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Now, that we've finished up our stationary shot,
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we're going to go ahead and edit our motion controlled shot,
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Let's open up Lightroom again.
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For this particular sequence,
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we were shooting at sunset so the exposure is going to be changing quite drastically.
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One of the things I really recommend is actually going to
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the middle of your sequence and exposing for that shot.
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The beginning might be a little
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overexposed but the ending is going to be more properly exposed.
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We're going to go as soon as these files load and go to the middle of
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our sequences which is somewhere out of the 400 shots around 200.
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I'm going to go ahead and select our 200th image
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right here which is in the middle of our image sequence.
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I'm going to go ahead and hit Develop.
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We can see right now that everything is pretty dark in the foreground and the background
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is properly exposed but we want to
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bring all that information out that's in the foreground.
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I'm going to go ahead and again play with the shadows.
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I'm going to increase that a little bit.
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You can see that we have some more detail.
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Now, we can actually see all the buildings in the foreground and in the background.
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I'm going to increase the exposure just a smidge.
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Using the histogram, I'm going to be able to gauge from
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our blacks all the way to our whites and make sure nothing is clipping.
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Right here, it is just about even.
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So the next thing is I'm going to go and decrease some of the highlights.
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I can get some more inflammation and an increase exposure a little bit more.
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Now, you can watch the histogram and now we've got a really nice dynamic image.
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Everything is really well lit.
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Then, as the sun is setting,
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the of color temperature changes.
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So we're going to go ahead and change the color temperature from where it was set to,
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to something that's more accurate.
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That's nice then, one thing I'd like to do is I'd like to make things,
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this actually comes down to the stylistic part.
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I can make things a little more gritty, little more dark,
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so I'm going to increase my blacks a little bit or actually decrease them.
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That's going to make everything just a little more contrasty and dark.
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At the same time, I'm going to increase my whites so that my bright objects
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kind of have a little more flair to him then.
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The two for this scene,
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there's a lot of information that's in the sky that you can't see.
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So we're going to increase the vibrancy a little bit as well as increase the saturation,
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and that's going to make this skyline pop.
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It's going to have some really nice yellows and oranges to
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him and it still looks relatively natural.
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From this point, we're going to do the same thing we did
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in the stationary shot where you're going to go ahead
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and select one image where the image that we're on right now which is image 200.
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I'm going to select all of the images by doing your Command or Ctrl A to select all.
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Then, we're going to come over to sync.
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Hit Sync and then we're going to hit synchronize,
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and that's going to paste this setting on all the other images.
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Once that happens, we can go back to our library and we can now see that
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all of the images that we just had that were dark are now coming out to be lighter.
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A little more robust and dynamic in their visual range, so great.
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From here, we're going to do the same thing that we did in the stationary processes.
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We're going to go ahead and export.
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I'm going to select all of the images.
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I'm going to right-click on my mouse,
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go down to export.
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You click on any image you want to or even go up to File Export
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as long as all the images are selected. Click on export.
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Again, make sure you're exporting to the same folder as the original photo.
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We're going to check put into a subfolder when call it processed then image name,
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we're going to go ahead and switch.
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Since, we just did street-level let's go for rooftop and call it.
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Make sure the start number is one and then you go ahead and hit Export,
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all the things you had before when you export should stay and remain the same.
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So, you shouldn't have to go back and change any of the other settings for
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your JPEG or the quality of your JPEG.
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We'll let this render and then when it's finished we'll go
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ahead and check it out and aftereffects.
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Cool. Now, that we're done rendering,
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we're going to go ahead and open up aftereffects and we've
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got our original sequence before so we're going to go ahead and create a new sequence.
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I'm going to create a new composition.
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We're going to name this composition Rooftop.
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Make sure your presets are the same as before.
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We're still at 1080 P at 24 frames per second.
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Go ahead and hit Okay. Now, we're going to import.
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I want to go up to File Import.
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Click on File. I'm going to over to my desktop.
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Open up Timelapse project.
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Go to my motion controlled shot.
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Find the folder that we exported our new JPEGs to.
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Click on the first JPEG.
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I'm going to say as a JPEG sequence make sure that it
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says important as Footage is selected and then click Open.
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Again, we really want to make sure that our frame rates are the same.
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So, just like we did in the stationary process,
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we're going to right-click on our image sequence here.
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Going to go to interpret footage.
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Click on Main and then change the assumed this frame rate is from 30 down to 24,
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after that click Okay, arrange our timelapse.
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So, go ahead, select rooftop or the image that you just put in.
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We're going to bring it down into
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our new sequence which as you can see it's selected by right here,
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and we're going to drag and drop.
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We're a little Y in the shot so what I'm going to do is I
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want to make this shot a little tighter.
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I'm going to go ahead and just make it so that it's just the skyline.
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I'm going to click my image.
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Click S for scale on the keyboard.
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Bringing the scale down a little bit.
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Reposition my image and I'm going to zoom out here for R,
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so I can make sure I can see the full image. There we go.
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Zoom it up just a little bit and there we go.
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We've got a really nice skyline shot.
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But one thing I can notice right off the bat is that the horizon is off-center.
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What I want to do is we want to rotate this so that it's a little more level.
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I'm going to hit R on my keyboard for rotation and I'm just
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going to decrease it just a little bit.
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I'm going to do a negative two.
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Actually, let's just do negative one and we can
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check our horizontal line by doing a Command R or Ctrl R,
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which brings up the rulers and I'm just going to bring a ruler right down here and
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take it right up the center object and
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I'm going to use this building right here to be my level.
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If we zoom in, we can see that the image is now a little more level.
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So that works out great.
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I'm going to zoom out here really quick.
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One thing that happened when we were up shooting is that there was a lot of wind,
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so I'm expecting there'd be a lot of bounce in
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the shot which means we're going to have to go in and add
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some different types of effects to smooth it out and stabilize it.
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We're going to do a really quick render.
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I'm going to change this from full to
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half which means it should render a lot faster and I
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go over my preview and hit Play and
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we're going to let this render and see what it looks like.
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We're done rendering our sequence. We're going to go ahead and check it
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out. I'm going to hit play here.
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Right off the bat, we can see that there's some wobble and some wiggle and
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some bouncing going on here and that's more than likely because of the wind.
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We want to go back and eliminate that completely and it's really easy to do.
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We're going to go ahead and stop our sequence.
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I'm going to click on our sequence right out
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here and I'm going to right-click on my mouse then,
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I'm going to bring it down and click on Warp Stabilizer VFX.
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What this is going to do is it's going to basically analyze
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all the information that's in the shot and then
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stabilize it based on the motion of the camera.
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We're going to let this render and
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analyze and then we'll check out our shot, see what happens afterwards.
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I really recommend just leaving the default settings for
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Warp Stabilizer as you don't really have to mess with it too much.
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Unless, you've got a really wobbly shot or just doesn't look good,
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you may want to either increase or decrease the smoothness, depending on the shot.
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For this evolution, we will just use it as a standard default which is 50 percent.
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Our shot is finished rendering.
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We're going to go ahead and check it out,
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see what it looks like with the Warp Stabilizer on it.
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Go ahead and click Play and it looks smooth as butter.
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I like it. Looks good. We're done.
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Now, you can kind of see what you can do if you have
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any problems with any bumps or vibration.
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Warp Stabilizer is an amazing tool.
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If it doesn't come out the way you like it,
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you can always adjust the smoothness,
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you can increase a decrease it,
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see what works best for your particular sequence.
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From here, we're going to go ahead and export it again.
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I'm going to go up to composition.
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Make sure that you've got your tab selected down below which we do right here.
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Then, go to Add to
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Adobe Media Encoder and then we see that our rooftop shot popped up right here.
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We're going to use the same settings as we did before with our stationary street shot.
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I'm going to change it though and make sure that this is in our project settings folder.
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Click Save and then we had a little green arrow and it's ready to go.
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We'll let this render out and see what it looks like we'll go from there.
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We are done rendering.
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We're going to go ahead and check it out.
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Just go ahead and click on the output file line right here.
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We can see that it's in our little folder that we created.
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Go ahead and click it and watch it in real time. Looks good.
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Now, that we've done this, we've created two different clips.
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You can create a rooftop or a street shot and this is where we can go back into Premier.
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We can throw some music underneath it and create
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a small story this is what I want
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you guys to be able to do I want you to go out to your city,
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go out to your area,
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produce a few timelapse clips,
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put it together and make a video out of it. I know you can do it
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