500 --> 05:01:24,133 Here we can see in Effects control panel how the analysis process is displayed. 4658 05:01:25,000 --> 05:01:27,233 So depending on the length of the shot, 4659 05:01:27,400 --> 05:01:30,233 this analysis will take more or less time, 4660 05:01:30,233 --> 05:01:33,200 but the software will do it automatically in the background. 4661 05:01:33,500 --> 05:01:37,866 And once this is done, the effect will automatically stabilize this shot. 4662 05:01:38,566 --> 05:01:42,366 But now we must be close attention to some fundamental parameters 4663 05:01:42,600 --> 05:01:45,300 so as not to fail. Stabilize in the shots. 4664 05:01:45,900 --> 05:01:49,266 First of all, is the smoothness of the stabilization. 4665 05:01:49,266 --> 05:01:52,133 We will be able to modify it with dispersant age. 4666 05:01:52,366 --> 05:01:54,733 It can be higher or lower. 4667 05:01:54,733 --> 05:01:58,600 It's important to mention that the effect will not analyze the image again 4668 05:01:58,800 --> 05:02:03,700 unless we stretch or squeeze the clip we are working with, but dive right below. 4669 05:02:03,700 --> 05:02:07,400 We are going to have the method parameter, which is by far 4670 05:02:07,400 --> 05:02:09,900 the most important of all in effect. 4671 05:02:10,666 --> 05:02:14,133 So here we are going to find four methods position, 4672 05:02:14,133 --> 05:02:18,000 position, a scale and rotation perspective in the formation. 4673 05:02:18,600 --> 05:02:18,866 There. 4674 05:02:18,866 --> 05:02:21,000 Something you have to know from the beginning. 4675 05:02:21,133 --> 05:02:25,666 I don't know why these last two exist perspective in their formation. 4676 05:02:25,666 --> 05:02:27,933 In my opinion, they should not exist. 4677 05:02:27,933 --> 05:02:30,866 They are completely useless when it comes to stabilize 4678 05:02:30,866 --> 05:02:35,100 in a professional shot for a movie or a commercial or a short film 4679 05:02:35,400 --> 05:02:37,266 because no one would like to see a shot 4680 05:02:37,266 --> 05:02:40,800 work like a jelly as an option to stabilize that shot. 4681 05:02:41,100 --> 05:02:44,366 So if it's an Instagram or Tik-Tok reel, it's fine. 4682 05:02:44,366 --> 05:02:47,133 You could use it, but I wouldn't use it anyway. 4683 05:02:47,166 --> 05:02:49,133 Even in smartphones nowadays. 4684 05:02:49,133 --> 05:02:53,166 Stabilize the image enough so you didn't have to use these two options. 4685 05:02:53,600 --> 05:02:58,500 Obviously, these last two options are often used when the image is too shaken. 4686 05:02:58,500 --> 05:03:01,033 If these were the case, then the software would leave. 4687 05:03:01,033 --> 05:03:05,133 The character is stabilized, but the entire background that we see of 4688 05:03:05,133 --> 05:03:09,900 that forest would be deformed like a tele which is actually terrible. 4689 05:03:10,366 --> 05:03:14,433 So position is scale and rotation is the best option to stabilize. 4690 05:03:15,033 --> 05:03:20,033 So this option, instead of distorting the image, will change the rotation. 4691 05:03:20,033 --> 05:03:21,566 It will zoom in and out. 4692 05:03:21,566 --> 05:03:23,400 It will change the position. 4693 05:03:23,400 --> 05:03:28,300 All this automatically until the shot is stabilized as well as possible. 4694 05:03:28,300 --> 05:03:30,166 So for me, is the best option 4695 05:03:30,166 --> 05:03:33,566 to stabilized without altering the nature of the shot. 4696 05:03:34,033 --> 05:03:38,400 So pay attention to how it looks like the most interesting thing 4697 05:03:38,400 --> 05:03:41,633 is that I can even zoom in on the image much more 4698 05:03:42,200 --> 05:03:45,033 as if it were a median shot and it will look 4699 05:03:45,033 --> 05:03:48,300 perfect. 4700 05:03:48,300 --> 05:03:49,966 So let's do a comparison. 4701 05:03:49,966 --> 05:03:53,633 I'm going to deactivate the effect to see the original shot again 4702 05:03:56,533 --> 05:03:57,000 so we 4703 05:03:57,000 --> 05:03:59,833 can notice that it was enough with radiation 4704 05:04:00,033 --> 05:04:03,933 to spoil the scene. 4705 05:04:03,933 --> 05:04:15,900 So I'm going to activate, in effect, again and we're going to check the take again. 4706 05:04:15,900 --> 05:04:19,700 So pay attention below in the parameters of defect. 4707 05:04:19,700 --> 05:04:23,400 We will have the possibility to make a detailed analysis. 4708 05:04:23,866 --> 05:04:27,100 In other words, instruct the program to do everything possible to 4709 05:04:27,200 --> 05:04:28,800 stabilize the shot. 4710 05:04:28,800 --> 05:04:31,400 It's spoiling image as little as possible. 4711 05:04:31,866 --> 05:04:34,633 So in this case, it's not necessary to do it. 4712 05:04:34,866 --> 05:04:36,000 But we can do it. 4713 05:04:36,000 --> 05:04:40,433 The only thing that will happen is that it will consume more computer resources 4714 05:04:40,833 --> 05:04:44,233 and also in turn, it will most likely crop the image more. 4715 05:04:44,766 --> 05:04:46,966 So if we check that little box, 4716 05:04:46,966 --> 05:04:50,700 it will start analysis again, which will take a little longer. 4717 05:04:51,300 --> 05:04:54,900 Just below you will find this parameter that allows us to choose 4718 05:04:54,900 --> 05:04:57,033 between two options. To the right. 4719 05:04:57,100 --> 05:05:00,700 The image will be more stable, paste into to the left, 4720 05:05:00,700 --> 05:05:03,966 less stabilized, but will crop the frame less 4721 05:05:04,666 --> 05:05:07,733 so we can play with that parameter however we want. 4722 05:05:08,333 --> 05:05:11,233 On the other, I think that this issue of stabilization 4723 05:05:11,233 --> 05:05:14,433 using Premiere is a last resort to solve this. 4724 05:05:14,866 --> 05:05:18,833 I mean, as videographers or filmmakers, we should do everything possible 4725 05:05:19,000 --> 05:05:22,800 as not to need to stabilize the image in those begins 4726 05:05:22,800 --> 05:05:27,300 by choosing the most appropriate lens to record with the camera in hand 4727 05:05:27,666 --> 05:05:33,000 and with a Steadicam generally, that lens cannot be more than 35 millimeters. 4728 05:05:33,300 --> 05:05:38,466 And if we are shooting camera in hand even less because in fact, even under 4729 05:05:38,466 --> 05:05:41,700 perfect conditions, we are going to need to stabilize the image. 4730 05:05:42,166 --> 05:05:46,633 I mean, sometimes we are using Adobe, for example, and for some reason 4731 05:05:46,633 --> 05:05:52,166 at some point the image shakes due to some small operator error, etc. 4732 05:05:52,466 --> 05:05:55,566 And for those cases, these are stabilizer issues. 4733 05:05:56,700 --> 05:05:57,766 So pay attention. 4734 05:05:57,766 --> 05:06:00,966 How it took to do the detailed analysis much more. 4735 05:06:01,433 --> 05:06:05,333 But the result would be the same because in reality that first analysis 4736 05:06:05,333 --> 05:06:07,733 was more than enough to repair the image 4737 05:06:09,733 --> 05:06:13,000 I'm going to get the monitor bigger, to see the shot better, 4738 05:06:13,000 --> 05:06:22,566 and I'm going to increase the resolution of the monitor to. 4739 05:06:22,566 --> 05:06:25,500 So in summary, you can use these as stabilizer. 4740 05:06:25,500 --> 05:06:27,833 But remember that if the image cannot fixed 4741 05:06:28,166 --> 05:06:31,066 with the parameters position of scale and rotation, 4742 05:06:31,500 --> 05:06:35,400 the image doesn't qualify to be stabilized professionally. 4743 05:06:36,500 --> 05:06:38,600 So take all this into account 4744 05:06:38,600 --> 05:07:12,833 and until the next lesson. 4745 05:07:12,833 --> 05:07:13,566 Hello people. 4746 05:07:13,566 --> 05:07:16,900 In this module, I'm going to show you the technique that I use to add 4747 05:07:17,333 --> 05:07:19,700 visual effects to my latest works, 4748 05:07:20,166 --> 05:07:24,733 to my stories, effects like sparks, fire, etc. 4749 05:07:25,200 --> 05:07:29,100 I basically made it by using videos recorded on green screen. 4750 05:07:29,200 --> 05:07:33,233 These consist of and videos, a studio or outdoors 4751 05:07:33,566 --> 05:07:38,033 of any elements such as fire, sparks and fake blog, etc. 4752 05:07:38,533 --> 05:07:41,500 But using green background that is later removed 4753 05:07:41,766 --> 05:07:44,333 with the Adobe premiere Chroma key tool. 4754 05:07:44,866 --> 05:07:48,733 In this context, there are packs that are sold on the internet. 4755 05:07:48,966 --> 05:07:53,200 We'd already recorded videos that include these elements. 4756 05:07:53,566 --> 05:08:01,066 The Action Essential Pack is a good example. 4757 05:08:01,066 --> 05:08:05,700 So what is the advantage of this box that they make our work easier 4758 05:08:05,700 --> 05:08:09,766 when it comes to creating a short or a video for YouTube? 4759 05:08:09,866 --> 05:08:12,800 The downside is that when it comes to producing 4760 05:08:12,800 --> 05:08:16,100 a movie or school is to be the best movie. 4761 05:08:16,200 --> 05:08:19,600 These facts are going to be good enough to win you an award 4762 05:08:19,766 --> 05:08:24,233 for special effects, for example, not because they don't look good enough, 4763 05:08:24,600 --> 05:08:28,400 but because they are going to recognize that you are using those effects. 4764 05:08:28,766 --> 05:08:32,400 So I'm going to use two very simple videos to explain how the action 4765 05:08:32,400 --> 05:08:37,500 essentials work so you can use them in the future in whatever videos you want. 4766 05:08:37,500 --> 05:08:40,833 An example of these was the sparks which we used 4767 05:08:40,833 --> 05:08:43,500 in the lesson about how to add the letters. 4768 05:08:44,100 --> 05:08:49,300 The other more professional example would be how use it in my last short film. 4769 05:08:49,600 --> 05:08:50,933 So pay attention. 4770 05:08:50,933 --> 05:08:54,066 It's not very complex, but you need to pay close attention 4771 05:08:54,500 --> 05:08:58,433 on the other hand, and going to leave you some videos of Sparks and Fire 4772 05:08:58,833 --> 05:09:01,133 previously recorded with green screen 4773 05:09:01,533 --> 05:09:04,466 so that you can download them and use them as you wish. 4774 05:09:04,800 --> 05:09:22,133 Let's start then. 4775 05:09:22,133 --> 05:09:23,666 You know 4776 05:09:40,166 --> 05:09:42,933 perfect what you're going to do now in the Adobe premiere. 4777 05:09:43,600 --> 05:09:48,300 We are going to learn to use the fire element by using Action Essentials. 4778 05:09:48,300 --> 05:09:52,300 This is a very useful tool to make really entertaining various, 4779 05:09:52,766 --> 05:09:55,333 but actually is the same technique I use 4780 05:09:55,333 --> 05:09:58,433 to create visual effects for my short films. 4781 05:09:58,966 --> 05:10:01,433 So in order to teach you how to use the fire 4782 05:10:01,466 --> 05:10:04,333 action essential, we are going to start with this video. 4783 05:10:04,500 --> 05:10:07,533 And in this video I'm supposed to set my hand and fire. 4784 05:10:07,733 --> 05:10:09,566 So what we are going to do is add the action 4785 05:10:09,566 --> 05:10:13,166 essential to make it look like a you actually set fire to the hand. 4786 05:10:13,666 --> 05:10:16,366 So the first thing we are going to do is look for most 4787 05:10:16,366 --> 05:10:19,433 appropriate fire action essentials video. 4788 05:10:20,033 --> 05:10:24,500 I mean, for this hand, obviously, one of the factors that affect 4789 05:10:24,500 --> 05:10:28,666 the resort is to the size of the fire resembles that of the him. 4790 05:10:29,100 --> 05:10:32,266 So here you can see that there are many types of fire 4791 05:10:32,666 --> 05:10:34,733 and you will be able to use whatever you want. 4792 05:10:34,833 --> 05:10:39,000 Editing under this same principle that I'm going to teach you at this moment. 4793 05:10:39,566 --> 05:10:42,866 So pay attention that there are fires of different sizes 4794 05:10:43,033 --> 05:10:46,666 and even with different winds, all fires were recorded 4795 05:10:46,666 --> 05:10:49,733 in a type of a studio with a green screen in the background. 4796 05:10:50,366 --> 05:10:53,800 So I'm going to choose this one that is like a kind of torch. 4797 05:10:54,433 --> 05:10:57,533 And I would say that is a size similar to that of the hand. 4798 05:10:58,533 --> 05:11:01,200 But there are many types of fires anyway. 4799 05:11:01,666 --> 05:11:05,700 It also depends on your own creativity to choose the appropriate. 4800 05:11:06,300 --> 05:11:07,133 I mean, it doesn't 4801 05:11:07,133 --> 05:11:10,633 have to be exactly the way they choose the one that will look better. 4802 05:11:11,066 --> 05:11:15,000 However, I'm going to choose this specific one, and I'm going to add 4803 05:11:15,033 --> 05:11:18,900 this video above the video clip we are working on. 4804 05:11:19,300 --> 05:11:21,766 Pay attention. That is a perforated video. 4805 05:11:21,833 --> 05:11:26,466 It's as if it were opinions filed only the fire is seen 4806 05:11:26,466 --> 05:11:29,500 because the process of removing the background was already done. 4807 05:11:29,900 --> 05:11:32,533 I mean, this was recorded on a green screen 4808 05:11:32,833 --> 05:11:34,900 and the background was removed. 4809 05:11:34,900 --> 05:11:39,533 So the first thing we are supposed to do is to blaze the fire video 4810 05:11:39,533 --> 05:11:42,166 just when the candle makes contact with the hand. 4811 05:11:42,600 --> 05:11:44,566 And that would be the first step 4812 05:11:55,533 --> 05:11:55,900 here. 4813 05:11:55,900 --> 05:11:58,133 It seems to me that it's fine. 4814 05:11:58,133 --> 05:12:01,800 So once we had done this, we must proceed to move the fire 4815 05:12:01,800 --> 05:12:03,900 to the exact point where the hand is. 4816 05:12:04,833 --> 05:12:08,400 And for that we must click on the fire clip and go to the fact 4817 05:12:08,400 --> 05:12:12,900 control panel and use the position parameter to move it to the hand. 4818 05:12:12,900 --> 05:12:15,900 So we simply try to put the fire on the hand 4819 05:12:16,000 --> 05:12:30,033 at the beginning. 4820 05:12:30,033 --> 05:12:33,500 But obviously once we find the right place, we must adjust 4821 05:12:33,566 --> 05:12:37,566 the size of, the fire to really make it match with the size of the hand. 4822 05:12:38,033 --> 05:12:41,100 Then we must use a scale to adjust the size 4823 05:12:41,833 --> 05:12:45,500 and here we can continue adjust in the exact in which the candle 4824 05:12:45,500 --> 05:13:01,900 makes contact with the hand so that it looks more convincing. 4825 05:13:01,900 --> 05:13:03,800 But obviously this is not enough 4826 05:13:03,800 --> 05:13:07,066 because the hand will have a movement, a kind of movement. 4827 05:13:07,066 --> 05:13:11,733 So what we should do is automate the movement of the fire to make match 4828 05:13:11,733 --> 05:13:15,000 with the movement of the hand throughout the video clip. 4829 05:13:15,500 --> 05:13:17,100 And this is interesting. 4830 05:13:17,100 --> 05:13:20,533 It's much easier to put a fire in a house or anywhere. 4831 05:13:21,000 --> 05:13:23,966 It's more complicated to place it in a blaze that moves 4832 05:13:24,400 --> 05:13:27,833 or a moving object, and that is way I showed you this way. 4833 05:13:28,066 --> 05:13:31,300 So we are supposed to go back to the effect control panel. 4834 05:13:31,466 --> 05:13:35,266 We go to the position parameter, then we go to the beginning of the clip 4835 05:13:35,666 --> 05:13:39,866 and we activate the automation, by clicking on the a little plug in. 4836 05:13:39,866 --> 05:13:42,466 As you know, the first keyframe will appear 4837 05:13:42,733 --> 05:13:46,400 and that keyframe belongs to the at first position. 4838 05:13:46,400 --> 05:13:50,100 But as you may notice, there is a moment the word to hand begins to move. 4839 05:13:50,800 --> 05:13:54,566 I'm going to zoom in the programs, monitor a bit perfect. 4840 05:13:54,633 --> 05:13:58,400 And now we are going to look for the exact moment before the hand begins to move. 4841 05:13:58,733 --> 05:14:00,766 I would say that is right here. 4842 05:14:00,766 --> 05:14:03,133 So I create a new keyframe. 4843 05:14:03,133 --> 05:14:06,333 So as the hand moves to the right, I will move the horizontal 4844 05:14:06,333 --> 05:14:09,100 value of the position parameter to follow the hand. 4845 05:14:09,433 --> 05:14:13,566 Obviously, I'm doing this a little later to create a new keyframe. 4846 05:14:13,566 --> 05:14:18,000 Of course, the attention I also moved and the vertical position. 4847 05:14:18,966 --> 05:14:22,200 So pay attention to the fact that in the gap between the two key 4848 05:14:22,200 --> 05:14:25,700 frames, there is a point where the fire doesn't match. 4849 05:14:25,700 --> 05:14:30,200 Then we must set just that moment to in another keyframe will be created. 4850 05:14:31,266 --> 05:14:33,900 So with a lot of patience, we are going to continue 4851 05:14:33,900 --> 05:14:36,633 creating key frames throughout the entire clip. 4852 05:14:37,066 --> 05:14:40,200 The fire masks follow all the movements of the hand. 4853 05:14:40,600 --> 05:15:11,666 In all these must be automated. 4854 05:15:11,666 --> 05:15:15,966 So at this point we realize that the clip is longer than the fire is, 4855 05:15:16,266 --> 05:15:20,733 so we must duplicate the fire clip so that the fire follows and all the way. 4856 05:15:21,733 --> 05:15:24,466 So we select a clip and we press on our 4857 05:15:24,466 --> 05:15:27,033 keyboard, come and see or control see. 4858 05:15:27,900 --> 05:15:31,166 So here we have the fire clip again, but we must delete 4859 05:15:31,166 --> 05:15:35,400 all the automation of the new one because we must create a new automation. 4860 05:15:35,800 --> 05:15:39,000 But we are supposed to leave only the last keyframe belongs 4861 05:15:39,000 --> 05:15:42,200 to the last position that the fire had in the previous clip. 4862 05:15:42,900 --> 05:15:46,733 And you're going to move that keyframe to the beginning of this new clip. 4863 05:15:47,633 --> 05:15:50,133 So from we are going to continue making the fire 4864 05:15:50,166 --> 05:15:54,600 match the movement of the hand from keyframe to keyframe. 4865 05:15:54,600 --> 05:16:06,633 Little by little, perfect. 4866 05:16:06,833 --> 05:16:10,133 Despite the fact that the fire follows the movements of the hand, 4867 05:16:10,466 --> 05:16:12,533 there are still things to fix. 4868 05:16:12,533 --> 05:16:16,800 We must fix the perspective of the fire, because when they bring the ham 4869 05:16:16,800 --> 05:16:20,100 closer to my body, the fire must move away a little. 4870 05:16:20,600 --> 05:16:24,333 So there are several moments where the fire approaches the body, 4871 05:16:24,733 --> 05:16:27,500 so its size must change at those moments. 4872 05:16:28,233 --> 05:16:32,900 Because even though if the fire gets just a little bit closer to my body, 4873 05:16:32,900 --> 05:16:37,400 those are small details of perspective that change in perspective are 4874 05:16:37,433 --> 05:16:42,400 what make the visual effect convincing or at least look good. 4875 05:16:42,400 --> 05:16:45,800 Therefore, we are supposed to go to the effect control panel again 4876 05:16:46,300 --> 05:16:48,600 and we go to the scale parameter. 4877 05:16:49,266 --> 05:16:53,600 So in that parameter we are supposed to activate automation line, 4878 05:16:54,000 --> 05:16:56,800 but we must pay close attention that in those moments 4879 05:16:56,800 --> 05:17:00,433 where we change the scale, the position will also move a little. 4880 05:17:00,500 --> 05:17:04,566 So we must continue correct in all those details little by little. 4881 05:17:05,600 --> 05:17:08,700 For example, here we can activate the automation line 4882 05:17:08,700 --> 05:17:12,600 by adding a keyframe and we can add another keyframe just before the hand 4883 05:17:12,600 --> 05:17:23,266 starts to approach my body. 4884 05:17:23,266 --> 05:17:26,266 So we can create another keyframe when the hand is done 4885 05:17:26,266 --> 05:17:29,533 approaching the body, and then we can move the scale 4886 05:17:29,533 --> 05:17:33,666 in the values of the scale parameter or directly in the programs. 4887 05:17:33,666 --> 05:17:42,900 Monitor As we have already learned, 4888 05:17:42,900 --> 05:17:47,100 I'm going to hide the Blue Guides simply when we select the parameter. 4889 05:17:47,100 --> 05:17:49,333 The guide disappear. 4890 05:17:49,333 --> 05:17:52,100 So look at how good the fire looks like now 4891 05:17:52,266 --> 05:18:01,066 in terms of perspective and movement. 4892 05:18:01,066 --> 05:18:03,766 But since I had moved the size of the fire, 4893 05:18:03,800 --> 05:18:06,866 the position is always a bit out of adjustment. 4894 05:18:07,300 --> 05:18:24,033 So we must correct those moments. 4895 05:18:24,033 --> 05:18:27,900 Pay attention that here the fire moves away from my body again. 4896 05:18:27,900 --> 05:18:31,300 Therefore, it's necessary to increase its size again a little 4897 05:18:31,666 --> 05:18:45,833 because it's closer to the camera. 4898 05:18:45,833 --> 05:18:49,133 So once we have adjusted the scale and the position, we can 4899 05:18:49,133 --> 05:18:51,600 then see what we have far. 4900 05:18:52,500 --> 05:18:57,233 So the process of making it look real is about going forward and forward, 4901 05:18:57,233 --> 05:19:01,200 correcting those small details with a lot of patience. 4902 05:19:01,200 --> 05:19:04,800 This requires seeing it several times, many times, 4903 05:19:04,800 --> 05:19:07,800 until we realize that the movement looks real. 4904 05:19:08,033 --> 05:19:10,800 I mean, if you pay attention, there are still details 4905 05:19:10,800 --> 05:19:13,200 that need to be corrected to make it look perfect. 4906 05:19:14,100 --> 05:19:16,966 For example, when the hand goes up, there are some moments 4907 05:19:16,966 --> 05:19:19,466 where the fire gets out of the hands. 4908 05:19:19,466 --> 05:19:23,400 But I think the biggest problem is the transition between the two fire clips, 4909 05:19:23,933 --> 05:19:26,466 and that shouldn't be noticeable, or at least 4910 05:19:26,466 --> 05:19:28,700 we should try to hide as much as possible 4911 05:19:29,600 --> 05:19:33,600 so we can fix transition by making an automated transition 4912 05:19:33,600 --> 05:19:37,000 between the two clips by using the capacity parameter. 4913 05:19:37,733 --> 05:19:40,000 So we overlap the fire clips 4914 05:19:40,000 --> 05:19:43,600 to make that transition as we learned in a previous lesson. 4915 05:19:44,100 --> 05:19:47,833 And then we must adjust to movement of the fire In the rest 4916 05:19:47,833 --> 05:19:49,266 of the clip that we moved 4917 05:20:00,166 --> 05:20:08,966 or so 4918 05:20:08,966 --> 05:20:12,800 we can delete all the automation that we have in the clip that we moved in. 4919 05:20:12,833 --> 05:20:41,166 Do it again after overlapping the clips are perfect. 4920 05:20:41,266 --> 05:20:44,500 So now we do have all our fire counter units 4921 05:20:44,700 --> 05:20:47,133 terms of position in the scale. 4922 05:20:47,900 --> 05:20:50,966 So we're going to move on to the next lesson where we are 4923 05:20:50,966 --> 05:20:55,200 going to make the corner of the fire look like a real fire. 4924 05:20:55,200 --> 05:20:59,133 And in a next lesson or 4925 05:21:29,466 --> 05:21:31,200 perfect, we are here again. 4926 05:21:31,200 --> 05:21:36,033 Now the challenge is to make the fire in my hand look the candle fire. 4927 05:21:36,500 --> 05:21:38,766 And this has to do with the color correction. 4928 05:21:39,066 --> 05:21:43,266 I mean, using the candle fire as a reference, it's clearly the best. 4929 05:21:43,766 --> 05:21:47,333 So the first thing we are going to do is nest the fire clips 4930 05:21:47,700 --> 05:21:50,466 to join them into one single clip type. 4931 05:21:50,866 --> 05:21:52,666 So we must select all of them. 4932 05:21:52,666 --> 05:21:56,133 We click on the right mouse button and then we click on Nest. 4933 05:21:56,666 --> 05:22:00,800 We had to type a name over here, so we press K 4934 05:22:00,900 --> 05:22:04,433 and this kind of clip will automatically be created, 4935 05:22:04,433 --> 05:22:07,033 which will contain the two fire clips inside. 4936 05:22:07,600 --> 05:22:10,700 And now these new nest clip will be clickable 4937 05:22:10,933 --> 05:22:14,600 and we can add effects just like any other video clip. 4938 05:22:14,600 --> 05:22:18,866 But you had to be careful because if you guys store will click on the nested clip. 4939 05:22:19,000 --> 05:22:20,666 It's going to take you inside 4940 05:22:20,666 --> 05:22:24,266 where the two clips that we previously nested will be here. 4941 05:22:24,266 --> 05:22:26,400 We can check them. They are isolated, 4942 05:22:28,433 --> 05:22:30,733 but we are going to work on the nested clip. 4943 05:22:31,600 --> 05:22:36,033 So we do a single click on this clip and we are going to add a lumi 4944 05:22:36,033 --> 05:22:39,233 three cutter to that clip 4945 05:22:47,700 --> 05:22:49,266 and this is going to be very easy. 4946 05:22:49,266 --> 05:22:51,566 We're simply going to the basic correction. 4947 05:22:52,033 --> 05:22:54,166 And if you can notice the candle fire, 4948 05:22:54,200 --> 05:22:57,533 you can realize that the color is more desaturated. 4949 05:22:58,000 --> 05:23:00,300 I mean, it has less color. 4950 05:23:00,300 --> 05:23:03,600 Then we must modify the saturation of the fire that is in the hand 4951 05:23:04,066 --> 05:23:11,233 so that it matches the fire of the candle. 4952 05:23:11,233 --> 05:23:14,433 We can also move the other parameters related to light 4953 05:23:14,733 --> 05:23:18,633 and the amount of white to get a much closer. 4954 05:23:18,633 --> 05:23:21,733 There is no criteria to move each of these parameters. 4955 05:23:22,000 --> 05:23:25,500 I mean, what works for one image may not work for another. 4956 05:23:25,933 --> 05:23:29,566 So if someone tells that the white parameter must always 4957 05:23:29,566 --> 05:23:33,300 be in only one way, they are wrong, that is not possible. 4958 05:23:33,533 --> 05:23:37,633 We must develop sensitivity to notice what is necessary or not. 4959 05:23:37,633 --> 05:23:41,366 So you can already see how the fire color looks much better. 4960 05:23:41,566 --> 05:23:43,733 It resembles that of the candle. 4961 05:23:44,100 --> 05:23:46,366 I'm going to add a little more saturation. 4962 05:23:46,366 --> 05:23:55,166 I think It's better that way. 4963 05:23:55,166 --> 05:23:57,733 Always tried to take the time to get it right color. 4964 05:23:58,400 --> 05:23:59,633 But on the other hand, there 4965 05:23:59,633 --> 05:24:03,533 another element that is crucial to make this fire look real, 4966 05:24:04,266 --> 05:24:06,666 and that is that we must make these fire 4967 05:24:06,700 --> 05:24:09,900 interact in some way with the environment. 4968 05:24:09,900 --> 05:24:12,866 For example, when they bring the fire close to my face, 4969 05:24:13,033 --> 05:24:16,400 the fire is supposed to light up my face somehow. 4970 05:24:16,866 --> 05:24:20,233 So this type of detail takes effect to the next level, 4971 05:24:20,233 --> 05:24:25,066 I mean, it's the same official factors that gives rise to a good visual effect. 4972 05:24:25,300 --> 05:24:29,366 The light of the fire has to interact with the face. 4973 05:24:29,366 --> 05:24:34,500 So we must go to the video clip below and we must create a mask that illuminates 4974 05:24:34,500 --> 05:24:38,866 the face at the specific moment the fire approaches my body, 4975 05:24:39,200 --> 05:24:43,500 we must set a new meter color and create a customizable mask. 4976 05:24:44,866 --> 05:24:47,000 The mask is supposed to illuminate 4977 05:24:47,000 --> 05:24:57,733 a part of face and torso, and in this case it wouldn't be very difficult 4978 05:24:57,733 --> 05:25:02,533 to automate it because the face practically doesn't move or hardly move. 4979 05:25:03,300 --> 05:25:06,000 So we simply have to check if the face moves 4980 05:25:06,100 --> 05:25:09,733 while the fire is close and adjust the mask position. 4981 05:25:10,233 --> 05:25:13,833 So here you can see the mask and you can notice that 4982 05:25:13,833 --> 05:25:19,033 at this moment, at this point, the face moves away from the mask. 4983 05:25:19,966 --> 05:25:22,633 And in the previous frames. 4984 05:25:22,633 --> 05:25:25,700 We also have to check that the mask is in the right 4985 05:25:25,700 --> 05:25:33,566 position. 4986 05:25:33,566 --> 05:25:35,466 Additionally, we must create the fact 4987 05:25:35,466 --> 05:25:39,500 that the mask is only noticeable when fire approaches the face. 4988 05:25:40,366 --> 05:25:43,300 So what we must do is use the capacity parameter. 4989 05:25:43,300 --> 05:25:44,533 To achieve this. 4990 05:25:44,533 --> 05:25:49,966 We must automate the capacity so that when the fire approaches the face, he said. 4991 05:25:50,000 --> 05:25:55,800 100% in just when the fire is moving away, it's at 0%. 4992 05:25:55,900 --> 05:26:00,000 So at this point we have the capacity at 100%. 4993 05:26:00,433 --> 05:26:04,266 But just at this moment before we are going to set the capacity 4994 05:26:04,266 --> 05:26:11,033 at 0%, 4995 05:26:11,033 --> 05:26:17,233 but it's necessary to do it not only in the moments before, but also after. 4996 05:26:17,233 --> 05:26:29,833 So I'm going to set again the opposite parameter to the minimum level. 4997 05:26:29,833 --> 05:26:33,533 But obviously, since what we are doing is a light, we must modify 4998 05:26:33,533 --> 05:26:37,533 the feather parameter a bit to soften the edges of the mask. 4999 05:26:38,400 --> 05:26:41,600 So from here we can modify the color temperature. 5000 05:26:42,300 --> 05:26:45,966 We could start in another parameter, but we are going to start with this one 5001 05:26:46,500 --> 05:26:50,800 so that you can notice the difference in now the face color looks warmer. 5002 05:26:52,033 --> 05:26:52,966 We can check the full 5003 05:26:52,966 --> 05:26:56,333 video and you can see when the fire gets closer to the face. 5004 05:26:56,900 --> 05:26:58,766 The color of the face changes. 5005 05:26:58,766 --> 05:27:02,266 So I have increased exposure of it to 5006 05:27:03,600 --> 05:27:03,966 here. 5007 05:27:03,966 --> 05:27:06,233 The light is much more noticeable. Right? 5008 05:27:07,466 --> 05:27:12,633 It looks good. 5009 05:27:12,633 --> 05:27:15,633 I'm going to exaggerate all the parameters a little more 5010 05:27:16,100 --> 05:27:18,800 in case you don't notice it too well. 5011 05:27:18,800 --> 05:27:23,700 I'm going to raise the temperature and also the exposure. 5012 05:27:23,700 --> 05:27:31,233 And let's kick it out again. 5013 05:27:31,233 --> 05:27:35,000 I think it's a bit exaggerated, but I do it like it is. 5014 05:27:35,300 --> 05:27:37,800 So you can notice the difference. 5015 05:27:37,800 --> 05:27:41,000 This is a principle that you should use when creating visual effects 5016 05:27:41,300 --> 05:27:43,133 with action essentials. 5017 05:27:43,133 --> 05:27:48,133 The first factor is that the action essential follows movement we want. 5018 05:27:48,666 --> 05:27:51,333 Secondly, that it has the correct color. 5019 05:27:51,666 --> 05:27:55,100 And thirdly, the defect that in this case 5020 05:27:55,100 --> 05:27:58,700 it's the fire interacts in some way with environment, 5021 05:27:59,033 --> 05:28:03,500 just like we did here, that the fire lights a face when it approaches. 5022 05:28:04,600 --> 05:28:06,466 But as I always tell, try to 5023 05:28:06,466 --> 05:28:09,600 experiment because in this experimentation 5024 05:28:09,600 --> 05:28:11,733 we can improve all these visual effects. 5025 05:28:12,700 --> 05:28:15,300 In fact, you can combine different types of fire 5026 05:28:15,300 --> 05:28:18,466 to have more random reactions of the same effect. 5027 05:28:19,200 --> 05:28:22,266 Well, since you know how to to add the fire 5028 05:28:22,266 --> 05:28:25,266 by using the action essential, we can move on to these and other 5029 05:28:26,466 --> 05:28:29,200 more professional example If we are going to do 5030 05:28:29,200 --> 05:28:32,100 a kind of dissection of what we did here. 5031 05:28:32,433 --> 05:28:35,333 First of all, you may notice that the shot in itself 5032 05:28:35,600 --> 05:28:38,666 has a blurred background due to the nature of the lens. 5033 05:28:39,000 --> 05:28:41,733 So we were supposed to match that look 5034 05:28:42,000 --> 05:28:45,766 that are produced by adding a blur to the fires. 5035 05:28:45,766 --> 05:28:49,966 So there is a blur is in Spanish because that is the original project. 5036 05:28:50,166 --> 05:28:51,900 But anyway, that is a blur. 5037 05:28:51,900 --> 05:28:54,966 And you can notice that I am activating the blur and. 5038 05:28:54,966 --> 05:28:59,533 You can notice how different it looks, but that blur is interesting 5039 05:28:59,533 --> 05:29:01,400 because since the Blur is diffuse 5040 05:29:01,400 --> 05:29:04,800 in the image, that Blur make us take the fight for real 5041 05:29:05,200 --> 05:29:08,100 because we are not able to look at the fire in detail. 5042 05:29:08,566 --> 05:29:12,666 So that strategy really pays off in terms of filmmaking. 5043 05:29:12,900 --> 05:29:14,866 If you're supposed to add some 5044 05:29:14,866 --> 05:29:18,600 effects to your shots, anything that prevents steals is to detect 5045 05:29:18,900 --> 05:29:24,333 that those effects are artificial, are not real, will be your best ally. 5046 05:29:24,333 --> 05:29:28,200 We also modify the saturation parameter in the lumen through color 5047 05:29:28,933 --> 05:29:31,800 to make the fire match with the lighting of the scene. 5048 05:29:32,233 --> 05:29:35,500 Because you can notice that the scene is almost in the night 5049 05:29:35,900 --> 05:29:38,433 and the colors are supposed to be desaturated. 5050 05:29:38,666 --> 05:29:41,333 It's also the nature of the short films look, 5051 05:29:42,600 --> 05:29:43,500 but you can also 5052 05:29:43,500 --> 05:29:47,200 take into account that to make an effect based for real, 5053 05:29:47,433 --> 05:29:51,200 you're supposed to add masks to the nearby songs. 5054 05:29:51,400 --> 05:29:55,833 I mean, that ground, that grass is supposed to be illuminated by the fire. 5055 05:29:56,066 --> 05:29:58,166 So this mask works for that. 5056 05:29:58,166 --> 05:30:00,600 So you can notice I'm turning off an effect 5057 05:30:01,666 --> 05:30:03,333 and you can notice the difference. 5058 05:30:03,333 --> 05:30:06,033 It's an essential feature in terms of lighting. 5059 05:30:06,400 --> 05:30:10,400 Remember that we did it in the example of the of the hand with the fire. 5060 05:30:10,666 --> 05:30:14,633 We illuminate it in the face when the fire was approaching it. 5061 05:30:14,866 --> 05:30:19,400 And obviously this effect, this mask is on the clip of the shot. 5062 05:30:20,000 --> 05:30:22,133 These are the depths of color gradient 5063 05:30:22,466 --> 05:30:26,433 and they are not related to how powerful the is your computer, 5064 05:30:27,033 --> 05:30:30,500 but rather that to be sensitive to these changes, 5065 05:30:30,800 --> 05:30:35,000 to the nature of the light, the nature of the picture, etc., etc.. 5066 05:30:35,333 --> 05:30:39,666 On the other hand, you must also take into account that when it comes 5067 05:30:39,666 --> 05:30:44,133 to creating visual effects, it's crucial that stage of color grading. 5068 05:30:44,200 --> 05:30:47,466 I'm going to deactivate the fire to check the color grading. 5069 05:30:47,833 --> 05:30:49,966 I'm going to deactivate and you may add to color. 5070 05:30:50,300 --> 05:30:52,066 There are several layers. 5071 05:30:52,066 --> 05:30:53,700 They are in a Spanish color. 5072 05:30:53,700 --> 05:30:56,633 The luminary bat is the elementary color. 5073 05:30:56,966 --> 05:31:00,566 And in this shot we did applied everything I have taught you so far 5074 05:31:01,033 --> 05:31:05,400 in every layer is a very subtle detail I'm looking for. 5075 05:31:05,400 --> 05:31:08,333 The most important layer, I think, is death 5076 05:31:08,966 --> 05:31:11,333 is the following. 5077 05:31:11,333 --> 05:31:13,800 So pay attention how different it looks. 5078 05:31:14,300 --> 05:31:18,166 This is the raw look of the image, the original lighting of the shot. 5079 05:31:18,333 --> 05:31:21,166 But due to the high dynamic range of the camera, 5080 05:31:21,166 --> 05:31:23,633 we were able to modify the colors in this way. 5081 05:31:23,866 --> 05:31:29,333 So we did modified its posture where it creates exposure on its exposure 5082 05:31:29,333 --> 05:31:34,433 in Spanish and just by moving that parameter, the image looks so interesting. 5083 05:31:34,666 --> 05:31:37,733 But obviously the illumination, the lighting up on the character 5084 05:31:37,733 --> 05:31:39,066 is decreasing too. 5085 05:31:39,066 --> 05:31:42,133 So in this another layer, we added another mask 5086 05:31:42,266 --> 05:31:45,166 that was compensating that absence of light. 5087 05:31:45,566 --> 05:31:47,633 I mean, we did just the same process. 5088 05:31:47,633 --> 05:31:50,300 We did that previous lesson in the ship cabin 5089 05:31:50,700 --> 05:31:53,866 and you must pay close attention that we not only modified 5090 05:31:54,300 --> 05:31:57,400 the lighting of the character, but also the temperature, 5091 05:31:57,933 --> 05:32:02,400 because since the light was different and it representing a kind of night, 5092 05:32:02,433 --> 05:32:06,000 a cold night, the temperature was supposed to match that. 5093 05:32:06,300 --> 05:32:09,966 So we did move the temperature to the cold tones a little bit. 5094 05:32:09,966 --> 05:32:13,433 You can notice here I'm exaggerating the temperature, 5095 05:32:13,933 --> 05:32:16,166 but is for you to notice the difference. 5096 05:32:16,700 --> 05:32:19,133 And that was all for the character. 5097 05:32:19,133 --> 05:32:23,033 Additionally, we did also modify the grass color. 5098 05:32:23,333 --> 05:32:25,033 I mean, in order to bring out 5099 05:32:25,033 --> 05:32:29,133 more colors of the shot, thereby increasing its dynamic range, 5100 05:32:29,133 --> 05:32:32,933 you can notice difference when I deactivate the made to color. 5101 05:32:33,366 --> 05:32:36,900 I think it's not that subtle, but it increases the color of the 5102 05:32:36,900 --> 05:32:38,333 entire picture. 5103 05:32:38,333 --> 05:32:41,366 I think that detail makes the image looks beautiful 5104 05:32:41,700 --> 05:32:46,200 and that was created by using the H as old secondary effect. 5105 05:32:46,566 --> 05:32:49,800 You can notice the selection when I check the box. 5106 05:32:50,866 --> 05:32:51,500 Only the 5107 05:32:51,500 --> 05:32:55,233 grass is selected and since the grass is wholly selected 5108 05:32:55,500 --> 05:33:00,100 we were able to modify the color of the grass in detail. 5109 05:33:00,100 --> 05:33:01,866 We did raise the temperature 5110 05:33:01,866 --> 05:33:05,666 actually here and moving the temperature to the cold tones. 5111 05:33:06,100 --> 05:33:10,966 So you can notice that is a whole set of details that makes the shot. 5112 05:33:10,966 --> 05:33:12,000 We prepared for. 5113 05:33:12,000 --> 05:33:15,066 The visual effects in the last Lumiere record 5114 05:33:15,066 --> 05:33:18,333 or later was to decrease the light dramatically. 5115 05:33:18,600 --> 05:33:21,000 So you can notice it looks amazing. 5116 05:33:21,500 --> 05:33:24,933 We did modified all these parameters that you already know 5117 05:33:25,400 --> 05:33:27,266 to reach that kind of lighting. 5118 05:33:27,266 --> 05:33:28,366 I'm going to activate again. 5119 05:33:28,366 --> 05:33:30,533 The light produced by the fire. 5120 05:33:30,533 --> 05:33:33,066 You can notice them over there on the background 5121 05:33:35,966 --> 05:33:38,066 and I'm going to activate again the fires. 5122 05:33:38,966 --> 05:33:43,000 I would say that the most important thing when it comes to creating visual effects 5123 05:33:43,433 --> 05:33:47,266 is the lighting, because the lighting will help you to deceive the audience 5124 05:33:47,266 --> 05:33:48,433 all the time. 5125 05:33:48,433 --> 05:33:51,666 And even though you didn't have the best visual effects, 5126 05:33:51,900 --> 05:33:55,200 even in the cases that you are using animations 5127 05:33:55,200 --> 05:33:59,700 and 3D objects, for example, the lighting is fundamental 5128 05:33:59,933 --> 05:34:04,066 because you are supposed to make those elements blend with the background. 5129 05:34:04,066 --> 05:34:08,400 A blend with the shot in the audience is supposed to take those elements 5130 05:34:08,700 --> 05:34:12,366 as one more part of the environment and the scene. 5131 05:34:12,933 --> 05:34:14,466 So this lesson is up to here. 5132 05:34:14,466 --> 05:34:16,200 I hope you enjoyed it. 5133 05:34:16,200 --> 05:35:36,933 And until the next lesson. 5134 05:35:36,933 --> 05:35:39,000 Perfect. We are here again. 5135 05:35:39,000 --> 05:35:42,333 This time we are going to use a spark action essential 5136 05:35:42,733 --> 05:35:45,133 in this subject that is actually a sword. 5137 05:35:45,633 --> 05:35:46,633 What I want to do 5138 05:35:46,633 --> 05:35:50,500 is to create that effect of a spark along the length of the sword, 5139 05:35:50,733 --> 05:35:52,866 where the sharpening in the sword with the object. 5140 05:35:53,466 --> 05:35:55,800 So we are going to use the sparks again. 5141 05:35:56,166 --> 05:36:01,400 Last time we used it with the letters, but this time we will do it with the sword. 5142 05:36:01,400 --> 05:36:03,666 So I'm going to look for the Spark video. 5143 05:36:03,933 --> 05:36:06,066 I'm not going to focus too much on that. 5144 05:36:06,233 --> 05:36:10,966 I will just use one that I already had in mind and I'm going to add it to. 5145 05:36:10,966 --> 05:36:20,066 The timeline. 5146 05:36:20,066 --> 05:36:23,500 So it's basically the same spark we used the last time, 5147 05:36:23,733 --> 05:36:26,933 but this time we must take a good look at the nature of the spark. 5148 05:36:27,300 --> 05:36:30,933 But above all, we can see in the video the place where the sparks come from 5149 05:36:31,066 --> 05:36:35,300 and the direction in which they came out, because we have to make the spark cam 5150 05:36:35,300 --> 05:36:40,300 from the contact zone and also the sparks go downwards or forwards. 5151 05:36:41,000 --> 05:36:43,133 But I insist you can experiment. 5152 05:36:43,133 --> 05:36:45,700 It doesn't have to be exactly as I told you. Maybe. 5153 05:36:45,700 --> 05:36:49,600 Does it make sense that the sparks come out like this? 5154 05:36:49,600 --> 05:36:53,900 But I think in that way they could look good for the exercise we are doing. 5155 05:36:54,866 --> 05:36:56,166 So the first thing to do 5156 05:36:56,166 --> 05:36:59,333 is place a spark in the right place on timeline. 5157 05:36:59,933 --> 05:37:02,300 In this case, the spark should start. 5158 05:37:02,300 --> 05:37:05,600 Just when I start to rub the object against the sword. 5159 05:37:06,600 --> 05:37:10,766 Then in the control panel, we must change the scale of the spark 5160 05:37:11,066 --> 05:37:17,133 and also the position so that it's right in the contact song. 5161 05:37:17,133 --> 05:37:20,366 But additionally, we must change the rotation because 5162 05:37:20,366 --> 05:37:23,100 as we know, the spark originally goes to the right. 5163 05:37:23,500 --> 05:37:25,700 So we must change that. 5164 05:37:25,700 --> 05:37:27,500 But we have two to do that. 5165 05:37:27,500 --> 05:37:31,100 We have the option to change the rotation in the control panel 5166 05:37:31,633 --> 05:37:34,500 or also add a horizontal flip effect. 5167 05:37:35,033 --> 05:37:37,133 So this time I'm to use effect. 5168 05:37:37,600 --> 05:37:41,733 So we go to the video effects folder and then to the transform folder, 5169 05:37:42,133 --> 05:37:44,700 and then we choose flip horizontal. 5170 05:37:45,300 --> 05:37:48,200 So we that effect to the spark clip 5171 05:37:48,666 --> 05:37:51,633 and now the spark will come out to the left side. 5172 05:37:52,566 --> 05:37:55,433 But since the direction is not completely perfect, 5173 05:37:55,500 --> 05:37:57,666 we are going to modify the rotation a bit 5174 05:37:58,200 --> 05:38:00,933 so that the spark goes exactly where we want it. 5175 05:38:01,800 --> 05:38:04,800 So the idea is that you can use the two tools, 5176 05:38:05,233 --> 05:38:07,933 the horizontal flip and their rotation to achieve it. 5177 05:38:09,033 --> 05:38:09,633 So we just 5178 05:38:09,633 --> 05:38:14,233 go to the effect control panel and change their rotation a bit so that the spark 5179 05:38:14,233 --> 05:38:16,966 is not completely horizontal to the left 5180 05:38:17,300 --> 05:38:19,733 but is slightly tilted downwards. 5181 05:38:20,466 --> 05:38:23,566 We can correct again the position of the starting point. 5182 05:38:24,533 --> 05:38:29,200 So the next thing is to determine how far the spark will be seen in the clip. 5183 05:38:29,400 --> 05:38:33,600 I mean, to cut the spark clip when the object finishes torching the sword. 5184 05:38:34,733 --> 05:38:37,500 So I think it's right at this moment. 5185 05:38:38,400 --> 05:38:44,266 Then right after here it disappears. 5186 05:38:44,266 --> 05:38:48,033 But you know that the spark has moved towards the tip of the sword. 5187 05:38:48,400 --> 05:38:52,400 So little by little we are going to look for a point in the path where. 5188 05:38:52,400 --> 05:38:55,633 We can make another keyframe of this automation. 5189 05:38:56,566 --> 05:39:01,566 So we go on and on and on. 5190 05:39:01,566 --> 05:39:05,133 And I think that over here it's okay. 5191 05:39:05,833 --> 05:39:08,400 So we move the mask towards the tip, 5192 05:39:09,700 --> 05:39:11,900 placing it just right here. 5193 05:39:12,633 --> 05:39:15,266 So a beginning, it will not be perfect. 5194 05:39:15,600 --> 05:39:18,266 We must go long correcting it. 5195 05:39:18,266 --> 05:39:23,166 So here you can really see the spark move in, but it's moving faster than the hand. 5196 05:39:23,166 --> 05:39:26,433 So we must adjust that by creating other key frames 5197 05:39:26,433 --> 05:39:36,366 in between. 5198 05:39:36,366 --> 05:39:52,200 Remember that you can create as many keyframes as necessary. 5199 05:39:52,200 --> 05:39:54,100 So I think it's ready. 5200 05:39:54,100 --> 05:40:01,100 Let's remove the Blue Guides. 5201 05:40:01,100 --> 05:40:04,633 So it happens that also, because of the position of the sword, 5202 05:40:05,100 --> 05:40:08,166 the spark must also be affected by the perspective. 5203 05:40:08,466 --> 05:40:10,666 So we must correct that too. 5204 05:40:10,666 --> 05:40:15,333 When the spark starts near the hilt, it should look slightly smaller, 5205 05:40:16,566 --> 05:40:18,533 so in this case, in order 5206 05:40:18,533 --> 05:40:21,300 not to exaggerate with the size of the spark, 5207 05:40:21,666 --> 05:40:25,633 the best option is to keep the size of the spark a down of the clip, 5208 05:40:26,066 --> 05:40:31,066 and we simply the size of the spark at the beginning of the clip near degree. 5209 05:40:32,033 --> 05:40:34,600 So I'm going to reduce the size of the spark. 5210 05:40:34,600 --> 05:40:38,333 Had to begin in by at least three or whatever 5211 05:40:38,333 --> 05:40:56,766 it's necessary. 5212 05:40:56,766 --> 05:41:00,500 So as we modify the scale, I think the position of the spark 5213 05:41:00,500 --> 05:41:03,533 was misaligned a bit during the traveling. 5214 05:41:03,533 --> 05:41:05,300 We must correct it. 5215 05:41:05,300 --> 05:41:08,066 So you had to be very patient, incorrect everything 5216 05:41:08,066 --> 05:41:19,933 until it looks perfect. 5217 05:41:19,933 --> 05:41:30,900 Uh, but 5218 05:41:30,900 --> 05:41:35,333 there is still something else missing, and that would be the color correction. 5219 05:41:35,333 --> 05:41:39,633 So We must add the lumi tricolor to the clip, and here we change 5220 05:41:39,633 --> 05:42:11,933 the color saturation to make it the spark look more real. 5221 05:42:11,933 --> 05:42:15,700 So you could perfectly combine these effect with a source sound effect 5222 05:42:16,200 --> 05:42:18,100 that is part of this process. 5223 05:42:18,100 --> 05:42:33,400 You know, the sound also makes the picture look more real. 5224 05:42:33,400 --> 05:42:37,833 So now you know how to add the spark effect to a sort in 5225 05:42:37,966 --> 05:42:43,066 now you can try it in other context gowns or as we did in the previous lessons. 5226 05:42:43,433 --> 05:42:44,766 So thank you very much. 5227 05:42:44,766 --> 05:42:46,266 And until next lesson 5228 05:43:26,066 --> 05:43:29,033 for this lesson, I used a digital drawing tablet. 5229 05:43:29,366 --> 05:43:32,866 You could get one if you want to achieved what I did in this lesson. 5230 05:43:33,366 --> 05:43:37,833 Digital Drawing tablets are not that expensive, but the resort 5231 05:43:37,833 --> 05:43:41,500 of what I'm going to teach you in this lesson is really worth it. 5232 05:43:42,133 --> 05:43:45,300 So once you really have your drawing tablet connected 5233 05:43:45,300 --> 05:43:47,300 to the computer, you simply had to record the 5234 05:43:47,300 --> 05:43:50,066 computer screen while you are writing what you want. 5235 05:43:50,100 --> 05:43:53,966 I mean, specifically that phrase signature or title 5236 05:43:53,966 --> 05:43:57,800 that you would like to appear in your video here at the premiere? 5237 05:43:57,800 --> 05:44:03,266 I already have the video where I recorded the screen when writing on the tablet. 5238 05:44:03,266 --> 05:44:06,500 The only thing that can be a little difficult is the calligraphy, 5239 05:44:06,900 --> 05:44:08,100 the handwriting. 5240 05:44:08,100 --> 05:44:10,466 But in fact, you didn't have to be the one to write. 5241 05:44:10,466 --> 05:44:15,100 You could ask someone who has a good handwriting to help you and write for you 5242 05:44:15,100 --> 05:44:18,900 what you want, what you need, or simply you make your signature. 5243 05:44:18,900 --> 05:44:23,133 For example, all these drawing tablets come with a default software 5244 05:44:23,133 --> 05:44:24,500 that you can use, 5245 05:44:24,500 --> 05:44:26,100 but there are graphic designers 5246 05:44:26,100 --> 05:44:29,166 who use their own tablets directly in the Photoshop. 5247 05:44:29,566 --> 05:44:33,533 I mean, that's not a problem because these tablets are all and play. 5248 05:44:33,900 --> 05:44:37,300 So I recorded the screen and I spent some time writing. 5249 05:44:37,700 --> 05:44:41,633 I confess that it costs me a bit because every time I was run. 5250 05:44:41,633 --> 05:44:45,466 But since the screen was being recorded, I recorded all the attempts. 5251 05:44:46,066 --> 05:44:51,633 But among all these attempts, evidently some of them stand out and work. 5252 05:44:51,900 --> 05:44:52,766 I was writing. 5253 05:44:52,766 --> 05:44:56,333 May I tell you something very important to remember is that in 5254 05:44:56,333 --> 05:44:59,700 writing software you must choose dark colors for the background 5255 05:45:00,066 --> 05:45:03,600 and wait for the letters or whatever you are writing or drawing. 5256 05:45:03,900 --> 05:45:07,466 Try to make it the background, always black, blue or green, 5257 05:45:07,966 --> 05:45:10,233 but just being black or dark is enough. 5258 05:45:10,933 --> 05:45:14,300 So we already our video portion on the timeline, 5259 05:45:14,633 --> 05:45:17,800 the part where we write our based on the timeline. 5260 05:45:18,333 --> 05:45:22,966 So what we had to start doing is that the video clip only shows what we wrote. 5261 05:45:23,133 --> 05:45:27,300 So we must have started by cropping the ages of all that part of the upper 5262 05:45:27,300 --> 05:45:31,833 section of the software types and also below where the toolbar. 5263 05:45:31,833 --> 05:45:33,300 And there are two ways to do it. 5264 05:45:33,300 --> 05:45:38,700 And the first is in the passage parameter, we simply make a mask and that's it. 5265 05:45:39,300 --> 05:45:42,433 We have cropped in the whole section of both and below, 5266 05:45:42,966 --> 05:45:46,466 and I think this is the most suitable way because you can crop 5267 05:45:46,533 --> 05:45:49,633 just to where you want it simpler and easier. 5268 05:45:50,166 --> 05:45:53,100 It all depends also on what you have written 5269 05:45:53,100 --> 05:45:56,600 or if it's a drawing or a relatively irregular shape 5270 05:45:56,933 --> 05:46:05,433 in which you need to isolate that irregular shape. 5271 05:46:05,433 --> 05:46:07,200 But there is also another way to do it. 5272 05:46:07,200 --> 05:46:11,100 You had to go to the effects folder and then to view the effects 5273 05:46:11,400 --> 05:46:14,800 and then to transform and there you will select crop. 5274 05:46:15,666 --> 05:46:17,900 So you must add defect to the clip. 5275 05:46:18,033 --> 05:46:20,166 I'm going to deactivate what we did in the 5276 05:46:21,300 --> 05:46:23,200 So in the crop effect, we are 5277 05:46:23,200 --> 05:46:27,166 going to modify, in this case the top and bottom parameters. 5278 05:46:27,700 --> 05:46:30,366 I mean, to be able to cut all those sections 5279 05:46:30,366 --> 05:46:41,566 that I don't need in the image. 5280 05:46:41,566 --> 05:46:45,066 So as I told you, you can cut the image however you want. 5281 05:46:45,100 --> 05:46:47,400 It all depends on what you need. 5282 05:46:47,400 --> 05:46:51,533 But well, the opacity tool is free, more useful, I think. 5283 05:46:52,533 --> 05:46:55,200 So once the edges of the video has been cropped, 5284 05:46:55,666 --> 05:47:00,633 the next step is to delete the background color in this case, that gray color. 5285 05:47:01,000 --> 05:47:04,166 And to be able to do it, we must go to the chroma key effect. 5286 05:47:04,400 --> 05:47:06,400 So we go to the effect folder. 5287 05:47:06,400 --> 05:47:09,633 Then we click on gain folder 5288 05:47:10,000 --> 05:47:21,866 and then we choose the color key effect. 5289 05:47:21,866 --> 05:47:23,633 So we add the effect to the video clip. 5290 05:47:23,633 --> 05:47:27,133 In the first parameter you're going to find is the key color. 5291 05:47:27,233 --> 05:47:31,200 Here you will find this small dropper where you are going to the color 5292 05:47:31,200 --> 05:47:32,966 that we want to eliminate. 5293 05:47:32,966 --> 05:47:35,400 In this case, we are going to select a gray background. 5294 05:47:35,900 --> 05:47:38,833 Basically, this is the same way we do a chroma key, you know, 5295 05:47:39,166 --> 05:47:43,533 in which we remove green backgrounds or someone dressed in green 5296 05:47:43,866 --> 05:47:47,533 to pierce the video and show what is on the right that video. 5297 05:47:47,966 --> 05:47:50,666 So here we already have the perforated video. 5298 05:47:51,000 --> 05:47:55,066 I mean, the atelier signature is the only thing visible in the video. 5299 05:47:55,333 --> 05:47:58,933 And now I can add that signature of all any other 5300 05:47:59,766 --> 05:48:02,766 or image and put it whatever I want. 5301 05:48:03,400 --> 05:48:04,666 So this is very useful. 5302 05:48:04,666 --> 05:48:08,833 If you want to make a YouTube channel or you are editors for a YouTube 5303 05:48:08,833 --> 05:48:13,266 or any brand, you can embellish the videos a lot to use in this technique. 5304 05:48:13,933 --> 05:48:17,100 Now I'm going to add a background image so that you can see 5305 05:48:17,100 --> 05:48:19,633 what the signature looks like, and that's background. 5306 05:48:20,400 --> 05:48:24,033 So obviously at first it will not always look perfect. 5307 05:48:24,366 --> 05:48:27,966 So we must modify these parameters over here and play with them 5308 05:48:28,566 --> 05:48:31,933 and especially at thin an edge feather. 5309 05:48:32,800 --> 05:48:35,833 So both parameters allow me to soften the edge. 5310 05:48:36,166 --> 05:48:39,300 In the case of the feather is directly to soften. 5311 05:48:39,866 --> 05:48:43,400 And the thing is to increase or reduce the size of the edge. 5312 05:48:44,066 --> 05:48:46,600 So pay attention to how well I am of it. 5313 05:48:46,666 --> 05:48:50,700 The edges are seen more I mean, they are more noticeable. 5314 05:48:51,400 --> 05:48:55,066 Obviously, the objective is that these edges disappear. 5315 05:48:55,433 --> 05:48:56,666 I'm going to render this 5316 05:49:03,166 --> 05:49:04,466 now pay attention to how the 5317 05:49:04,466 --> 05:49:08,200 layers appear as if they were an animation kind of animation. 5318 05:49:09,000 --> 05:49:12,833 Actually making an animation of layers like this is complicated. 5319 05:49:13,366 --> 05:49:16,566 Not to mention that if you get a software that makes animated 5320 05:49:17,100 --> 05:49:19,433 of this type, they are not going to be unique. 5321 05:49:19,800 --> 05:49:23,733 And if there is something you need in social network or to identify 5322 05:49:23,733 --> 05:49:28,433 a personal brand or whatever you want is that this element is unique. 5323 05:49:29,000 --> 05:49:32,600 So the only way you can do something unique is to do it yourself. 5324 05:49:32,933 --> 05:49:37,200 I mean, draw in it or writing it yourself is the best. 5325 05:49:37,200 --> 05:49:42,200 Additionally, since these letters are also one more clip, we can move it as we want 5326 05:49:42,500 --> 05:49:46,600 and increase its movement and improve its animation also. 5327 05:49:47,266 --> 05:49:48,933 So I'm going to do an example 5328 05:49:48,933 --> 05:49:53,233 of what it would look like if we added movement to those letters. 5329 05:49:54,333 --> 05:49:55,500 For example, we can make the 5330 05:49:55,500 --> 05:49:58,833 letters leave the screen once they finish appearing. 5331 05:49:59,300 --> 05:50:02,366 So in the position parameter, we put a key frame 5332 05:50:02,366 --> 05:50:06,166 when the letters finish appearing and maybe have a second later. 5333 05:50:06,166 --> 05:50:12,900 We put another keyframe in which we change the position. 5334 05:50:12,900 --> 05:50:15,300 Now look how interesting it looks like. 5335 05:50:15,600 --> 05:50:20,100 I mean, as if it were all an animation made in a special software for this. 5336 05:50:20,300 --> 05:50:23,800 So it is quite useful because it's cheap in the end. 5337 05:50:23,800 --> 05:50:26,200 There are very cheap drawing tablets out there. 5338 05:50:26,433 --> 05:50:29,466 And additionally you then need a very advanced software 5339 05:50:29,666 --> 05:50:32,800 or a very powerful to make animations. 5340 05:50:33,700 --> 05:50:38,200 So I think the only difficult thing is having the ability to draw or write well. 5341 05:50:38,733 --> 05:50:40,800 But in fact I think that the letter is done. 5342 05:50:40,800 --> 05:50:42,633 Need to be beautiful, to be unique. 5343 05:50:42,633 --> 05:50:45,133 Everything will depend on the style you have. 5344 05:50:45,500 --> 05:51:21,400 So take all these into account and until the next lesson. 5345 05:51:21,400 --> 05:51:22,366 Hello people. 5346 05:51:22,366 --> 05:51:25,200 In this module we are going to work on sound design. 5347 05:51:25,833 --> 05:51:30,566 Sound design is one of the most important stages of the editing process, 5348 05:51:30,566 --> 05:51:34,333 but at the same time it's also one of the most underrated stages 5349 05:51:34,766 --> 05:51:38,900 for a large part of the film makers I have met during my career. 5350 05:51:39,033 --> 05:51:43,233 It seems that not important to create with detail and creativity 5351 05:51:43,533 --> 05:51:47,300 this sounding mention of a story of any audiovisual work. 5352 05:51:47,733 --> 05:51:51,300 But the truth is that half of what we are filling in, the information 5353 05:51:51,300 --> 05:51:56,766 we are receiving from any movie or any short film enters through our ears. 5354 05:51:57,166 --> 05:52:02,233 Additionally, in many current films, the immersive capacity is related 5355 05:52:02,233 --> 05:52:34,866 to sound design. 5356 05:52:34,866 --> 05:52:36,366 On the other hand, in the same way 5357 05:52:36,366 --> 05:52:40,000 that there are video editors who only focus technical aspects, 5358 05:52:40,433 --> 05:52:43,733 there are also sound engineers and sound designers 5359 05:52:44,100 --> 05:52:47,700 who only focus on technical aspects related to mixing in. 5360 05:52:47,733 --> 05:52:50,766 For example, which we are going to see also in this module. 5361 05:52:50,766 --> 05:52:55,533 But the truth is that nowadays tools give us many possibilities 5362 05:52:55,533 --> 05:52:58,733 when it comes to solving technical problems, 5363 05:52:58,733 --> 05:53:02,866 but it's precisely the creative part that we have to address, 5364 05:53:02,866 --> 05:53:07,400 especially generally in the projects you are working on a beginning. 5365 05:53:07,633 --> 05:53:11,900 There will not be good sound designers, so you had to be able to do that 5366 05:53:11,900 --> 05:53:13,500 job yourself. 5367 05:53:13,500 --> 05:53:17,000 But above all, show the producer or the director of the project 5368 05:53:17,300 --> 05:53:21,600 that you are really of doing that job saving production costs. 5369 05:53:21,600 --> 05:53:25,866 Of course, all of these would mean that you are a worthwhile professional 5370 05:53:25,900 --> 05:53:27,333 for the production team. 5371 05:53:27,333 --> 05:53:31,300 So going to show you an example of how important it is to use 5372 05:53:31,366 --> 05:53:33,933 sound design creatively in a scene, 5373 05:53:34,533 --> 05:53:38,233 I'm going to show you a scene from the movie Hair in Scene, 5374 05:53:38,233 --> 05:53:41,266 the main character is finishing up divorcing his wife. 5375 05:53:41,833 --> 05:53:45,333 But the truth is that deep down he didn't want to get divorced. 5376 05:53:45,900 --> 05:53:47,966 So they are sharing one last coffee 5377 05:53:48,033 --> 05:53:51,166 where she is finishing signing her divorce papers. 5378 05:53:51,400 --> 05:53:55,133 But pay attention to the sound design of the story, to the sound design 5379 05:53:55,133 --> 05:54:15,500 of this scene. I, I 5380 05:54:16,500 --> 05:54:17,400 think that 5381 05:54:17,400 --> 05:54:29,100 this could. 5382 05:54:29,100 --> 05:54:33,866 Wow, here we are. 5383 05:54:33,866 --> 05:54:35,700 We could do this in person. 5384 05:54:35,700 --> 05:54:37,833 And then you've been traveling a lot. 5385 05:54:37,833 --> 05:54:43,000 No, I'm really, really glad you suggested it. 5386 05:54:43,000 --> 05:54:45,300 I signed all the papers 5387 05:54:46,466 --> 05:54:50,400 for you to sign. 5388 05:54:50,400 --> 05:54:55,266 What's the rush? 5389 05:54:55,266 --> 05:54:58,266 Yeah, I know. I'm. I'm a really slow signer. 5390 05:54:58,266 --> 05:55:04,266 I realize it took me three months just to write the letter. 5391 05:55:04,266 --> 05:55:07,800 Anyways, it's marked in the very design, 5392 05:55:08,900 --> 05:55:11,433 so you know, you have to do right now. 5393 05:55:11,433 --> 05:55:12,600 I can just. 5394 05:55:12,900 --> 05:55:16,533 It's just going another way easier 5395 05:56:06,233 --> 05:56:08,666 with you Realize how important the sound 5396 05:56:08,666 --> 05:56:11,566 design was in the emotional structure of the scene. 5397 05:56:12,000 --> 05:56:15,666 Basically, in the scene they show us the memories of the protagonist, 5398 05:56:16,233 --> 05:56:20,233 those memories about when he was happy with his ex-wife. 5399 05:56:20,433 --> 05:56:23,466 But actually the scene shows those memories 5400 05:56:23,466 --> 05:56:26,133 without sound in silence, 5401 05:56:26,566 --> 05:56:30,266 only leaving the sound of the restaurant of the cafeteria. 5402 05:56:30,766 --> 05:56:33,066 Just like your memories are in real life, 5403 05:56:33,300 --> 05:56:35,800 we usually the images in our minds, 5404 05:56:36,200 --> 05:56:39,400 but we continue to hear what we are hearing, whatever we are. 5405 05:56:39,866 --> 05:56:44,600 So even if we did remember the sound, the sound that we remember in our mind 5406 05:56:44,633 --> 05:56:48,566 is not louder than the sound that we are hearing at the moment. 5407 05:56:48,966 --> 05:56:52,933 So this decision is not something that has to do with technical aspects. 5408 05:56:53,400 --> 05:56:56,666 It's something completely creative that goes by 5409 05:56:56,800 --> 05:57:01,200 knowing how to equalize the audio mix or adding sound effects to the mix. 5410 05:57:01,633 --> 05:57:04,400 It's something that serves as a storytelling. 5411 05:57:04,400 --> 05:57:10,166 It's a sound narrative element. 5412 05:57:10,166 --> 05:57:14,233 Another important element is in music selection, in filmmaking. 5413 05:57:14,233 --> 05:57:17,766 This stage is done by the music editor, but the music 5414 05:57:18,300 --> 05:57:21,166 is that person who works with a composer 5415 05:57:21,300 --> 05:57:25,600 and the director of the film to select those musical pieces. 5416 05:57:25,600 --> 05:57:30,066 That best represents the idea the film director has in mind 5417 05:57:33,800 --> 05:57:34,100 to be 5418 05:57:34,100 --> 05:57:38,000 able to know what is the most appropriate music for our work. 5419 05:57:38,033 --> 05:57:40,800 We must ask ourselves the right questions. 5420 05:57:41,100 --> 05:57:44,300 First of what is the target audience of our project 5421 05:57:44,700 --> 05:57:49,466 if it is a commercial film or is it an independent film? 5422 05:57:49,800 --> 05:57:53,333 For example, if it's the of the independent short film 5423 05:57:53,633 --> 05:57:56,333 or an independent film, you have to be aware 5424 05:57:56,333 --> 05:57:59,200 that you should use as little music as possible 5425 05:57:59,766 --> 05:58:02,666 because the target audience is not common people. 5426 05:58:03,033 --> 05:58:07,000 It's a group of critics who need to see this cinematographic language 5427 05:58:07,200 --> 05:58:11,666 in its purest level without anything that can deceit our emotions. 5428 05:58:11,666 --> 05:58:13,533 I mean that according to them. 5429 05:58:13,533 --> 05:58:17,133 Music often does that job that the story cannot do, 5430 05:58:17,400 --> 05:58:20,066 which I don't always agree with that, but well, 5431 05:58:20,400 --> 05:58:25,066 that is the of critics of specializing in independent cinema. 5432 05:58:25,366 --> 05:58:28,900 On the other hand, if it is an advertising or a commercial 5433 05:58:28,900 --> 05:58:32,000 or the target audience is also important, I mean, how 5434 05:58:32,000 --> 05:58:35,400 old is the target audience That is important to know? 5435 05:58:35,833 --> 05:58:39,266 If it's a video for Instagram, you could ask ourselves 5436 05:58:39,266 --> 05:58:43,366 the question of whether or not the music you are listening to is trending. 5437 05:58:43,800 --> 05:58:46,700 So try to take all this into account and let's move on 5438 05:58:46,900 --> 05:59:19,866 to working on the sound design and the premiere. 5439 05:59:19,866 --> 05:59:20,400 Perfect. 5440 05:59:20,400 --> 05:59:22,433 We are here again at the Adobe premiere. 5441 05:59:22,966 --> 05:59:26,133 The purpose of this lesson is to be able to do professional audio 5442 05:59:26,133 --> 05:59:29,633 editing regardless of whether we an adult or not. 5443 05:59:29,933 --> 05:59:34,800 I mean a professional digital audio workstation individual premiere can do it 5444 05:59:35,066 --> 05:59:39,300 because in terms of audio editing, we have all the tools to make it. 5445 05:59:39,700 --> 05:59:44,533 So this time I'm going to use a scene from one of my best short films. 5446 05:59:44,900 --> 05:59:48,233 So the idea is to edit all the sound of a scene, 5447 05:59:48,566 --> 05:59:50,833 I mean to create this sound design. 5448 05:59:51,366 --> 05:59:56,900 So I'm going to start using only the video of these is in to add to the timeline. 5449 05:59:58,566 --> 06:00:00,000 So let's check the scene 5450 06:00:00,000 --> 06:00:02,966 on the programs, monitor 5451 06:00:05,933 --> 06:00:07,766 The scene starts right here. 5452 06:00:07,766 --> 06:00:10,200 The character is running for a very long way. 5453 06:00:10,200 --> 06:00:14,433 And in fact, in that part, there is no sound but a soundtrack. 5454 06:00:14,600 --> 06:00:18,400 But where we are going to create and this sound design is right from 5455 06:00:18,400 --> 06:00:22,466 the moment the character crosses the river and then he crawls and crawls 5456 06:00:22,466 --> 06:00:26,800 until comes across the corpse of another character in the story. 5457 06:00:27,400 --> 06:00:30,766 So we are supposed to add every single sound 5458 06:00:30,766 --> 06:00:35,366 effect of that environment. 5459 06:00:35,366 --> 06:00:38,733 So obviously, most people are very afraid of this 5460 06:00:39,000 --> 06:00:43,066 because generally we are filmmakers who know how to use the camera. 5461 06:00:43,066 --> 06:00:47,300 We are interested in video editing, but when it comes to sound, 5462 06:00:47,466 --> 06:00:50,200 it seems that it's a completely different world. 5463 06:00:50,700 --> 06:00:54,533 But the truth is that this knowledge is very important and since the tools to 5464 06:00:54,566 --> 06:00:58,533 the sound are available at the premiere, we must know how to do it. 5465 06:00:58,800 --> 06:01:02,900 So the following thing we must know is that we need some sound sources. 5466 06:01:02,900 --> 06:01:06,366 I mean, we must find each of the sounds that should be playing in the scene 5467 06:01:06,633 --> 06:01:08,666 and we must find them separately. 5468 06:01:09,033 --> 06:01:11,666 There are two ways to get them, the first in the most 5469 06:01:11,666 --> 06:01:15,666 difficult way is recording them directly, either on set using 5470 06:01:15,666 --> 06:01:19,400 a portable recording device like the one you see on screen. 5471 06:01:19,800 --> 06:01:23,433 And the other way is looking for the sounds on the. 5472 06:01:23,433 --> 06:01:24,866 So this later process 5473 06:01:24,866 --> 06:01:28,633 would be the cheapest, but that doesn't mean that it's the worst. 5474 06:01:29,100 --> 06:01:30,866 It's simply the cheapest. 5475 06:01:30,866 --> 06:01:35,166 I mean, it turns out that there are many sound effects of anything on the internet. 5476 06:01:35,300 --> 06:01:38,700 We can find them on sound pages or on YouTube itself. 5477 06:01:38,833 --> 06:01:41,933 So we simply put the name of the sound we are looking for 5478 06:01:42,166 --> 06:01:45,833 in the YouTube search engine, and many of them will appear. 5479 06:01:46,133 --> 06:01:49,733 Then we simply have to download them and use them in the editing. 5480 06:01:50,366 --> 06:01:52,833 Another important thing to know is that we are going 5481 06:01:52,833 --> 06:01:56,133 to have to change the premiere layout several times. 5482 06:01:56,333 --> 06:01:58,866 I mean that preset layout for with you 5483 06:01:58,966 --> 06:02:02,466 because we are going to have to add effects to the tracks, mix them. 5484 06:02:02,900 --> 06:02:07,333 Remember that the mixer will appear in the audio preset the mixer console 5485 06:02:07,366 --> 06:02:11,466 which corresponds to each of the all the tracks that we have on the timeline. 5486 06:02:11,466 --> 06:02:15,733 Remember that the timeline is divided into sections one sections 5487 06:02:15,733 --> 06:02:19,500 for the tracks above and the section for all the tracks below. 5488 06:02:19,866 --> 06:02:21,200 So pay attention to the fact 5489 06:02:21,200 --> 06:02:24,766 that each one of the failures of the mixing console are identified 5490 06:02:25,233 --> 06:02:27,800 or the one or the two of the three and below 5491 06:02:27,800 --> 06:02:31,200 in the of tracks we see a18283. 5492 06:02:31,200 --> 06:02:35,033 Of course, the result is a master track where the general mix comes out. 5493 06:02:35,700 --> 06:02:37,300 So the most interesting thing is 5494 06:02:37,300 --> 06:02:40,633 that we are going to need to change from 1% to another because. 5495 06:02:40,633 --> 06:02:45,966 Actually, the editing preset is much more suitable to create the sound composition 5496 06:02:46,200 --> 06:02:49,800 and we are going to use the audio preset only when we go through the mix 5497 06:02:49,800 --> 06:02:51,066 in a stage. 5498 06:02:51,066 --> 06:02:54,933 Everything will also depend on how comfortable do you feel with each preset. 5499 06:02:55,000 --> 06:02:58,433 But personally, from my experience, the audio preset consumes 5500 06:02:58,433 --> 06:03:01,333 more computer resources than the percent. 5501 06:03:01,700 --> 06:03:05,200 So I think that this is an important variable when it comes to choosing 5502 06:03:05,200 --> 06:03:06,300 one or another. 5503 06:03:07,266 --> 06:03:10,100 On the other hand, returning to the issue of sound 5504 06:03:10,166 --> 06:03:13,633 sound sources, it's important to create a kind of sound bank, 5505 06:03:14,133 --> 06:03:16,800 a sound backup that we can resort to 5506 06:03:16,800 --> 06:03:20,066 when it comes to doing sound design. 5507 06:03:20,066 --> 06:03:25,333 For example, here I have all these folders organized for different types of sounds. 5508 06:03:25,933 --> 06:03:29,966 There are environments, footsteps, sounds of water 5509 06:03:29,966 --> 06:03:33,966 or fire or sounds, shots, etc., etc., etc. 5510 06:03:34,366 --> 06:03:38,533 And the most important thing is that some of the sounds were recorded by me 5511 06:03:38,900 --> 06:03:42,233 or by my production with a portable recording device 5512 06:03:42,433 --> 06:03:44,833 and others were downloaded from the internet, 5513 06:03:45,133 --> 06:03:47,933 as I told you, from YouTube or all their pages. 5514 06:03:48,300 --> 06:03:51,566 So knowing all, what do we need to produce a scene? 5515 06:03:51,933 --> 06:03:56,366 Obviously the scene takes place nearest stream, okay, now of a smaller river. 5516 06:03:56,366 --> 06:04:01,033 So we need to add that background sound to the whole. 5517 06:04:01,033 --> 06:04:03,066 Anyway, it's important to know when it comes 5518 06:04:03,066 --> 06:04:06,500 to recording a river, the sound of that river, for example, 5519 06:04:06,900 --> 06:04:09,966 What we record doesn't have to be exactly that. 5520 06:04:09,966 --> 06:04:12,333 It could be a little louder, for example. 5521 06:04:12,733 --> 06:04:16,933 That doesn't matter because we can correct that imperfection in the sound design. 5522 06:04:17,633 --> 06:04:20,700 But in any case, this time I'm going to use a river sound 5523 06:04:20,700 --> 06:04:24,700 that I downloaded from the internet so you can convince yourself 5524 06:04:24,700 --> 06:04:27,400 that it can be done with sounds from internet. 5525 06:04:27,800 --> 06:04:31,166 So on this folder, I'm going to pick this sound 5526 06:04:31,166 --> 06:04:35,066 that I have here called Distant River Ambiance. 5527 06:04:35,866 --> 06:04:42,800 So I'm going to drag that file to the Premier. 5528 06:04:42,800 --> 06:04:47,100 Additionally, since it was a short film produced by my team, I have the sound 5529 06:04:47,100 --> 06:04:52,133 of the actor who was myself, but that sound was recorded Later. 5530 06:04:52,433 --> 06:04:55,466 A dubbing was done to have the acting of the scene 5531 06:04:55,700 --> 06:04:59,700 because during the shooting of the scene it was impossible to the sound 5532 06:04:59,700 --> 06:05:04,066 because Steadicam was generating noise and it came through the microphone. 5533 06:05:04,066 --> 06:05:06,633 So we had to double the performance later. 5534 06:05:07,133 --> 06:05:09,966 But what else do we need in terms of sound? 5535 06:05:09,966 --> 06:05:13,400 We need the sound of the contact of the hands to grasp. 5536 06:05:13,400 --> 06:05:17,133 For example, the sound of crawling on the ground is also important, 5537 06:05:17,500 --> 06:05:21,866 but we also need the of contact with the water splashing sounds. 5538 06:05:22,366 --> 06:05:25,033 So that sound is important for this scene? Yes. 5539 06:05:25,066 --> 06:05:27,933 When the character crosses the river, I already have. 5540 06:05:27,933 --> 06:05:31,833 That's in my sound backup, so I'm going to use it. 5541 06:05:32,900 --> 06:05:34,266 So I'm going to direct that 5542 06:05:34,266 --> 06:05:43,966 sound all at once into the project. 5543 06:05:43,966 --> 06:05:47,100 So when it comes to selecting the sounds to make it the sound 5544 06:05:47,100 --> 06:05:51,500 design of the character crawling through the grass, we don't necessarily 5545 06:05:51,500 --> 06:05:54,133 need the sound of some hands in the grass. 5546 06:05:54,533 --> 06:05:57,266 We could use other sounds that could represent that. 5547 06:05:57,433 --> 06:06:00,266 For example I'm going to use some sounds of footsteps, 5548 06:06:00,266 --> 06:06:05,833 some with Earth, and also steps on sound to create the sound of hands on the grass. 5549 06:06:05,833 --> 06:06:09,666 And I tell you this to motivate you to your creativity 5550 06:06:09,666 --> 06:06:12,533 when it comes to creating sound environments. 5551 06:06:12,866 --> 06:06:15,733 In other words, don't let limitations prevent you 5552 06:06:15,733 --> 06:06:18,133 from developing a project of this nature. 5553 06:06:19,066 --> 06:06:20,833 And I have always come across this. 5554 06:06:20,833 --> 06:06:24,433 I have come across good filmmakers who are afraid to get involved 5555 06:06:24,433 --> 06:06:28,600 with sound design just because they don't know what it's really. 5556 06:06:28,600 --> 06:06:32,266 So I'm going to add the sounds that I told you I have put in 5557 06:06:32,633 --> 06:06:47,100 in their respective folders. 5558 06:06:47,100 --> 06:06:51,500 So the first thing I'm going to do is add this sound of the distant river 5559 06:06:51,500 --> 06:06:58,733 to the timeline which would be like the sound background. 5560 06:06:58,733 --> 06:07:02,700 So I'm going to select a piece of audio from the river and drag it onto 5561 06:07:02,700 --> 06:07:03,566 the timeline 5562 06:07:09,766 --> 06:07:10,266 so you can 5563 06:07:10,266 --> 06:07:13,333 modify the volume of the clip on this line here. 5564 06:07:13,666 --> 06:07:15,133 And you can also automate 5565 06:07:15,133 --> 06:07:18,833 data volume on deadline using the pen tool on the toolbar. 5566 06:07:19,400 --> 06:07:23,033 I mean, you can automate the volume in the same way as we did 5567 06:07:23,100 --> 06:07:32,700 the opacity in those previous lessons. 5568 06:07:32,700 --> 06:07:37,900 So we already have that distant river sound next to the image and can start 5569 06:07:37,900 --> 06:07:41,100 contemplating the image next to the sound to see 5570 06:07:41,100 --> 06:07:48,900 if it starts to match. 5571 06:07:48,900 --> 06:07:53,300 Pay attention that with that ambient sound the scene begins to come to life. 5572 06:07:53,600 --> 06:07:57,600 Obviously The rest of the sounds are amazing, but that ambient sound 5573 06:07:57,600 --> 06:08:01,033 helps me to have a point of reference regarding the volumes 5574 06:08:01,366 --> 06:08:04,866 that each of the sounds in the scene should have, because it's 5575 06:08:04,866 --> 06:08:09,033 not just about choosing the sounds well, but about knowing the exact volume. 5576 06:08:09,033 --> 06:08:16,200 They should have the exact reverberation index that's panning. 5577 06:08:16,200 --> 06:08:18,200 So I'm going to start by adding the splash 5578 06:08:18,200 --> 06:08:21,866 sound to create the moments when the character comes out of the water. 5579 06:08:22,200 --> 06:08:26,433 So I'm going to search for the sound and I'm going to select a splash of water. 5580 06:08:26,433 --> 06:08:28,733 Good enough for that moment. 5581 06:08:28,733 --> 06:08:31,233 We have to take into account that the character 5582 06:08:31,266 --> 06:08:44,300 comes running. 5583 06:08:44,300 --> 06:08:46,900 I think this part sounds interesting 5584 06:08:53,000 --> 06:08:56,400 and remember that not only the splash sound, it's necessary, 5585 06:08:56,400 --> 06:09:00,200 but also what comes after, I mean, a bit of the water movement 5586 06:09:00,600 --> 06:09:03,366 so that the sound we choose must have all of that. 5587 06:09:03,866 --> 06:09:07,100 So I'm going to drag it to the track under the river 5588 06:09:07,800 --> 06:09:11,433 and now we have to position it right at the moment where the character 5589 06:09:11,433 --> 06:09:23,933 comes out of the water. 5590 06:09:23,933 --> 06:09:27,933 Note that here I had automated the beginning of the sound with the band. 5591 06:09:28,266 --> 06:09:32,200 I had created a kind of fade in because character crosses the river 5592 06:09:32,200 --> 06:09:41,966 and then steps into the deeper water. 5593 06:09:41,966 --> 06:09:46,366 Another important element of these, a scene, is that if you look at the scene, 5594 06:09:46,366 --> 06:09:51,200 the scene starts with an overhead shot from above where the character looks 5595 06:09:51,200 --> 06:09:55,233 very small, and then we see a closer shot of the character crossing the river. 5596 06:09:55,466 --> 06:09:59,833 So That visual difference should also be noticeable in terms of sound. 5597 06:10:00,066 --> 06:10:04,033 And in fact, this shouldn't only be noted in terms of the splash sound, 5598 06:10:04,366 --> 06:10:07,600 but we should also turn up the volume of the distant river 5599 06:10:07,600 --> 06:10:09,466 so that difference is felt. 5600 06:10:09,466 --> 06:10:18,633 Also, you can turn up the amount of volume you want to write. 5601 06:10:18,666 --> 06:10:36,000 You feel the scene until you feel it matches. 5602 06:10:36,000 --> 06:10:37,800 These elements are too important. 5603 06:10:37,800 --> 06:10:39,700 At first glance, it seems that it's something 5604 06:10:39,700 --> 06:10:43,666 that the audience is not going to notice, but believe me, that they will notice it. 5605 06:10:43,933 --> 06:10:47,666 They will have the feeling that the scene is more real than the scene is better. 5606 06:10:48,733 --> 06:10:50,366 But pay close attention to this. 5607 06:10:50,366 --> 06:10:53,133 If you look at here in the splash sound 5608 06:10:53,633 --> 06:10:56,466 here in the corner, there is an effects symbol. 5609 06:10:56,766 --> 06:10:59,700 If you click here, you will be able to change the automation 5610 06:10:59,700 --> 06:11:02,800 line to another parameter, like, for example, panning. 5611 06:11:02,800 --> 06:11:03,733 So in this a scene, 5612 06:11:03,733 --> 06:11:07,400 the characters moves from the left to the right, he comes from the left, 5613 06:11:07,666 --> 06:11:11,166 and that sensation must be created in the sound into mention. 5614 06:11:11,633 --> 06:11:15,033 Even though we are the character from the front of the screen. 5615 06:11:15,300 --> 06:11:20,833 In our main, his movement, his traveling in has been understood in 360 degrees. 5616 06:11:21,066 --> 06:11:23,100 So we need to represent that. 5617 06:11:23,100 --> 06:11:26,133 So the splash sound should also play from the left. 5618 06:11:26,900 --> 06:11:30,566 So pay attention that after words, the camera follows the movement 5619 06:11:30,566 --> 06:11:35,200 of the character in turns to the right precisely to create that sensation. 5620 06:11:36,700 --> 06:11:39,700 I highly recommend never pan completely to one side. 5621 06:11:40,000 --> 06:11:42,033 This is a recommendation from my experience 5622 06:11:42,033 --> 06:11:44,166 recording with my band in a studio. 5623 06:11:44,466 --> 06:11:46,633 I mean, if we panned completely to one 5624 06:11:46,633 --> 06:11:49,633 side, the steering sensation of the sound is lost 5625 06:11:50,533 --> 06:11:53,900 because every single of the clip must always sound on 5626 06:11:53,900 --> 06:11:57,633 both sides, simply that when we pan it's to the place we want. 5627 06:11:57,800 --> 06:12:00,833 The audio clip will sound from that side to a greater 5628 06:12:00,833 --> 06:12:07,266 extent. 5629 06:12:07,266 --> 06:12:09,200 Perfect. This lesson is up to here. 5630 06:12:09,200 --> 06:12:12,600 We are going to move on to the next one where we are going to edit the sound 5631 06:12:12,600 --> 06:12:46,900 produced by the contact of the hands and the body with the grass. 5632 06:12:46,900 --> 06:12:48,133 Perfect. We are here again. 5633 06:12:48,133 --> 06:12:48,866 We are going to edit 5634 06:12:48,866 --> 06:12:52,566 the sound of the contact of the character with the ground, with the grass. 5635 06:12:53,100 --> 06:12:56,700 We are going to use the sound running on descend. 5636 06:12:57,166 --> 06:13:02,066 It took it out, 5637 06:13:02,066 --> 06:13:05,133 but we are also going to use this other one working on the sound. 5638 06:13:05,133 --> 06:13:08,766 This sound is very interesting because you can feel the water a little 5639 06:13:08,933 --> 06:13:21,933 in every step. 5640 06:13:21,933 --> 06:13:22,366 Perfect. 5641 06:13:22,366 --> 06:13:25,200 We are going to start with the sound about walking on the sand. 5642 06:13:25,500 --> 06:13:28,766 We are going to cut a portion of the sound and we are going to drag it 5643 06:13:28,766 --> 06:13:45,600 to the timeline down here. 5644 06:13:45,600 --> 06:13:47,933 So first of all, we must level the volume. 5645 06:13:47,933 --> 06:13:49,233 We are going to increase the volume 5646 06:13:53,400 --> 06:13:55,300 than we are consuming on the timeline. 5647 06:13:55,300 --> 06:13:59,766 Until we see in detail that sound you're going to need pay attention with. 5648 06:13:59,766 --> 06:14:04,666 I'm going to do I'm going to separate each of the steps with the research tool. 5649 06:14:05,000 --> 06:14:07,933 One, two, three, four, 5650 06:14:08,133 --> 06:14:15,200 to have each step separately. 5651 06:14:15,200 --> 06:14:18,566 So in this way, we will be able to place each of these cuts 5652 06:14:18,566 --> 06:14:22,066 where we want to create that effect of contact on the grass. 5653 06:14:22,500 --> 06:14:24,033 This is very important. 5654 06:14:24,033 --> 06:14:24,600 Trust me. 5655 06:14:24,600 --> 06:14:28,333 I know a lot of good film directors who don't know this 5656 06:14:28,700 --> 06:14:30,000 and it's really useful. 5657 06:14:30,000 --> 06:14:39,233 It's not as complicated as it seems. 5658 06:14:39,233 --> 06:14:44,033 So we need to make each cut to match the movement of the character on the screen. 5659 06:14:44,033 --> 06:14:47,866 If while we are editing, we feel that those sounds need more volume, for 5660 06:14:47,866 --> 06:14:52,333 example, we simply have to select them all and then click with the right button 5661 06:14:52,700 --> 06:14:59,100 and then delete all the train and race to gain of the clips. 5662 06:14:59,100 --> 06:15:08,533 So here we can raise the amount of decibels we want. 5663 06:15:08,533 --> 06:15:10,300 So we need a lot of patience. 5664 06:15:10,300 --> 06:15:13,933 Little by little, we are going to place each of the cuts taken take on that. 5665 06:15:13,933 --> 06:15:15,000 If at some times 5666 06:15:15,000 --> 06:15:18,633 we see that some of the character's movements are stronger than others, 5667 06:15:19,000 --> 06:15:22,566 we can increase the volume of the clips in that specific 5668 06:15:22,566 --> 06:15:27,866 moment. 5669 06:15:27,866 --> 06:15:31,466 Pay attention here to how I am increasing the volume little by little 5670 06:15:31,466 --> 06:17:19,000 until it matches the image image. 5671 06:17:19,000 --> 06:17:22,500 I personally love it when the scene starts to come alive like this. 5672 06:17:22,966 --> 06:17:24,966 This really takes the scene to the next level. 5673 06:17:25,400 --> 06:17:27,733 Additionally, remember that we can also find 5674 06:17:27,766 --> 06:17:30,233 every single cut that we are adding here. 5675 06:17:30,800 --> 06:17:32,400 I mean, in the same way as a river. 5676 06:17:32,400 --> 06:17:56,400 Also, the sounds of the character come from the left. 5677 06:17:56,400 --> 06:18:00,133 The most interesting thing about this is that in Cubase or ProTools 5678 06:18:00,133 --> 06:18:04,533 or example, which are a professional sound editing software, these is done 5679 06:18:04,533 --> 06:18:26,600 exactly the same way. 5680 06:18:26,600 --> 06:18:27,633 But pay attention to this. 5681 06:18:27,633 --> 06:18:30,900 When the camera turns to the right, the character leaps the frame, 5682 06:18:31,366 --> 06:18:34,866 but his footsteps have to continue to be heard somehow 5683 06:18:35,100 --> 06:18:51,466 because are still close to the character. 5684 06:18:51,466 --> 06:18:53,400 So I'm going advanced his work a bit. 5685 06:18:53,400 --> 06:18:55,600 I'm going to add the rest of the sound cuts. 5686 06:18:56,033 --> 06:18:59,733 So the lesson is no so long and we continue in the process 5687 06:18:59,733 --> 06:19:07,600 of creating this sound in this same lesson. 5688 06:19:07,600 --> 06:19:08,166 Perfect. 5689 06:19:08,166 --> 06:19:09,366 I have already made 5690 06:19:09,366 --> 06:19:13,866 each of this sound catch match each of the character's movements in. 5691 06:19:13,866 --> 06:19:48,966 This is the result. 5692 06:19:48,966 --> 06:19:52,666 We can add more volume to these last steps of the character 5693 06:20:01,200 --> 06:20:02,366 even more because we are 5694 06:20:02,366 --> 06:20:29,566 seeing the character from much closer. 5695 06:20:29,566 --> 06:20:32,866 So what we are going to do is mix the sounds of the footsteps 5696 06:20:32,866 --> 06:20:36,833 that we have already added with the older sound effect that we had. 5697 06:20:36,933 --> 06:20:40,233 They went off running and descend because that sound is slower. 5698 06:20:40,600 --> 06:20:43,666 So the byproduct of the end of the two sound effects 5699 06:20:43,666 --> 06:20:56,200 will be of fair quality. 5700 06:20:56,200 --> 06:21:00,066 So we select a portion of this audio and then we drag it to the timeline. 5701 06:21:00,300 --> 06:21:03,500 But pay attention that I have run out of all the tracks 5702 06:21:03,900 --> 06:21:07,800 in the timeline so I can add another track in two ways. 5703 06:21:08,433 --> 06:21:11,066 The first is that we can add a track by simply going 5704 06:21:11,066 --> 06:21:14,133 to the sequence step and add track. 5705 06:21:14,533 --> 06:21:17,133 But there is another easier way we can simply drag 5706 06:21:17,133 --> 06:21:19,200 the audio portion to the space below. 5707 06:21:19,200 --> 06:21:23,533 The last sequence in note two Magically, the software will create a new sequence. 5708 06:21:23,966 --> 06:21:27,466 I'm going to put the audio clip here on this track that we already have. 5709 06:21:27,800 --> 06:21:30,900 So pay attention that if I drag it to the space below, 5710 06:21:31,200 --> 06:21:33,600 look at how the new sequence created. 5711 06:21:34,200 --> 06:21:37,500 So what we are going to do is separate each of the sound heads 5712 06:21:37,900 --> 06:21:40,866 to have the cut separates it as with the other sound. 5713 06:21:40,866 --> 06:21:42,466 And then we put in right where? 5714 06:21:42,466 --> 06:21:45,833 The ones we added previously are so they are 5715 06:21:45,833 --> 06:21:55,600 mixed. 5716 06:21:55,600 --> 06:21:56,833 It's important that the way 5717 06:21:56,833 --> 06:22:00,233 you are doing this whole process, you can experiment with the sounds. 5718 06:22:00,800 --> 06:22:02,200 I mean, try them. 5719 06:22:02,200 --> 06:22:05,100 I mean change their place to see how they sound. 5720 06:22:05,100 --> 06:22:10,266 Because sometimes we discover random things that we never imagined would sound good 5721 06:22:54,133 --> 06:23:14,466 or you can now hear how each contact with the grass hats 5722 06:23:14,466 --> 06:23:48,300 match my body in terms of sound. 5723 06:23:48,300 --> 06:23:51,600 Now we are finally going to add the sound of the actors 5724 06:23:51,600 --> 06:23:54,566 expressions which were recorded separately. 5725 06:23:55,066 --> 06:23:59,400 So we search for it in the folder and drag it to the timeline 5726 06:23:59,700 --> 06:24:19,566 in the same way as with the other sounds. 5727 06:24:19,566 --> 06:24:20,400 So obviously 5728 06:24:20,400 --> 06:24:24,233 the sound of the actor's expressions belongs to the part where we are ready? 5729 06:24:24,233 --> 06:24:25,866 See him up close. 5730 06:24:25,866 --> 06:24:28,733 So we must make it match the image of the character 5731 06:24:36,100 --> 06:24:38,033 so if it's necessary to increase 5732 06:24:38,033 --> 06:24:40,300 the audio gain would simply do it 5733 06:25:02,700 --> 06:25:15,433 right? 5734 06:25:15,433 --> 06:25:19,100 Ideally, each painting should match each movement of the arms 5735 06:26:07,933 --> 06:26:11,033 so we can even add binding as well to the character spent in. 5736 06:26:11,033 --> 06:26:12,633 We can make a curve. 5737 06:26:12,633 --> 06:26:15,566 I mean, at the beginning it starts from the left 5738 06:26:15,933 --> 06:26:19,833 and at certain moments we automated change towards the center. 5739 06:26:20,133 --> 06:26:45,400 So it's heard that the sound moves with the character, 5740 06:26:45,400 --> 06:26:48,600 for example, here the character enters the frame again. 5741 06:26:48,900 --> 06:27:53,633 We can move the pan to the center. 5742 06:27:53,633 --> 06:27:55,833 You realize how good everything sounds, right? 5743 06:27:56,066 --> 06:27:59,100 So we are going to leave this lesson here and you're going to move on 5744 06:27:59,100 --> 06:28:30,600 to the next one. 5745 06:28:30,600 --> 06:28:32,700 So the first thing we are supposed to do 5746 06:28:32,700 --> 06:28:36,300 is to check the reverberation of each track, 5747 06:28:36,300 --> 06:28:40,966 because we must make all the sounds seems as if they were in the same place. 5748 06:28:41,400 --> 06:28:44,433 Sometimes this is something almost imperceptible, 5749 06:28:44,733 --> 06:28:47,866 but dose small details make the difference. 5750 06:28:48,500 --> 06:28:53,333 For example, we could start by recognizing that the bass sound here is the river. 5751 06:28:53,800 --> 06:28:55,500 I mean the rest of the sounds 5752 06:28:55,500 --> 06:28:58,700 should be congruent with the reverberation of that river. 5753 06:28:59,500 --> 06:29:02,000 For example, let's start with the splash sound. 5754 06:29:02,500 --> 06:29:06,333 Not only does it have to match the reverberation of the river, 5755 06:29:06,400 --> 06:29:10,233 but the action of colliding with the water is happening a certain distance 5756 06:29:10,233 --> 06:29:14,266 from the camera so the reverb can generate that distance for us. 5757 06:29:14,533 --> 06:29:19,200 So we are supposed to go to the mixing console at the top of the tracks. 5758 06:29:19,500 --> 06:29:21,000 We are going to find this vinyl. 5759 06:29:21,000 --> 06:29:24,600 So right here we are going to be able to add effects to each of the tracks. 5760 06:29:24,900 --> 06:29:28,100 In this case, the splash sound is on the second track. 5761 06:29:28,700 --> 06:29:31,366 Pay attention that there is a very thin gray line. 5762 06:29:31,366 --> 06:29:34,400 The divide is the panel above the line. 5763 06:29:34,400 --> 06:29:37,533 We will be able to add defects below the line. 5764 06:29:37,533 --> 06:29:40,433 We can route the tracks to play on group tracks. 5765 06:29:40,733 --> 06:29:42,100 But I would say the most important 5766 06:29:42,100 --> 06:29:46,033 thing is labels where you can add the effects to the tracks. 5767 06:29:46,033 --> 06:29:50,033 So we must click on these small tabs and there we will look for there 5768 06:29:50,033 --> 06:29:51,466 with their effect. 5769 06:29:51,466 --> 06:29:54,900 You can notice that there are three types of reverberation 5770 06:29:55,133 --> 06:30:01,766 going to select this surround reverb. 5771 06:30:01,766 --> 06:30:04,500 So here you're going to find several parameters. 5772 06:30:04,933 --> 06:30:08,900 I know it seems complicated, but it's much easier than you think. 5773 06:30:08,900 --> 06:30:11,700 This step, you're going to find several presets. 5774 06:30:12,000 --> 06:30:14,833 It's like in the reverb style that we are going to use, 5775 06:30:15,000 --> 06:30:20,100 but we will also be able to change all the parameters to customize those presets. 5776 06:30:20,900 --> 06:30:23,833 For example, I'm going to use these cathedral presets. 5777 06:30:25,133 --> 06:30:27,766 So of all the parameters we are going to find here, 5778 06:30:28,033 --> 06:30:31,233 the most important is this one where it creates mics. 5779 06:30:31,833 --> 06:30:36,300 So this little fader indicates that it's a 100%. 5780 06:30:36,366 --> 06:30:40,366 The sound will be completely affected by the reverb, but as we lowered 5781 06:30:40,366 --> 06:30:45,133 the percentage, it will sound like the original audio without reverberation. 5782 06:30:45,133 --> 06:30:46,366 So this is the main tool 5783 06:30:46,366 --> 06:30:49,766 where you're going to add more or less reverb to the track. 5784 06:30:50,366 --> 06:30:52,933 Keep in mind that this reverberation in the track 5785 06:30:52,933 --> 06:30:56,366 will affect all the audio clips that are on that track. 5786 06:30:57,033 --> 06:31:00,166 But there is something important regarding reverb, and that is 5787 06:31:00,166 --> 06:31:03,966 that as we add the effect to any audio gain is lost. 5788 06:31:04,500 --> 06:31:09,200 So that is the reason why this other fader is next to it, where it rates 5789 06:31:09,200 --> 06:31:12,433 gain, that is very important to take into account. 5790 06:31:12,600 --> 06:31:15,800 We also have another fader that belongs to the feedback 5791 06:31:16,666 --> 06:31:18,966 in another one that belongs to the violence. 5792 06:31:18,966 --> 06:31:22,266 We can make the reverse sound more to the right or to the left. 5793 06:31:22,933 --> 06:31:25,733 There is also the first failure that is to increase 5794 06:31:25,733 --> 06:31:29,466 the wetness of the effect, which is like intense city. 5795 06:31:30,000 --> 06:31:34,033 Basically, these are the most important feature of this output panel. 5796 06:31:34,833 --> 06:31:39,133 But pay attention that over here there are other parameters that you can change. 5797 06:31:39,133 --> 06:31:44,766 You can modify, for example, the room size, you can modify the reverberation 5798 06:31:44,766 --> 06:31:47,433 bounces over here in bridge delay 5799 06:31:47,866 --> 06:31:50,266 and also the width of the reverberation. 5800 06:31:50,866 --> 06:31:54,000 In fact, these last two parameters are to control 5801 06:31:54,000 --> 06:31:57,600 that how the reverberation expands to the sights. 5802 06:31:58,000 --> 06:32:01,466 But I highly recommend you try the effects, try to experiment. 5803 06:32:01,866 --> 06:32:05,700 I'm just giving you an overview of the main parameters of the reverberation. 5804 06:32:07,166 --> 06:32:09,500 So the splash starts to sound better. 5805 06:32:10,133 --> 06:32:13,000 I'm going to isolate in the track to test 5806 06:32:13,100 --> 06:32:25,366 the reverberation better, 5807 06:32:25,366 --> 06:32:29,000 so I'm going to add even more reverb, but also increasing the gain. 5808 06:32:29,800 --> 06:32:34,766 So remember how to do it by raising percentage and also raising the gain. 5809 06:32:34,800 --> 06:32:36,100 Fader 5810 06:32:43,733 --> 06:32:48,366 Now, it sounds much better because now the splash can be heard at the distance 5811 06:32:48,400 --> 06:32:53,233 the design suggests, because obviously nothing is happening next to the camera. 5812 06:32:53,233 --> 06:32:59,933 I mean, there are meters away. 5813 06:32:59,933 --> 06:33:18,433 So let's listen to how it sounds together with the rest of the sounds. 5814 06:33:18,433 --> 06:33:22,833 So once we had added the reverberation to the tracks, mostly 5815 06:33:23,266 --> 06:33:27,800 we are ready to move on to the music because these are singles music. 5816 06:33:27,800 --> 06:33:30,966 I mean, at least one part of the scene. 5817 06:33:30,966 --> 06:33:34,233 And additionally adding music will allow me to explain to you 5818 06:33:34,500 --> 06:33:37,333 something important related to audio editing. 5819 06:33:37,500 --> 06:33:40,566 So in order to do this, I'm going to use two files. 5820 06:33:41,233 --> 06:33:41,966 On one hand, 5821 06:33:41,966 --> 06:33:45,500 there is an audio that contains the music with this sound design 5822 06:33:45,500 --> 06:33:48,700 at the same time, but you know that we are doing the sound design. 5823 06:33:48,866 --> 06:33:52,033 Therefore there is another audio that only contains the music. 5824 06:33:52,366 --> 06:33:56,200 So first of all, what I'm going to do is to extract a cross section in the file 5825 06:33:56,200 --> 06:34:00,800 that contains both the sound design and the music, a cross section 5826 06:34:00,800 --> 06:34:02,266 where only plays the music. 5827 06:34:02,266 --> 06:34:06,366 And I'm going to try to mix this portion of audio with the other audio 5828 06:34:06,366 --> 06:34:10,333 that contains only the music obviously is the same music. 5829 06:34:10,633 --> 06:34:15,666 So this part of the scene where there is overhead shot, only the music plays. 5830 06:34:15,666 --> 06:34:18,700 Originally I that was the original idea. 5831 06:34:18,933 --> 06:34:23,300 But once we get closer to the character, the sound design is starts to play. 5832 06:34:23,500 --> 06:34:28,566 So what I'm doing here is trying to to cut that part into sound design. 5833 06:34:28,566 --> 06:34:30,066 It starts to play in. 5834 06:34:30,066 --> 06:34:33,900 Obviously in that part I'm going to add the audio file 5835 06:34:33,933 --> 06:34:36,900 that all the good taste in music I'm doing this. 5836 06:34:36,900 --> 06:34:39,933 I'm using the original audio mix of the short 5837 06:34:39,933 --> 06:34:46,733 film. 5838 06:34:46,733 --> 06:34:47,833 So this audio clip 5839 06:34:47,833 --> 06:34:51,900 that I'm moving at this moment, trying to get it closer to the older 5840 06:34:52,500 --> 06:34:56,966 only contains music, of course, since it's the same music, I'm 5841 06:34:56,966 --> 06:35:12,866 trying to match the correct point opinion. 5842 06:35:12,866 --> 06:35:17,200 So the purpose of teaching you this is for you to learn that you can add 5843 06:35:17,200 --> 06:35:21,333 all the effects to the clips and also all the transitions to the clips. 5844 06:35:21,766 --> 06:35:25,733 And they are old, exactly the same effects that we can add to the tracks. 5845 06:35:26,066 --> 06:35:28,633 I mean, those we are able to add to the tracks. 5846 06:35:28,800 --> 06:35:33,600 So we just go to the effects folder and we look for the all the effects 5847 06:35:33,966 --> 06:35:36,900 in these folder contains all the effects you can try. 5848 06:35:36,900 --> 06:35:39,500 For example, there is amplitude and compression, 5849 06:35:39,966 --> 06:35:42,033 there is also delay, 5850 06:35:42,500 --> 06:35:45,266 modulation, noise, etc. etc. 5851 06:35:45,533 --> 06:35:48,600 For example, compression and is very useful for voices. 5852 06:35:48,933 --> 06:35:53,033 So for example, those acting expressions that we added to the sound 5853 06:35:53,033 --> 06:35:56,433 design are likely to sound better with compression. 5854 06:35:56,433 --> 06:36:01,166 So my purpose is also encourage you to lose the fear of using these 5855 06:36:01,166 --> 06:36:02,500 or the effects. 5856 06:36:02,500 --> 06:36:06,500 For example, you must know that for voices in also voiceover 5857 06:36:06,633 --> 06:36:09,733 single band compressor is the most suitable compressor 5858 06:36:09,733 --> 06:36:13,833 when we are talking about a voice that is playing in a monitor. 5859 06:36:13,833 --> 06:36:15,000 Like for example, 5860 06:36:15,000 --> 06:36:19,466 we can also add equalizer to stressed the most suitable frequencies 5861 06:36:19,466 --> 06:36:23,500 for a specific type of voice, but this time for the music. 5862 06:36:23,500 --> 06:36:26,366 We are going to use audio transitions in the premiere. 5863 06:36:26,366 --> 06:36:29,400 There are three kind of transitions constant 5864 06:36:29,400 --> 06:36:32,333 gain, constant power and exponential fade. 5865 06:36:32,633 --> 06:36:34,666 They are all almost the same. 5866 06:36:34,666 --> 06:36:37,800 I would say that the only difference the blending mode, 5867 06:36:38,266 --> 06:36:42,366 but it will depend on the nature of the audio and most of all with the nature 5868 06:36:42,366 --> 06:36:45,233 of that specific part of the audio clip 5869 06:36:45,500 --> 06:36:47,800 that you want to mix with another clip, 5870 06:36:48,266 --> 06:36:52,333 I'm going to use the constant gain that is the most natural of all. 5871 06:36:52,566 --> 06:36:55,400 You had noticed that I had added this transition 5872 06:36:55,400 --> 06:37:05,500 just right in the union. 5873 06:37:05,500 --> 06:37:10,733 So for me it sounds perfect, that transition I had to match this hit 5874 06:37:10,800 --> 06:37:37,700 that sounds here with that action of race in the face, I'm 5875 06:37:43,100 --> 06:37:43,833 of course 5876 06:37:43,833 --> 06:37:46,866 that hit was representing that impact 5877 06:37:46,933 --> 06:37:49,500 of coming across dad that gear. 5878 06:37:50,033 --> 06:37:53,766 So I'm going to unmuted the track where the sound design is playing 5879 06:37:54,166 --> 06:38:17,066 the rest of the sound of the scene. 5880 06:38:17,066 --> 06:38:20,233 I'm going to fix a little bit the volume of the music 5881 06:38:21,300 --> 06:38:44,066 and I'm going to try it again. 5882 06:38:44,066 --> 06:39:18,300 I'm going to raise the volume a little more. 5883 06:39:18,300 --> 06:39:22,200 So now I'm going to add that compressor that I had mentioned before 5884 06:39:22,500 --> 06:39:24,233 to the actors performance. 5885 06:39:24,233 --> 06:39:27,500 So we just go to the audio effects folder and we look for dead 5886 06:39:27,966 --> 06:39:30,600 and we look for the single band compressor. 5887 06:39:31,133 --> 06:39:34,200 I have already mentioned that it was the most suitable 5888 06:39:34,533 --> 06:39:38,033 when the Voice is playing in a monitor track. 5889 06:39:38,033 --> 06:39:43,266 So it's over here. 5890 06:39:43,266 --> 06:39:47,733 So once we have added that effect, we can go to the effect control panel 5891 06:39:48,266 --> 06:39:51,600 and we are going to find that effect over there. 5892 06:39:51,600 --> 06:39:58,333 So we must click on custom setup and then edit In the parameters window opens. 5893 06:39:58,733 --> 06:40:01,333 You can notice that the effect control 5894 06:40:01,333 --> 06:40:04,666 works the same for audio under the same principle. 5895 06:40:04,666 --> 06:40:07,666 You can automate any feature in the audio clips. 5896 06:40:08,000 --> 06:40:11,933 Actually, you can notice that since I have automated the volume, 5897 06:40:12,200 --> 06:40:15,200 the automation line in the volume is activated. 5898 06:40:15,233 --> 06:40:18,400 But let's continue with the compass here In the set up, 5899 06:40:18,933 --> 06:40:21,800 we must select the voiceover over here 5900 06:40:23,933 --> 06:40:24,366 and let's 5901 06:40:24,366 --> 06:40:35,200 check it out. 5902 06:40:35,200 --> 06:40:39,466 And you can notice that it has more presence and more definition 5903 06:40:39,466 --> 06:40:50,700 in general. 5904 06:40:50,700 --> 06:40:55,500 But actually we can improve that sound, that quality by using an equalizer. 5905 06:40:55,833 --> 06:40:58,933 So we go to the all effects folder and we pick a graphic 5906 06:40:58,933 --> 06:41:01,866 equalizer of 20 bands. 5907 06:41:02,400 --> 06:41:07,500 And you must remember that equalizers go always on top of the compressors. 5908 06:41:07,500 --> 06:41:12,000 So we open the custom setup and since it's a voice pantin, 5909 06:41:12,000 --> 06:41:15,000 most of all, you're supposed to raise 5910 06:41:15,233 --> 06:41:18,066 the mid high songs on the equalizer. 5911 06:41:18,900 --> 06:41:23,533 This is very important not only for this case, but also in dialogs, for example. 5912 06:41:23,900 --> 06:41:25,500 But do not exaggerate. 5913 06:41:25,500 --> 06:41:28,866 This changes you are supposed to be subtle, modifying 5914 06:41:28,866 --> 06:41:37,833 the frequencies. 5915 06:41:37,833 --> 06:41:40,200 It sounds so much better actually, 5916 06:41:41,566 --> 06:41:46,266 and it was not necessary to raise the volume of the clip or the track. 5917 06:41:46,266 --> 06:42:28,666 For example, 5918 06:42:28,666 --> 06:42:32,733 so you can notice how far you can go by doing sound design. 5919 06:42:32,733 --> 06:42:36,933 India premiere because actually Adobe Premiere provides 5920 06:42:36,966 --> 06:42:41,600 all the tools to to create a sound design, to create a professional mix, 5921 06:42:41,933 --> 06:42:44,366 not use in ProTools or Cubase. 5922 06:42:44,866 --> 06:42:48,100 Even though I have another course related to sound design 5923 06:42:48,100 --> 06:42:52,366 in Cubase Focus and how to use Cubase professionally. 5924 06:42:52,366 --> 06:42:55,266 But I could say that it's almost the same process. 5925 06:42:55,566 --> 06:42:59,200 Try to remember everything, the transitions, the equalizers 5926 06:42:59,200 --> 06:43:00,566 to compress saws. 5927 06:43:00,566 --> 06:43:04,433 You must also take into account that when it comes to audio mixing 5928 06:43:04,933 --> 06:43:08,400 in the final tracking and the general track, you can also add effects. 5929 06:43:08,733 --> 06:43:12,200 I mean you can add multi band resource and equalizers 5930 06:43:12,266 --> 06:43:16,166 to create that effect of mastering as a friendly reminder, 5931 06:43:16,166 --> 06:43:19,200 you must also take into account that when adding tracks 5932 06:43:19,500 --> 06:43:24,066 you are able to add as many video tracks you want in all the tracks you want 5933 06:43:24,400 --> 06:43:26,700 and you can select the placement where you want. 5934 06:43:27,100 --> 06:43:30,666 The track is located and also the track configuration. 5935 06:43:30,900 --> 06:43:34,600 If it's mono example, these little symbol will appear on 5936 06:43:34,600 --> 06:43:39,800 the minor track is a very small speaker that you can notice over here. 5937 06:43:40,433 --> 06:43:44,066 So if you using an interface and interface, 5938 06:43:44,666 --> 06:43:49,733 the microphone will be connected to one single line, one single input line. 5939 06:43:49,966 --> 06:43:53,433 So the track where you are supposed to record that voice 5940 06:43:53,666 --> 06:43:56,966 or wherever you want must have also one track. 5941 06:43:57,500 --> 06:44:00,000 So just by clicking on that microphone 5942 06:44:00,000 --> 06:44:03,466 symbol, you can start recording a simple asset. 5943 06:44:03,466 --> 06:44:07,766 I'm not able to record anything at this moment because the software 5944 06:44:07,766 --> 06:44:12,100 is connected to another software in order to to record the lesson. 5945 06:44:12,333 --> 06:44:15,366 So my interface is connected to that another software. 5946 06:44:15,666 --> 06:44:20,166 So it doesn't work at this moment, but since you are going to be recording 5947 06:44:20,233 --> 06:44:23,533 lesson, you will be able to record the voice as you want. 5948 06:44:24,233 --> 06:44:26,366 So, so far, so good. 5949 06:44:26,366 --> 06:44:29,366 I highly recommend you to take that another course. 5950 06:44:29,366 --> 06:44:35,366 Have sound design because I really teach you there about how to master A.U. 5951 06:44:35,366 --> 06:44:35,966 mics. 5952 06:44:35,966 --> 06:44:39,433 I'm talking about surround mixing many subjects 5953 06:44:40,000 --> 06:44:43,500 to sound design, and most of all, always 5954 06:44:43,533 --> 06:44:47,300 from the point of view of a filmmaker that is the most important of all, 5955 06:44:47,700 --> 06:44:50,366 because most of the courses related to 5956 06:44:50,366 --> 06:44:53,666 sound design are related to sound mixing 5957 06:44:53,900 --> 06:44:58,166 rather than the creative process behind crafting a sound design. 5958 06:44:58,766 --> 06:45:02,566 So lesson is have to hear and until the next lesson 5959 06:45:10,400 --> 06:45:33,633 or perfect. 5960 06:45:33,633 --> 06:45:37,266 After having learned the subject of reverberation, 5961 06:45:37,266 --> 06:45:41,466 I want to teach you how to add effects and transitions to the audio clips 5962 06:45:42,000 --> 06:45:45,533 because not only we are going to be able to add effects to the tracks, 5963 06:45:45,800 --> 06:45:49,366 as in the last lesson, but we are also going to be able 5964 06:45:49,366 --> 06:45:52,200 to add them to each one of the clips we are using. 5965 06:45:52,433 --> 06:45:57,266 After all, they work like a video clips in which we can add effects. 5966 06:45:57,266 --> 06:46:01,333 So I'm going to start explaining these by adding music to these as seen 5967 06:46:01,800 --> 06:46:05,400 in the particularity of this whole the file that I'm going to use, 5968 06:46:05,700 --> 06:46:08,866 which is in fact the that the scene originally has, 5969 06:46:09,300 --> 06:46:12,200 is said this audio contains not only the music 5970 06:46:12,200 --> 06:46:15,066 but also the original sound design of the short film. 5971 06:46:15,900 --> 06:46:20,266 So I need to subtract from this audio only the part where the music sounds alone, 5972 06:46:20,433 --> 06:46:24,300 which is the part where we see the character running from the shot overhead. 5973 06:46:24,533 --> 06:46:26,666 But since I also have another file, 5974 06:46:26,666 --> 06:46:29,700 the music alone, I'm going to mix it with that audio 5975 06:46:30,200 --> 06:46:32,866 so that only the music sounds all the way 5976 06:46:32,866 --> 06:46:36,333 because we have already made it the sound of the scene. 5977 06:46:36,333 --> 06:46:40,333 So here I'm trying to join the two audio clips just at the moment 5978 06:46:40,333 --> 06:46:43,533 where the sounds of the scene start to play and obviously 5979 06:46:43,533 --> 06:46:46,666 I have to match the same part of the music in both 5980 06:46:46,666 --> 06:47:29,033 audio clips. 5981 06:47:29,033 --> 06:47:32,666 So here we are pretty close to almost matching the two audio clips, 5982 06:47:33,033 --> 06:47:35,466 but obviously it's not perfect. 5983 06:47:35,466 --> 06:47:37,700 I mean, it's noticeable that there is a cut. 5984 06:47:37,900 --> 06:47:39,800 We must delete that cut. 5985 06:47:39,800 --> 06:47:43,133 We must smooth the transition between one clip and the other. 5986 06:47:43,533 --> 06:47:48,266 So using this tape that we already know, we go to the premiere effects folder. 5987 06:47:48,700 --> 06:47:51,333 So here we will be able to add to the audio clips, 5988 06:47:51,333 --> 06:47:54,466 those same effects that we can add to the tracks and. 5989 06:47:54,466 --> 06:47:58,333 It will be exactly the same as when we add in effect to a video clip. 5990 06:47:58,833 --> 06:48:01,600 For example, here there are noise reducers 5991 06:48:01,700 --> 06:48:04,966 that are very useful for cleaning up the voices. 5992 06:48:04,966 --> 06:48:07,300 You can also add that compressor to the voices. 5993 06:48:07,600 --> 06:48:10,666 They sound more clearly on the rest of the mix. 5994 06:48:11,633 --> 06:48:14,533 In fact, that there is a very useful one in this folder, 5995 06:48:14,533 --> 06:48:18,300 which is the single band compressor which works. Yes. 5996 06:48:18,300 --> 06:48:22,866 For that there are also equalizers which are very useful too. 5997 06:48:23,266 --> 06:48:26,400 But what we need right, are all the transitions. 5998 06:48:26,833 --> 06:48:30,266 And in this folder we will find three types of transitions, 5999 06:48:30,333 --> 06:48:32,400 game power and exponential. 6000 06:48:32,800 --> 06:48:35,100 In reality, more than in a technical issue. 6001 06:48:35,100 --> 06:48:38,700 To choose the right one, you simply have to listen at it 6002 06:48:38,700 --> 06:48:42,000 and listen to which one sounds more similar to what you need. 6003 06:48:42,733 --> 06:48:45,133 So I'm going to choose the game transition. 6004 06:48:45,233 --> 06:48:49,200 I just select it and drag it to the junction of the two clips. 6005 06:48:49,833 --> 06:48:53,700 So this allows me to smooth out that change from one clip to another 6006 06:48:54,133 --> 06:48:56,633 so that you don't notice that cut that we did. 6007 06:48:57,100 --> 06:49:00,033 So now it sounds like the original music complete 6008 06:49:00,033 --> 06:49:08,933 without the sounds of the scene. 6009 06:49:08,933 --> 06:49:13,400 So I'm going to move the music a bit because when this low beat took place 6010 06:49:13,400 --> 06:49:42,600 in the music, the character is supposed to be facing forward. I'm 6011 06:49:47,000 --> 06:49:50,000 now pay attention how it all sounds together. 6012 06:49:50,100 --> 06:49:54,000 I'm going to unmute the rest of the sound of the scene to listen to it 6013 06:49:54,000 --> 06:50:19,300 together with the music and feel the magic. 6014 06:50:19,300 --> 06:50:33,333 We can turn up the gain of the music in general. 6015 06:50:33,333 --> 06:50:35,866 I think I exaggerated a bit. 6016 06:50:35,866 --> 06:51:33,633 I'm going to lower it a bit. 6017 06:51:33,633 --> 06:51:34,300 Perfect. 6018 06:51:34,300 --> 06:51:37,633 Now we can add a compressor in an equalizer to the voice, 6019 06:51:38,100 --> 06:51:41,033 I mean to the performance to improve its sound. 6020 06:51:41,633 --> 06:51:45,633 Actually, we could add this to the track where the voice is playing, 6021 06:51:45,966 --> 06:51:48,533 but I want to show you directly in the clip. 6022 06:51:49,300 --> 06:51:51,900 So we go to the audio effects folder 6023 06:51:51,900 --> 06:51:54,433 and look for the single band compressor. 6024 06:51:55,200 --> 06:51:58,500 So we selected and drag it to the voice of the clip. 6025 06:51:59,633 --> 06:52:00,433 So now when you 6026 06:52:00,433 --> 06:52:03,800 click on the audio clip, it will appear in effect control. 6027 06:52:04,200 --> 06:52:07,133 And here we will be able to modify its parameters. 6028 06:52:08,100 --> 06:52:13,500 So then we click on Edit and the Compressor Parameters panel. 6029 06:52:13,500 --> 06:52:15,866 Oh three Attention to this important detail. 6030 06:52:16,300 --> 06:52:21,100 I almost forget this notice that appear divided in panning parameters. 6031 06:52:21,100 --> 06:52:24,300 Have the automation clock activated precisely 6032 06:52:24,300 --> 06:52:27,466 because we have modified the automation line in the clips. 6033 06:52:27,900 --> 06:52:30,300 I mean, they tell you this so that you can see 6034 06:52:30,600 --> 06:52:33,033 that it works the same as with video clips. 6035 06:52:33,666 --> 06:52:36,966 So going back to the compressor here in this a small tab, 6036 06:52:36,966 --> 06:52:39,733 we select the preset that the compressor will have. 6037 06:52:40,100 --> 06:52:52,866 In this case, we are going to select the voiceover. 6038 06:52:52,866 --> 06:53:06,200 Listen to how the character's voice sounds now with more Bresson's. 6039 06:53:06,200 --> 06:53:07,800 But we can even improve the voice 6040 06:53:07,800 --> 06:53:11,766 with an equalizer so we can add a 20 band equalizer. 6041 06:53:12,333 --> 06:53:15,500 You should always pay attention to the equalizer always goes 6042 06:53:15,500 --> 06:53:17,400 before the compressor. 6043 06:53:17,400 --> 06:53:20,500 This must be so because the compressor must work on the frequencies 6044 06:53:20,500 --> 06:53:23,166 that we are going to reinforce with the equalizer. 6045 06:53:23,666 --> 06:53:28,433 So we add it, we click on edit, and we must raise the frequencies 6046 06:53:28,433 --> 06:53:34,900 a bit where the voice is playing. 6047 06:53:34,900 --> 06:53:38,700 For example, this gap between 1005 thousand hertz, 6048 06:53:38,933 --> 06:53:54,433 it's generally where these kind of voices sound. 6049 06:53:54,433 --> 06:53:58,333 You listen to how the voice sounds now with more clarity and presence. 6050 06:53:58,600 --> 06:54:01,300 I'm not increasing the voice volume, only 6051 06:54:01,333 --> 06:54:44,400 improving its equalization. 6052 06:54:44,400 --> 06:54:47,700 So basically this is what making a sound design is about 6053 06:54:48,433 --> 06:54:50,566 the same that I had done in The Voice. 6054 06:54:50,566 --> 06:54:53,866 For example, you could do it in the general output track, 6055 06:54:53,866 --> 06:54:55,366 in the mixing console. 6056 06:54:55,366 --> 06:54:57,066 I mean, you can add an equalizer. 6057 06:54:57,066 --> 06:54:59,700 And then for example, a multi band compressor 6058 06:54:59,800 --> 06:55:02,533 to give more volume to the whole sound design. 6059 06:55:02,933 --> 06:55:07,200 On the other hand, remember well that you can download sounds from the internet 6060 06:55:07,533 --> 06:55:11,000 and make a completely professional sound design without any problem. 6061 06:55:11,233 --> 06:55:15,066 And also remember the issue of transitions that in fact 6062 06:55:15,066 --> 06:55:18,766 you are going to have to use it a lot, especially with voices. 6063 06:55:18,766 --> 06:55:20,700 On the other hand, there is another very useful 6064 06:55:20,700 --> 06:55:23,300 and important tool when it comes to sound design, 6065 06:55:23,800 --> 06:55:28,466 and that is that you can record directly on the timeline, record audio 6066 06:55:29,100 --> 06:55:34,166 if you go to the sequence step and then add track and then you add a MONA track. 6067 06:55:34,166 --> 06:55:37,733 For example, actually here in this panel, you can also add 6068 06:55:37,733 --> 06:55:41,133 a video track or another track of any nature. 6069 06:55:41,300 --> 06:55:44,066 I mean, if you want it to be stereo or mono. 6070 06:55:44,600 --> 06:55:47,833 So if we had them on a track, we will be able to record what 6071 06:55:48,366 --> 06:55:51,133 in through the input line where the microphone is connected 6072 06:55:51,133 --> 06:55:55,733 to your interface in the case that you are using an audio interface, of course. 6073 06:55:56,400 --> 06:55:59,700 So this little white you see here is what identifies 6074 06:55:59,700 --> 06:56:01,633 the Mona tracks on the timeline. 6075 06:56:01,633 --> 06:56:05,200 And those Mona tracks are where you should record when you are using 6076 06:56:05,233 --> 06:56:07,133 a microphone with the interface. 6077 06:56:07,133 --> 06:56:08,133 So this is great 6078 06:56:08,133 --> 06:56:12,000 because we don't need any audio editing software to record anything. 6079 06:56:12,333 --> 06:56:18,100 But anyway, you must record on the Mona tracks because the audio input is minus. 6080 06:56:18,100 --> 06:56:22,733 If you did it on the stereo track, it would be recorded readily on the one side. 6081 06:56:22,833 --> 06:56:25,033 I mean, it wouldn't make sense. 6082 06:56:25,033 --> 06:56:27,466 So you simply had to press these little 6083 06:56:27,466 --> 06:56:30,600 that is here and the software will start recording immediately. 6084 06:56:31,033 --> 06:56:33,633 At this moment, I can record anything because everything 6085 06:56:33,633 --> 06:56:37,333 is connected to the software that allows me to record lesson. 6086 06:56:37,333 --> 06:56:38,666 But this is not too complicated. 6087 06:56:38,666 --> 06:56:40,733 Just press there and it will record. 6088 06:56:42,033 --> 06:56:43,200 Well, I think 6089 06:56:43,200 --> 06:56:46,233 the most important thing is that you lose your fear of editing. 6090 06:56:46,233 --> 06:56:48,433 Now you don't limit yourself. 6091 06:56:48,433 --> 06:56:50,300 It's not as complicated as it seems. 6092 06:56:50,300 --> 06:56:51,566 Yes, try it. 6093 06:56:51,566 --> 06:56:56,300 This is very useful for videos on YouTube and obviously to create fiction projects. 6094 06:56:56,433 --> 06:56:58,800 Sharp films, movies, etc.. 6095 06:56:59,200 --> 06:57:03,033 But I think that today is useful for everything, including some documentary 6096 06:57:03,033 --> 06:57:03,833 video. 6097 06:57:03,833 --> 06:57:06,466 You could improve the audio using this entire procedure 6098 06:57:07,066 --> 06:57:10,366 and do not forget that important detail of their reverbs 6099 06:57:10,800 --> 06:57:13,633 that work very well to create the soundscapes. 6100 06:57:14,100 --> 06:57:47,466 Well, this lesson is up to here and until the next one. 6101 06:57:47,466 --> 06:57:50,266 Well, this video editing course comes to this hand. 6102 06:57:50,700 --> 06:57:55,633 The most important thing is that I'm going to update eventually with more lessons, 6103 06:57:55,900 --> 06:58:00,433 especially concerning the understanding of cinematographic language. 6104 06:58:00,833 --> 06:58:03,700 I believe that this is essential to become better editors, 6105 06:58:03,700 --> 06:58:06,700 better filmmakers, better videographers also. 6106 06:58:07,133 --> 06:58:09,000 So put everything into practice. 6107 06:58:09,000 --> 06:58:10,600 As I told you, you consume quality. 6108 06:58:10,600 --> 06:58:12,600 You are to develop your own sensitivity 6109 06:58:12,600 --> 06:58:15,133 to moving images and also the sound dimension. 6110 06:58:15,600 --> 06:58:18,666 Well, if you like this course, you can leave me a review 6111 06:58:18,666 --> 06:58:23,466 because it will help me a lot to create even better courses than this one. 6112 06:58:23,466 --> 06:58:38,200 Until next time. 569401

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