Original subtitles

Hello, everyone.

Welcome to this great chance to learn about film editing.

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

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

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

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

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

to tackle any editing project, any film

project, film editing and video editing.

It's not a mere technical issue.

So as we learn to use Adobe Premiere software,

we will learn important things related to editing and filmmaking.

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

of assembling shots.

I think that for fiction it's fundamental.

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

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

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

Software and other professional examples on the screen.

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

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

So don't miss the chance to learn this.

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

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

there are three fundamental concepts or narrative tools

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

with a fictional project.

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

because it happens at a script.

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

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

But in the editing process,

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

So in that process, problems and challenges will arise

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

Additionally, is the latter stage of writing

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

So pay attention to how important it is.

So these three comes after ellipses, time and corner.

This is stored in

the ellipses is a narrative tool

that allows you to summarize information in a story.

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

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

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

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

The audience sees a scene and already understands

what could had happened between the time jumps.

I mean, what could have happened in that information

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

So let's see this example.

That is a very good one.

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

help from a man who is working as a carpenter.

The actor is Brad Pitt, Indeed.

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

Originate from Canada.

I guess where that is.

I know where Canada is.

I've been there myself.

Montreal and

Kingston and Queenstown.

And a great many places.

We'll travel a slave.

How came you here?

That's too bad.

Have justice have been done?

I never would have been here.

How was this

coming?

Your.

I'm afraid to tell you.

And the word you speak is profound.

She. It.

It is amazing.

And in no good way.

Do you believe

in justice, As you said,

I do.

Slavery is an evil that should befall.

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

I think there are minutes left to finish.

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

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

That is story that we already knew.

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

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

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

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

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

But since we are so audience know the story,

we can imagine what he told the other character.

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

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

The other important element is time.

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

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

small example in one of my works,

22 plus

three

in this a scene

which is actually a flashback, I mean a memory.

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

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

The baby in the scene last a long time.

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

of looking for seconds generates expectations in the audience

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

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

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

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

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

I don't know.

So many things you can imagine

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

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

The other element is the caller.

The caller results important.

In this same scene.

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

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

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

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

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

Here there is another example of a flashback.

It suppose that the character is remembering the best moment

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

the memory has another color correction, another color grading.

Additionally, the color is also related to the emotions

and lighting in the court of correction.

You are not supposed to select a color for a scene

that could be detrimental to the emotion of the scene.

So as you could see, these are very important elements

when it comes to telling these stories by editing.

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

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

All these tools are used to tell a story properly.

Later on, we will see another important elements related

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

But we will see that in another lesson until

the next time.

Perfect.

We are here again.

I know there are important elements related to this toolbar.

Are those buttons that are over here

and take these buttons as an extension of these toolbar.

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

And what is this used for?

This magnet is directly connected to the racer tool

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

and sometimes we need to cut matches the blue guideline.

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

But the magnet not only sticks, the guideline,

but also the borders of the clips.

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

to other clip, for example,

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

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

It happens that since we usually zoom in

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

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

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

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

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

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

That is not activated.

So you already know how it works.

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

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

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

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

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

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

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

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

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

But it happens that we used to mean the timeline completely

and you move the blue line guide.

That line is moving from one frame to another

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

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

I mean, you can notice the older jumps

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

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

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

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

not jumping from one frame to another,

but following the continuous all the time.

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

You must remember that the audio is more accurate.

I mean, when you are using a 48 caid resolution

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

You can notice this in the time error

that at this moment is display in the audio samples.

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

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

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

So the following button is this the link selection button?

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

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

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

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

we are going to select the audio clip as well.

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

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

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

So I'm going to do it again.

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

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

The following button is the tool for inserting sequences,

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

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

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

but put in an and out.

So we go back to the sequence we are working with

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

So when this button is deactivated

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

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

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

into the sequence we are working with.

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

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

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

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

and this nested clip contains everything inside that sequence.

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

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

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

So I'm going to open this sequence again.

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

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

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

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

and you are able to select the portion you want of

that sequence as if it were another clip.

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

the other sequence.

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

into this one.

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

I mean, everything that was between the end and out

and additionally and moving the clips inside a sequence.

So the following button is the marker tool.

Basically, they are reminders that you are able to add

to the editing to remind you something important.

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

you are likely to miss things in the editing.

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

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

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

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

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

comments related to the sequence or changes.

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

So I use this a lot because huge

projects involves many hours of work.

The next tool is this spotter here,

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

I mean, the timeline has several features.

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

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

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

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

because I have never been keen on using shortcuts

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

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

and then keyboard shortcuts just right here.

The software provides you all the information about the shortcuts.

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

The brain has boundaries,

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

I mean,

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

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

related to general culture, to art,

to philosophy, etc., etc.

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

the best of the best of your artistic references.

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

So I'm not spending my time.

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

For example, a minute

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

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

And also this linked tool that allows you to select either

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

remember, it is tool for in certain sequences

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

Remember also the markers in this last one and the spanner

that allows you to display the timeline features.

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

Hello, people.

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

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

In my filmmaking course, I talk about these in depth

semiotic lessons where I explain how important it is.

The figure ground concept.

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

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

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

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

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

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

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

I mean, Instagram, YouTube, Tik Tok.

The problem is that

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

That kind of movies in which

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

It's necessary that the communication process between the author

and the audience is accurate and correct.

So we must always ask the following question to ourselves.

The audience is really understanding what the script means,

and in this sense, the process of editing is fundamental

because in that process we are going to determine

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

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

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

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

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

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

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

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

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

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

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

I mean, the amount of time

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

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

we must be prepared to understand when necessary or not,

when it's convenient or not.

Stretch or squeeze a shot.

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

I worked specifically to end the music,

but the thing is that this work has problems

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

there are valuable shots precisely due to its duration.

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

In this short film.

The story is about a girl who is an actress

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

anything to her mother.

The girl behaves strangely.

She's always in a bad mood.

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

finds a sweater of her daughter with a bloodstain.

And finally the mother understands that the girl suffered

some kind of abuse and manages to understand her daughter.

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

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

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

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

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

The bigger has a shooting on a specific date,

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

But pay attention to the shot in the first place.

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

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

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

An editor could have perfectly solved this, for example,

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

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

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

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

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

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

where we see some flowers with cars on a table.

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

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

I thought it was a coffin with some flowers above.

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

It turns out that they are congratulation

gift for the girl for having acted in a play.

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

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

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

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

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

as if she were thinking about something deeply.

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

it would object with flowers about what do you think?

What can you think?

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

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

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

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

or to remove it. But under the illustration of

Columbia Girl, to look

really? MM

But not everything is failing in this short film.

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

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

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

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

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

But they didn't do that.

Simply, the scene is long enough to allow us

to contemplate the two characters for a long time,

to immerse ourselves in the emotions in their emotions

in a deeper way.

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

the fact of contemplating a painting.

Let's use as an example these minutes painting.

Let the genius live.

Let's suppose this is a shot.

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

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

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

It's enough time, 4 seconds to detail

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

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

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

Those to France with their lovers.

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

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

Until next lesson.

Perfect. We are here in the Adobe premiere.

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

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

and in turn, how a script page that represents

60 seconds in a movie also looks like.

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

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

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

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

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

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

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

it will not always be like that.

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

So as filmmakers or editors, we are supposed to know

how long the actions in a film script really last.

This is start and

end gave in shape day no begin to arm hangs

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

an open suitcase lies on the floor.

A music book is in the suitcase.

A soft light illuminates the young skin of innovation, design

innovation to sleep soundly on the bottom of a bank.

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

The sheets and pillow are very wide.

The sounds of some seagulls is heard in the distance.

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

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

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

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

off the morning light indicates that he must get over

the which intercedes on the edge of the bed.

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

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

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

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

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

and then walks slowly towards the cabin windows,

approaches the cabin

windows while he fixes his braces,

knobby chin to watch through one of the cabin windows.

His seems very thoughtful.

There are cutouts of the walls of the cabin

like someone who has been there for quite some time.

The cabin lights turn on, indicating

that the ship is about to dock at the dock?

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

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

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

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

Lubitsch into approaches to change and sits down.

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

The sheets seems to remind him of something

nobody center is nostalgic, his stirs into infinity.

Very thoughtful.

Obviously what we

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

an interpretation that can come from a script writer

or can come from the film director himself.

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

is this in the true these

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

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

However, the first thing we should take into account

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

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

So pay attention to the importance of this knowledge

because we can already see the deficiencies in the writing.

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

that are happening in the script page.

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

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

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

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

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

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

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

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

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

and that is that a large number of details are described

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

to represent them.

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

Okay, Now I've only been shot.

And what does this mean?

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

what is happening in the cave in our shoulders,

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

A soft light illuminates the young skin of snobbish enzyme.

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

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

that nobody is worried about something in the distance.

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

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

are essential to be able to determine which are the shots

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

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

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

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

For example, the detail of the Vicenza Psalm

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

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

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

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

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

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

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

You fragment it to the timeline.

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

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

represent it.

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

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

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

though Additionally, we can see in this shot

what the Norwegian two clothes are like

as well as how soundly asleep he is.

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

In fact, by combining this close shot

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

we can see in more detail how no which and stressed

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

that are not that comfortable at all for sleeping.

Additionally, we can see more detail the paper cuts

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

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

and added to the timelines, there is something very important

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

different takes of the same action.

We must pay close attention to the guarding actions.

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

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

multiple cameras and set at the same time.

For example, here to correct your turn still worst.

The light, in fact, is still light

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

So this action is repeated in different shots

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

So if we turn to respect these consecutive elements

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

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

Ellipses is a narrative leap of time in the editing,

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

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

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

that allow me to properly join one shot with another.

Now I'm

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

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

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

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

that we want with the eye and oh,

and then drag that video to the time line.

So look at how the cutting action looks.

Creating the sensation

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

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

we are going to discover things from the Datsun, things

that Indian will allow us to enrich the editing.

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

The morning light enters through small round windows.

Typical of a ship from the early 20th century.

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

in the script that is written separately in a small paragraph

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

Some details of that element of mass be seen.

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

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

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

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

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

out in practically leaves the windows exposed

as if it were a shot of the windows.

So we can use those seconds where navigation does not seen

as if it were a take.

I call these taking shots of the shots themselves.

The interesting thing about this is that it forces

us to also create a connection with the other shots.

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

the shot with the others.

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

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

Remember that a natural action of the character

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

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

So this little window shot is crucial.

It allows me to describe the space in more detail.

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

in a close shot

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

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

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

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

the action units are contained both in the close shots

and in this general shot, the reading is different.

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

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

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

simply that we must be open to find in creative possibilities

within the data that the production team, gypsies

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

and this is another great example to see what a screenplay

really looks like on screen.

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

The most valuable thing about this knowledge is that many times

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

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

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

practically be writing the story ourselves.

Well, let's continue with this example.

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

Nobody approaches the bench and sits down.

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

The music seems to remind him of something

no bitchin doing systematic he is stirs into infinity.

Very thoughtful.

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

But can we really see that now?

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

is that in the opening shot we only see the character

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

But look now at this shot here.

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

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

that now we can do is thoughtful in affected by what

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

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

to the timeline and be able to better described

that emotion that is read in the script.

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

It looks very well mixed with the other shots,

the attention to each of the movements in the performance

so that ellipsis does occur in the editing.

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

For example, we can use any of the moments

we're now we tend to relaxes this head back

associated works of this nature over and over again.

You will develop a sensitivity

to editing because your brain will automatically read into shots.

In this way.

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

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

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

This is a basic principle of film writing.

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

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

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

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

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

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

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

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

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

Secondly, it's important

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

I mean, in order to have chosen this shot

instead of the composition with different shots

that describe the details, etc.,

the script had to have another nature.

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

when the paragraphs are long,

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

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

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

On the other hand, the

scripts are written in the actions unit each period in continue

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

Additionally, although the ellipses almost always

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

there are not always time jumps in full stops.

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

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

especially when they are expert writers

who really know how long human actions last.

So take these into account so that you know how

to interpret the scripts that are presented to you.

And unless the director himself has other instructions,

we must follow what the script is suggesting to us.

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

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

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

because the scripts are always in a constant process of improvement

until the end, until the last editing stage.

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

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

So I'm going to leave you the two versions

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

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

So that is for this lesson.

And until the next one, Perfect.

We are here again in the topic premiere.

What the purpose of this lesson.

I want to show you

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

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

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

in videos for social networks can mean those videos

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

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

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

the time of now do these sorties is limited

and sometimes we want to tell a longer story,

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

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

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

the most important moments to tell those 15 years.

So I'm going to use this same example.

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

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

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

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

to the window, etc., etc..

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

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

Actually, I mentioned that there were certain cartoon actions

such as when I begin to turn towards the light.

That is important because there were two shots in a row

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

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

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

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

But what would happen if I eliminate that connection

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

that generates continuity, that continuity,

I mean, that I choose some random shots

in the scene inputs in one after another

by doing that and the narrative becomes something else.

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

timestamps between what is happening in one shot in another.

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

that is altering the continuity of actions.

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

corresponding to those narrative elements,

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

We're now begin to begins

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

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

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

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

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

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

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

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

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

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

are written in a single small paragraph because the script

is telling us that they are different action units.

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

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

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

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

So one after another indicates that more time has elapsed

than what we are seeing directly in the film.

Obviously, this is not done randomly.

That is, there is a context

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

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

I mean, if different shots one after another,

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

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

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

exercising different actions one after another in that will represent

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

could change to represent different moments of the day.

But that would be even more explicit.

I suppose that you have seen

these in movies and this is that in there

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

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

then on public transport, etc., for example.

We could do that.

But of course we must give a slight previous

context that justifies all those moments.

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

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

But in general terms, that LEAP says assist.

It's those spirits at the time.

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

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

Their time is Besson.

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

to tell these stories in all current communication formats.

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

prior information that makes them understand that the different shots

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

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

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

with thinking about things in his mind while time passes.

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

to making montage with ellipses.

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

but it was at

that precise moment he understood the life was already giving me

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

There was nothing else to wait for

but to follow that voice inside of me.

Did you realize the difference?

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

Obviously this is explicit, but true to mind

in a scene where each of the actions were really different

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

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

Benjamin Button, where this narrative is strategy.

It is there.

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

of course, the scene is embellished with a voiceover.

So until the next lesson,

it's running back.

And maybe that's way.

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

again, home to phone

work.

Our children

to live long,

full lives.

Perhaps my own son might come home again.

I'm sorry to offend anybody.

I hope you enjoy my clock

first.

Okay?

Yeah, he did. Gave

some say died of a broken heart.

Some say he went to see.

Hello, everyone.

You're here again.

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

those files corresponding to one of the recordings,

which we are going to work with.

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

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

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

But proxies allow me to improve workflow and computer performance.

So we are going to create the proxies

if any of these folders that have the original files.

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

You can choose all of them at the same time.

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

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

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

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

And here we are going to have two options.

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

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

There are three options high, medium and low,

but also we have the option of choosing quicktime format

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

Perez is a professional uncompressed format with enough quality,

but less than an original uncompressed file from the camera.

Actually, sometimes the film camera

even has the option of recording in a press format.

But the truth is that in that press format,

there are options with higher resolution and with less resolution.

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

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

without sacrificing so much quality on the programs monitor.

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

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

that will give you the best performance in this part.

Below, you will be able to choose the location

where you want all those proxy files to be saved.

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

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

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

the original files are to improve the performance of the computer

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

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

to connect them.

Are you already selected a specific folder?

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

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

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

that is just above and as it a proxy

folder will be automatically created next to the original folder.

So once we have chosen all

the specifications we want, we simply have to press.

Okay.

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

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

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

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

in the background.

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

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

unless your computer is very powerful,

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

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

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

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

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

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

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

But anyway, if by chance they are disconnected,

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

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

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

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

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

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

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

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

With a better workflow, with better performance.

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

to the video clips and also use the proxies.

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

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

So try to take advantage

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

even if your computer is not powerful enough

until the next lesson.

Perfect.

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

from the Timeline toolbar,

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

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

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

On the other hand, you are going to embellish

those under the lines with an action essential

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

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

essentials in this lesson,

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

So let's start with the text tool.

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

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

So I'm going to type B atelier.

So immediately after we finish

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

We can stretch or squeeze this clip as we want,

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

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

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

So we can click on this and it will automatically open

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

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

the text that we have here.

But pay attention.

In reality,

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

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

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

control panel.

So the graphic clip would be a kind of general clip

that can contain all the text that we want.

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

to the text in the clip separately.

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

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

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

So pay attention that I have typed to my name

and no new clip was created in the timeline.

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

we will find individual configuration tab of that new text.

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

You had to be careful because you can get confused.

It happened to me at the beginning.

If you change the position parameters of the clip,

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

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

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

and not of the text.

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

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

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

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

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

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

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

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

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

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

in another little later with two different positions respectively.

So now you can see how only the text

where iterates at earlier moves.

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

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

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

Obviously all the criteria of two letters

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

And on the other hand,

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

But pay attention to this.

It's very important.

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

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

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

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

in the program monitor.

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

So the correct way to make the letter big without pixelated

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

I mean, make them big enough that even approaching it

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

So I always recommend the font as quick as we can

and zooming in or out using this scale

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

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

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

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

and then choose for color gradient.

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

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

It must be above the text.

So this effect allows me to modify

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

There are four different ones, and the software will generate

a whole range between the colors.

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

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

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

So to underline the text in an animated way,

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

background later, so we must go to the general.

Then we click on the right mouse button,

we go to new item and then to color matte.

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

that will be created by default.

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

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

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

actually I have

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

So we must direct that clip to the timeline.

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

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

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

So we go to Transform folder and we select crop

and we drag that effect to the table.

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

by using these parameters over here.

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

and bottom parameters.

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

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

the text.

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

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

as if it were animated.

So we move the right parameter until the line disappears

and then we add the first keyframe.

So now we must choose the moment or point

where we want the line to end up appearing.

And now the line appears by itself fully animate it.

And now we can change if.

We want it to appear faster, for example.

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

I mean that the space between them is shorter.

In fact, you could play with this.

The line could be another way, or

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

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

an action essential with this underline.

But what is an action?

Essential is a video recorded with a green screen.

But with that green background already removed from the video,

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

There are action essentials of all kinds.

Fire shoots, blade.

In fact, Action Essentials is the brand.

Actually, these are perforated videos.

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

So look at how the sparks look on the video.

Just the spark as if it were a PDF file.

So imagine everything you can do by using these.

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

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

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

at the tip of the line as the line appears.

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

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

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

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

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

parameter and the position parameter to what I already mentioned,

that the spark matches the line.

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

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

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

There's something very important to note regarding keyframes.

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

I mean, we squeeze it

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

And then we don't know where it is.

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

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

perfect.

We already have our spark adapted to the line,

but we could also add a background image to test

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

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

We can darken the universe a bit.

We can do it by modifying the opacity parameter.

For example,

I'm going to do a little preview, render

well,

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

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

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

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

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

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

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

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

I mean as far as fire, etc..

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

you know, perfect.

We are here again, almost finishing the module

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

So this stage is quite simple.

I would say it is the most simple of all.

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

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

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

You already know how to do it,

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

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

and then go to export and then you click on media

and this window will be displayed.

And in this window you can modify the export settings.

Mainly you have two ways to export files.

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

Let's start with this.

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

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

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

They bitrate rate is the amount of information per second that

the video will have.

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

all these options over here, these least

which are older files completely adapted to different platforms.

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

And basically those files help

the video to have a better performance in the players.

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

the system adapts your sequence to this format,

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

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

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

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

And with this for file is 365 megabytes.

And with this other profile, these a gigabytes.

But actually if we check the profile settings,

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

So we will have these two failures here

or sample failures and they move in this faders.

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

when we are talking about compressed formats.

I highly recommend you to keep these numbers.

This bit rate under ten

because you are creating a compressed format in that format.

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

to be light also and light for the players.

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

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

will be noticed in the dark areas of the image.

Additionally, by uncheck in these boxes over here

you can modify any of rest of the parameters,

but I know that you will not modify these because

because you have created a sequence with a specific settings.

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

but you can modify the audio quality, for example.

That is very important because there is also a bitrate

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

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

A simple step is not that complicated,

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

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

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

So in this format you will have all these presets.

Actually they are not completely and compressed because the very process

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

I'm going to choose this apple Prores 4444.

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

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

but you will be able to choose features like these render

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

You can choose eight or 16 that has more quality.

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

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

It happens that nowadays people are likely to work with formats

like AK or six K in the video player.

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

a specific technology adapted to that resolution.

You HD formats.

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

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

in the image.

So over here you will have three options related

to the transmission of information in terms of color.

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

like the sequences we were working with in this course.

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

resolution. Additionally,

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

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

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

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

So it's very important to take these into account

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

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

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

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

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

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

you must start by modifying the colors of the image.

You are supposed to modify them creatively.

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

So try to make sure you have a good cinematography,

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

from your videos.

Additionally, I recommend you to check this option.

Use maximum render quality.

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

in the QuickTime format is another option over here.

When it relates use previews, it's very useful

when it comes to creating the file as quick as possible

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

throughout the editing to create that final file, thereby reducing

the export time.

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

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

format the H 264 in the hardware of your computer

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

If you want to use the integrated card

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

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

So if you find many problems exporting,

I highly recommend you to choose software encoding.

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

It will depend on your computer performance.

Another important reminder related to this

compressed format is the bitrate encoding.

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

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

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

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

Also, golden errors are not very common.

They do happen.

So when you reach this stage you will be ready

to create your filed by clicking on export.

So this would be the most important formats

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

until next lesson.

Hello people.

One of the biggest challenges when it comes to video

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

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

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

depending on the rhythm of the music.

This cut will be more frequent or less frequent.

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

when it comes to knowing where to position the cuts.

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

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

This is

of with the students

in school. We

made a similar you saw

someone have a, you know,

doing perfect and here in a software called Cubase.

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

but am Incubus because this software has a tool

that will work for me to explain what they want.

Explain to you.

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

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

Let's start with time.

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

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

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

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

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

that person can keep up with a song they like.

I mean, people can dance.

People do many things that involve their rhythm.

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

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

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

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

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

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

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

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

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

it follows the rhythm.

So pay attention that it's the same.

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

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

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

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

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

In other words,

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

100% of the shots must match.

So pay attention to, for example, this part.

See how it changes from one shot to another

almost perfectly.

Did you notice

that is almost perfect. One,

one, etc., etc..

The cuts are following the rhythm.

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

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

So pay attention. That is not perfect.

That is.

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

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

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

For example here one to

look at.

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

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

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

I mean, the first take of the chorus

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

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

it's necessary to see its complete

end. That would be a cut by action.

The song can be, you know,

but let's move on to this.

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

and you are going to pay attention to the cuts.

One, two, one, two,

one, two, one, six.

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

one, two, one, two.

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

but there may even be moments where the music is louder

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

Example

even score one here.

So those three cuts

completely followed

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

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

because it's an important gesture visually.

So as we gonna send a signal to you,

but the cuts in movies or short films work differently.

They are not determined by the rhythm of the music,

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

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

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

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

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

This is seen as a proof that communication

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

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

because Benjamin's

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

So the information communication is double visual

and through the voice of the character.

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

And all the while Daisy was realize

and this cab driver who dropped off earlier fare

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

The lady was going shop The Mysskin of the cab.

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

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

Said set his long

while that man late for work was crossing the street.

Daisy had finished renovations and was taking a shower

while Daisy was showering.

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

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

had broken up with a boyfriend the night before

and forgot when the package was wrapped.

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

All the while Daisy was getting dressed.

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

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

while the taxi was stopped waiting for a traffic light.

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

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

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

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

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

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

or that woman had remembered Cope.

He got to an earlier cab.

Daisy and a friend would have crossed the street

and the taxi would have driven by. We.

But life being what it is, a series of intersecting

lives and incidents of anyone's control.

So that Taxi did not go

and that driver was momentarily distracted

and that taxi hit Daisy

and her leg was crushed.

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

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

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

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

to adapt to the music at those precise moments.

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

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

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

to continue in the next one.

Perfect. We are here.

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

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

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

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

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

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

So we click on new project and immediately

this new window will be displayed.

So what is this about?

So in this window you will find the general settings

of the project, mainly the of the project,

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

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

So we can click on Browse

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

which is going to be very important because eventually

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

So by default in the software safes,

all these in the Windows or Mac documents folder.

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

We're going to write down the video editing.

For example, so you can see that here.

Below there are three taps.

The most important is this first general,

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

and playback where we can change

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

Either the general manager of the software

as well as when creating the final files.

Remember that the software is constantly creating files

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

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

the computer's GPU card, especially for video

or the computer's integrated video card.

This is very important because obviously when using the GPU,

everything is faster but also less stable.

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

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

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

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

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

you will be able to use one or the other.

However, if you have the latest generation computer,

I don't think you have my your problem.

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

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

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

At this moment, you won't understand this.

I'm going to explain it to you.

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

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

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

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

to make the time for the audio.

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

The sample rate is the resolution of the audio.

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

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

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

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

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

and also with film roles.

This capture box allows us to set what resolution

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

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

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

and this last box is related to a possibility

that has been given to users to improve color editing,

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

So this allows us to have a better configuration

between the software and our physical monitor.

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

I think that the image quality is

not only related to the dynamic range,

but rather to the photographic quality in lighting.

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

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

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

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

This second tab that we see here, scratch these.

It's very important.

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

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

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

in these folders, that only the temporary files

will be saved, but also the capture files.

Additionally, the audio recording files

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

for example.

So we must pay close attention to this folder.

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

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

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

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

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

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

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

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

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

On the other hand, also in many locations,

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

I mean to free up space on the hard disk.

These

are tab we have here is to ingest settings.

What is this for it?

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

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

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

Therefore, we are going to have to transfer them

to a external hard drive before they reach our computer.

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

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

And how are we going to do this?

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

And the Adobe premiere will automatically connect

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

That software do the transfer.

Whether we continue to work on Premiere,

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

powerful enough to do both processes at the same time.

Additionally, we can select a place where we want

the hard drive files to be copied.

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

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

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

What is this for?

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

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

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

But we also have the option to copy without verification.

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

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

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

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

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

Maxim resolution.

In the same way the Marine Corps there will copy the files

in the background while we work on the premiere here.

There are several formats, some heavier than others,

but in general they all have good resolution.

These are compressed files, but they have great resolution

and information so that we can edit with them

and even export s in them without losing so much information.

The next option is to create proxies in what is a proxy?

In the same way as we can create the previous compressed files,

we can create the proxies that are even more compressed files

that allow me to work with files without compression in high resolution.

So it happens that sometimes we work with film cameras

which generate four key or six key or eight key files

which are very large.

So the proxies are a kind of low resolution twin files

that Premier uses to it.

And this greatly improve the workflow

as if we were editing with a super powerful computer.

So we will be able to edit as we were working with the original files.

But when exporting this software will connect with the original files.

Proxies are going to be your best friends from now on.

We are actually going to use them in examples later on.

So it's important to pay attention to the lessons

where I talk about this topic of proxy files.

So in the same way can choose in which folder

we want to software to save the files, the proxy files.

So there are the same options, save the files in the same project

folder, in the creative cloud, and also the option to choose the folder

so we can change the proxy parameters

that is from very low resolution to ones more resolution.

It's very similar to the case of transcoding compressed files

with the difference that in the case of Transcode, it files

almost all the options for high quality.

It's important to understand that in both proxy in Transcode cases,

these parameters are used to improve the workflow.

That is, their main objective is just that sometimes

we have a movie camera and we want to it.

It's jobs quickly that don't require super resolution.

Transcode files are perfect and the last option

is to copy and create proxies.

This function allows me to create two separate folders

on the one hand, the original files that are on the external hard

drive and on the other hand in another folder.

The proxies remember that

the main encoder will transfer all those files in the background.

But in reality, as I told you, it also consumes computers from memory.

Anyway, we are going to continue talking about the proxy later on.

Okay, We'll show you

how to connect the proxies to the editing in the program monitor.

But it's important to know all about is subject of proxies because most

you don't have a supercomputer.

And even those computers that we think are super powerful, last generation

Mac, for example, even those need to use proxies.

So once we had finished the general configuration of the project,

we simply had to click okay in our project will open immediately.

So since they already have a project created

precisely to teach you how to use this software.

I will simply click on Cancel and I will select

one of the last recent projects where we are going to work.

So this would be the most important when it comes to creating a new project.

So this first lesson is up to here and we will continue learning

about this Adopt from your software in the next lesson.

So here we already have our project open.

We are ready to start getting to know the premiere.

The first thing they want you to realize is, is that we can modify

those same settings that we were reviewing in the last lesson.

We go to the first tap file and we go to project settings and then to

and there we can return to modify

the general configuration of the project.

I want to focus mainly on explaining what are those fundamental

tools of Adobe premiere in those characters sticks

that will allow us to develop any project I need.

You don't need to know all the functions of the software to be a good editor.

That has nothing to do reality, because in the end

there are many ways to do exactly the same thing

when it comes to video editing at those premiere has some presets

related to some general configurations that help us to adapt

the software to the specific stage in which we are in our project.

I am currently in the editing configuration,

but there are others, for example, here where it's very it's color.

It's another configuration completely adapted to color correction.

What is really relevant about this color configuration is the color range analyzer,

the limited scopes that allows us to see the color ranges of an image.

But anyway, we will see that later on.

Simply what I want you to see is how it looks like and how an image translated to.

You made three scopes, looks like

this is another effect setup here.

You will be able to quickly access the facts folders here on the right.

I don't particularly use that configuration

because I can fully access the effects from the editing preset.

We simply had to go to this a small tab that is here

and look for it reads effects

and actually it's much better and easier to use and easier to understand.

It's preset works this way, but they highly recommend

you only focus on 2% editing one that we are seen in the only one

that we are going to use a lot because it has the audio mixer

where we are going to put the all the effects directly on the tracks.

Nevertheless, I know that later on you are going to change it

however you want.

It's worth mentioning that the same tools are always present in the presets.

For example, these are small effects control type, which is where

we will be able to edit and effects will always be present in all the presets.

The library preset allows us to access effects directly from the Adobe

Cloud, where we can buy extra effects and plugins for our premiere.

This is Preset is the most useless of all because

you can actually do exactly the same thing into editing.

Preset in the last preset is for learning

where premiere gypsies are twice impartially helps us

to use the software.

So when we open the software we will always see these main spaces.

On the right will be the timeline that we will see in more detail later.

Just to the left of the timeline,

we will see the toolbar that we will also explain later.

But then farther to the left we will see the file tray displays.

It's nothing else but a file browser as if it were a file folder on the Mac

or be seen where we are going to put the video or all the files

or even photos or gif files and have them there to use in our edition.

For example, I'm going to drag any video file into the tray

so that you can see how easy it is to add a video file to the project.

Both the file tray and the timeline will be connected

to the reference monitor and the program monitor respectively.

Adobe Premiere has two

main monitors, which are the ones we are going to use when editing.

The main one is the program monitor, where we will see what we are editing

to activate it.

We simply have to go to the window tab and go to the program monitor.

So our monitor be activated immediately.

This monitor will be directly connected to the timeline.

But on the other hand, there is also a reference monitor.

We just have to go to the Windows tab again and we click on reference monitor.

On that monitor, we will be able to preview each

of the video files that we are going to use in the editing

so that we can select the exact fragment that we want to use from that video.

We must

understand what is the reference monitor in the program?

Monitor As I told you, the reference monitor

allows us to see what we are going to use in editing.

For example, if I click on this video here, over here

that I added a moment ago, it will open

automatically on the reference monitor.

In that monitor, we will be able to select

the exact fragment that we want from that video so that we can add

that small part of video to the timeline when we will be doing the editing

to choose that small part of video, we must press the eye

to mark the beginning and then oh to mark the end,

which is actually in and out to Mark and and out of that video fragment.

Once we

know which part of the video we need, we are ready to take it to the timeline

which is the place where we will be doing the editing.

There are three ways to direct the video clip.

The first is by clicking directly on the video in dragging it to the timeline.

That way, we will track both the video and the audio of the file.

The second way is by clicking only in this film,

the roll symbol, which allows us to drag just the video.

And the third way is by clicking on this little sound

wave that allows me to direct only the audio.

So at this moment I'm going to add the audio and video

at the same time to the timeline as an example.

So the

software will ask us if we want to keep the settings of the sequence

or if we want to change the settings to those of the video file.

We must click on keep the existing settings

so that they continue to be the same as the ones we choose for the sequence.

From this moment on, we are able to see images

on the program Monitor What I mean by this.

This means that the program monitor will always be connected to the sequences.

If there is no sequence, nothing will be seen on the program.

Monitor In fact, for the timeline to open, which is the timeline

where we do the editing, where I just added the video fragment

for the timeline to open, there must be sequences.

For example, here in the tray there is a sequence.

We can identify the sequences because they had these little loosening

all in the corner that's like little overlapping bars.

Actually, you can notice that in the older video files there is not these.

There is simply now the wave form, which means that the file also contains audio.

So look, I'm going to delete the sequence

so that you can see how the timeline automatically disappears.

That is it closes because the timeline is practically the sequence inside.

So I think it's a good way to understand how the timeline works.

I'm going to reverse this.

I mean, Contours Z,

so I'm going to click on the sequence again

so you can see the timeline open again.

So even though our monitors are connected to different things,

I mean, the program monitor to the sequences and the reference monitor

to the files in the tray, both monitors.

Sure. It's certain important features.

For example, here in this little tab where it reads quarter

there, we can change the resolution with which

we want to sequence or DVD file to be reproduced.

Obviously, the higher resolution, the more resources the computer consumes.

Also, in this other tab, we can change

how close we want to serve the details of the video.

But your attention and not changing the some of the video in the editing simply

how close are far unseen the image that appears on the monitor?

We can see it's very close or very far.

This works to see details such as how focused

an image is or details of the skin color.

For example, obviously the most important is the program monitor,

where we will see what we are editing in the sequences.

It's important to know these in the same way as we use

the eye and the all for the in and out.

We can do the same in the sequence to determine

what will be the beginning and the end of what we want to export.

When we had finished editing.

So in the lower right part of the program monitor,

you will see the time related to the duration of that part

of the sequence that we have selected by using the in and out.

Another

important detail that we are going to see throughout the course

are these tools that appear here below in the program.

Monitor I'm going to mention the most important ones

because in fact there are some that you will never use in your life,

not because they are useless, but because,

as I told you, there are many ways to do the same in the software.

For example, if we wanted to make a static image

of a specific moment in the video that is generate a photograph,

we can click on this little camera that we see here

and generate a photograph from that frame there.

It indicates the path in which the image will be saved,

but also this same image will be added to the project automatically.

So we can use that photo as if it were another video

that we can mix photos with videos only.

Obviously the photo is not emotion,

so we simply track the photo to the timeline and we can it.

There are

other important tools that are below, such as the proxy commentator

We must activated to be precise in this little cross right here,

and then drag the commentator icon

to the monitor.

So this tool allows me to connect the video files to their respective

proxy files, which are something very important.

If we are going to see that later on, that will allows us to be able

to edit in any resolution

despite the fact that our computer doesn't have enough power.

I'm going to leave this up to here so that you can review

and digest this content step by step.

We will continue reviewing the software layout

in the next lesson.

Perfect.

We are here again in Adobe Premiere.

In this lesson, we're going to see how to create sequence,

which I think is the most important thing to start working in Adobe Premiere.

Before we begin, I wanted to mention something related to the distribution of,

the folders.

When we are in a project, we must know what the general folder

is and in order to identify it, it was simple.

Observe that the name of the project appears sound more aligned,

as you can see here.

Well, we are in that folder.

Additionally, the return button is not enabled.

This building here is not enabled.

If I click on this folder automatically, the return button is enabled.

And of course in this case these folders intensified with another name

which is being.

But remember that you can identify the folders as you want.

That is put the name you want.

So I will write folder one.

So knowing this, we can now move on to what is important.

How to create a sequence.

First of all, by clicking the right mouse button either inside the folder

or in this space up here, the option to create a new element will be enabled.

It can be a new folder, a folder search, which is in the case

that we have many folders, or it can also be a new item.

In this last option, a long set of items will appear,

but for now you're going to focus mainly on the first one in the sequence.

Immediately, when creating the sequence, this window opens

where these folders, different presets will appear.

Each of these presets are related to the configurations

of the different types of cameras with which we could had shot the scenes.

I don't recommend using any of these presets

because we are supposed to learn to configure our sequence

by understanding each of the parameters that these sequences will have.

In the end, we have to be able to configure the sequence as we really want.

Not to mention that many of these presets related to formats

for wave television broadcast that almost no longer exist.

So we must go directly to settings.

So right here we are going to be able to choose the specific parameters

for the sequence.

The first is the editing mode.

Here we are going to find all the presets that we saw previously,

but all displayed on a list.

But as I told you, it will always be better to do it

ourselves, to choose the specific parameters for our sequence.

So I recommend you select custom Selecting custom enables

the configuration of all the parameters, so pay attention to the difference.

If I select any of the other presets,

notice how I cannot modify the frame size

nor the visualization field, nor to video previews.

So as I told you, when you select

custom all the parameters you can modify as you want.

So make sure then that the sequences in custom,

the first parameter is set frames per second.

Remember that moving images are made up of frames

that are photos that were buzzing quickly one

after generating the fact of motion.

In the case of cinema, it's 24 frames per second.

23 Come on, 876 is exactly the same.

There are audio configurations such as those of television

that have 30 frames or 60 frames per second,

but we must always set it to 24 frames per second.

After days, we must go to the video box.

In this box we are going to find five important parameters.

We're going to pay attention

to the first two, the frame size and the pixel aspect ratio.

Let's start with the frame size.

This parameter will allow us to set the resolution of the frame

that is the number of pixels that each frames will have.

Remember that each format, HD, two, K, etc.

has a specific number of pixels.

The next parameter pixel aspect ratio is related to the type of defamation

that each of these pixels will have to adapt to a specific type of the screen.

Remember that there are different types of two screens.

Those elongated movie screens,

also the screens of the digital televisions

and even the television screens of the last century that are more square.

The pixels aspect ratio distorts the pixels.

To achieve these adaptation.

And I will give you an example here.

It reads for 1040 by 1080.

But here on one side it also reads 1690.

And that means that with the distortion that the pixel aspect ratio of 1.3

is generated in the screen with Luke 16 nine

because the pixels are stretched to the size to chip it.

But this is not the correct way to do it in a video

editing of this time 2023.

Because today almost all devices everywhere have a high resolution

and many screens that adapt to the original size of the video.

So knowing this, we must go back the settings and select into square pixels.

We attention that in the tab.

There are several defamation options,

but I highly recommend you always use square pixels

so that the shape of the image is really related

to the number of pixels that we have set in the frame size.

But attention now to the actual size.

If related to this resolution in a square pixel aspect ratio,

the image now looks a square like a normal television

because it's respecting the square aspect of the pixels.

So if I wanted to change the size of the image

so that it looks like a digital television screen

in any home that is 1690,

then I will have to take it to 1920 by 1080.

In that way, the image would be 1990 with the square pixels

like a digital television, and we would be doing it the right way.

That means that if I wanted to create a much more stretch

look to the sides, as in the case of movie screens, I would have to add

many more pixels to the horizontal line to get to that size.

On the other hand, it's important to know these I mean, if it's the case of a video

for Instagram or TikTok, I mean, with a vertical appearance,

you must convert into the proportion of the size of the image.

So we mass resize first 1080

and then 1920, for example.

So in this way, our program monitor

will have the appearance of a video for reals.

But doing this, you must pay close attention to something.

It happens that when you are editing later on

you are going to have to adapt the videos to this aspect.

So you are going to have to zoom in in the image enough in order

to adapt to the aspect.

But we are going to lose resolution.

So I had two reminders.

First of all is that you record with a camera with enough resolution

so that even by zooming in that way, you don't lose much resolution.

The other solution is to turn the camera vertically so that it records vertically.

The problem means

that you are going to be able to do this only without the SLR camera.

With a film camera is not that easy.

But let's continue with another important thing about the pixel aspect radio,

because there are still cameras in the market record,

for example, 1920 by 1080.

But they give us the possibility of having a cinematic

look that is elongated to the sides.

So that file generated by the camera would come with distorted pixels by default.

So in those cases, the pixel aspect ratio

tool is useful so that the image is not distorted.

So if it's the case that we are working with a camera whose files are in HD

but distorted to 1.3 to have

a cinematic look, our sequence cannot be set

in a square pixels because the image will look squishy.

So in example, you are looking at you can see how any mature

originally recorded with a pixel aspect ratio of 1.3

would look like in a sequence with a square pixels.

Now, particularly in the opposite case, it works differently.

I mean, if the video file I am using originally

has a big aspect ratio of one that is its square.

If I changed the configuration after sequence took 1.3,

the video image would not be distorted.

Simply that when the file is a sports, the file will have

the pixels stretched to the sides.

It's important to know that almost all movie cameras

do not distort the pixel aspect ratio.

They seem to bring in configurations with more pixels of fewer pixels

to adapt to the number of pixels to the wide aspect of the movie screen

or to aspect a square for televisions.

In any case, you can play with this parameter.

I will always recommend using the square pixels,

and if it's the case that you need the image to look wider or simply modify

the number of pixels to the necessary point, In fact,

you didn't even have to respect traditional aspect to radius.

You can make the image as wide or as square as you want.

These here is the traditional look of digital screens.

16 nine.

It's important to mention that even after creating the sequence, you can continue

modifying the parameters of the sequence by simply clicking on the sequence

with the right mouse button and then going to the sequence

settings.

So the next parameter is the fields.

What does this consist of?

Long ago when there were only analog televisions in analog television

broadcast, one thing was to play a movie in a movie theater

in quite in order to broadcast it by open signal,

transmit time frames per second to an open signal was very difficult.

So they had to resort to another technology

so that the human side could perceive the frames per second.

As in a movie theater.

Then a technology was invented that allowed the frames to be duplicated

by using horizontal bars that displayed the image fast enough

so that the human eye would not detect the frames passing one after another.

So one of those technologies is NTSC

that is used throughout American continent

in the order is Paul technology that is used in Europe.

So we have these two options to choose from here and lower field

first that belong to those two technologies.

But these exist in Adobe Premiere

because even today there is an open signal television.

So it's necessary that we had the possibility

of setting up our project under that configuration.

But the truth is that you must always set the sequence in progressive scan.

That is, those parts don't appear.

So the frame flow is continuous, as in a digital television.

That way you can have the best video quality in your sequence

and then later in the expert if you want or it's necessary for you,

you can adapt the final file to NTSC or file format when necessary.

But always remember to set the sequence in progressive

so that the image is as clean as possible.

Actually, if you forget to set these to progressive,

you will notice some horizontal bars on the image.

The next parameter that we have here is the time measurement mode

in the timeline display format

I already told you about it when we were creating the project.

There are several options.

The first is to tell the software to follow the frames per second

while viewing continuous time.

This second option num drop frame timecode is a mode

that allows us to adapt to the errors that the capture may have as a result

of the data transmission process from the tape to the computer.

So this option allows me to skip those errors and follow continuous time.

We are not going to use this.

We should always use the timecode

which is the way adapted to real time in the editing.

And you yourself will realize this when you are measuring

the duration of a scene over and over again.

There's also the feed blass frames 16 millimeters and 35 millimeters mode.

This is for film roll cameras with this analog format.

Then the software measures

the amount of film real in its relation to the frames per second.

And finally, there is the frame small in which only

the frames will displayed in not the time.

What is the difference visually on the timeline

we're going to use, for example, the continuous.

TimeCode So now look at the timeline where you can see the time directly

and have the general time meter not only on the timeline

but also on the program monitor.

But you can change this into settings.

For example, two frames now pay attention that the time shift to frames

now it shows each of the frames and here on the monitor

it rich Sierra because there's not any video selected in the timeline

but also in the same timeline workspace,

we can change the time display we want.

I mean, it's a feature that is not exclusive to the sequence settings.

And in the same way, you can also change it in the program.

Monitor

The next parameter

is the working color space that I had mentioned.

When we would create in the project.

We had several options to work with high dynamic range of colors.

But as I told you, I will explain them later.

The important thing is that we can change all these settings when we want

the next parameter is the audio parameter

where we are going to find the sample rate.

That is the audio resolution that I had mentioned in the previous lessons.

So we will be able to choose several resolutions

and this will depend on the audio interface you have.

I mean, if you have one or also on the computer's resources,

of course, the higher resolution, the better the audio will be.

But it's also consumes many more resources.

We can not only modify the sample rate,

but also how the all your time will be measured in the timeline.

But don't get too hung up on this.

This doesn't really change anything important, just a visual feature

on the timeline that we will see later on in these last books we have here.

Below is the video previews.

The first parameter of the Xbox has to do with the program monitor.

That is what type of format the sequence will be displayed on the monitor.

I highly recommend you choose in quick QuickTime.

They are simply preview formats.

In fact, they are all compressed to have a better workflow.

I always leave it in the animation codec, but there are also

other progress compressed formats.

There are many different ones.

There are some with more quality than others and in fact

it's something that you can also change at any time.

This has nothing to do with export.

It's simply the parameters that the program monitor will have.

Whether you are editing.

Let me mention not only QuickTime is useful.

Also a frame only impact is very good.

In fact, the difference in performance between the one and the other is not much.

On the other hand, it's important to mention that the more information

the video files have, those files that you use in the sequence,

the computer will also use more resources.

On the other hand,

these boxes that are here below had to do with the video preview.

But the attention that is very well specified,

they are right inside the video previews box.

The linear call to compensated help is to have a better color

in the preview, but consumes more computer resources.

There are also the options of maximum bit of depth, a maximum render quality.

The important thing to know is that all these details are for the video preview,

not for the sequence itself or the file to be exported.

Something that I usually do while I'm editing

is turn these parameters on to see an approximation

of the final quality of the work, and then I turn them off.

On the other hand,

when creating the sequence, we also have the possibility of creating

as many of the tracks we want in the format we want.

It can be a serial surround 5.1.

It can be multichannel and also in mono.

As I told you, you can add as many tracks as you want.

Adding a new track will automatically open the same number of tracks.

The mixture in the audio preset.

For example, here I had added six tracks.

If I click okay, six tracks will automatically be added to the sequence.

But if we wanted to add even more audio tracks,

for example, in this other sequence I created when it was explaining to you,

we simply had to go to the sequence tab up here and click on track.

This way I can add more audio or video tracks to the sequence

and I can even indicate where I want it to appear in relation to the other tracks.

In fact, I can modify all those same parameters related

to the audio tracks that we could select when we were creating the sequence.

In fact, as you can see, you can also select a format

where there is a stereo mono for surround.

For example, the mono tracks are very important

because they are two tracks where we are going to do the dubbing.

So when we had a mono track, a small symbol will

automatically be added to the notified That track.

It's a small speaker.

It's necessary to do track where we do the job in this mono

because it's a single microphone which will capture the voice.

So we will also see this later.

We get it's something that we will surely have to do as editors.

And finally, after all the tracks tab, we had the virtual reality tab

obviously in this course we are not going to touch on this topic

because neither you nor I have the appropriate

hardware at this time to explain this to you.

But I'm very motivated to do it.

It's something that I plan to add to this course

once I have all the devices related to this technology.

But it's important to know

that Adobe Premiere allows us to work with virtual reality.

And this is the parameter that allows me to work with those devices.

This comes with the latest additions of Adobe Premiere.

Then we press okay, in our sequence is created.

I know I had to cancel because during the explanation process

the sequence was created automatically and remember that by right

clicking on the sequence and then going to the sequence settings,

you can still modify the sequence settings as many times as you want.

That would be everything with respect to creating a sequence in.

As I told you, this sequence will be connected to the program monitor.

So once we had our sequence created, we're going to start adding videos

to the timeline that is the fragment of the video we want.

When we do it, the software will ask us if.

We want to keep the existing settings in the sequence

or if we want to change the settings to those of the video file.

And we must click on keep existing settings.

That would be all important when it comes to creating a sequence.

From now on, we are going to store to dive deeper into editing and understand

what are those fundamental tools that will allow you

to truly become an editor for film.

I see you in the next lesson. You

Hello people.

I really want to give you some important piece of advice, not only as a video

editor or a film director, but an artist himself.

I know that many of you also shoot videos, or at least a large part of you

are interested in one way or another in shooting stories or whatever,

and obviously editing is part of that process.

But the truth is that the tools that you need to know to adhere to professionally

or well enough to carry out an audio project are not too many.

So the rest of the knowledge doesn't come from itself,

from learning all the terms, shortcuts or functions of a software

it doesn't matter which one it is Premiere Sonny Vegas or DaVinci.

I mean, the rest of the knowledge comes from how we use you.

Are you consuming quality in terms of image of any stories?

So if there are not qualitative references

in your mind, it's impossible for you to have a quality result.

Editing a simple asset.

For example, you cannot expect to be a great air cinematographer

if you only consume Marvel movies.

I'm not trying to say

that you cannot learn technical things from a superhero movie,

but you have to learn, first of all, to be fully aware of what

you are watching on the screen.

And in order to have a visual culture.

I always talk about this with my colleagues

and I use an example the movie Spider-Man in Forest Gump.

I mean, the way they shoot at the scene.

The boss in the movie is Spider-Man, and I compare it with

the one in the movie Forrest Gump, for example.

Pay attention to these first shot of the scene.

Are you aware, for example, that the colors of the costumes

were specifically chosen to match the range of colors of the grass?

That is very important because video editors can change

or modify the colors of any elements in a scene.

For example, look at this man that's painting.

It's the same selection of colors in the composition, the blue of the shirts.

It's representing that blue color of this guy.

This other painting by moonlight is the same blue

in shades of green our colors that match that green of the grass.

So what I'm trying to say is that this scene is not like that

because the color palette downloaded from the Internet

I mean, is the byproduct of having a great visual culture.

On the other hand, the attention to the duration of this first shot,

that shot last long enough on the screen to detail

that there is a dirt road and they leave far from the city or town.

Now, pay attention to the green color of the ceiling, the bus

that was also deliberately drawn to match the whole country vibe

because that is the road the boss is traveling on.

I'm forced for car

door.

Dorothy Harris Well, now we're strangers anymore.

Now pay attention that the close shots are only reserved for the main character

and that no one else

has the same color in their clothes that forest has in the shirt.

And I would say that even the color of the children's clothing is selected

so that no one stands out and also blends

with the color of the seats.

Can't sit here.

You know, it's funny what a young man recollects because I don't pay attention

also that even the shirt that forest has an adult is blue.

Also, it's only so we connected with the child directly

but also matches the trees around.

On the other hand, just at the moment that the girls appears on the screen

for the first time in the film, the most powerful lay motif of the sun took place.

I had never

seen anything beautiful in my life.

She was like an angel.

Have you noticed that exactly the same thing

has been repeated as when Forest with his mother.

The girl has a light green dress.

All these that I'm telling you is to try to awaken their artistic flame in you.

Artistic sensibility is what will lead you to make better decisions.

I say leaders

pay attention to the lighting of the scene to create depth in the faces.

One half of the girl's face is shaded in, the other is illuminated,

and there is even a small tree of light heat in the window frame as a step.

It does

Anjali

and pause for school.

From that day on, we was always together.

Now let's move on to the Spider-Man, a scene which also happens on a school bus

where love of the main character is introduced.

But let me

assure you, this is like any story worth is all about.

A girl.

That girl, the girl next door.

Mary Jane Watson.

The woman I've loved since before I even liked.

Pay attention that in the editing that is closely related to the script,

they introduced you to the girl

at the beginning without any surprises in the scene.

You are surprised that he finds the love of his life on the bus.

And here there is no surprise, neither by editing nor by script.

So The woman I've loved since before I even liked girls.

I'd like to tell you that's me next to her.

I had told you that the closest shots are used for the main characters.

I don't know why there is a close shot for this guy.

He has no importance in the story.

I tell you this because in film editing,

we can craft this shot to create a more close to one.

A close up.

For example, here they do it again and they do it randomly in.

That cannot be done that way.

It has an important INS

and the importance is called the cinematographic point of view.

In the case of the girl, it's important because we are talking

about a lot of his life, but the rest of the characters from that boss,

they are not that important for this story.

Pay attention that the customs here had no importance

in the statics of the scene nor the colors in the space.

So knowing exactly why things are done in a movie or a scene

is extremely important to be able to make correct decisions as editors.

Additionally, the editing stage is the last right in a stage of a film.

It's the last chance that the film project has

to repair the weaknesses.

This is a perfect example about it.

Imagine that you only see movies of that kind of quality.

I don't really hate that

the Spiderman movie, in fact, I find it quite entertaining.

But if you only see movies of that nature in one day,

you want to shoot one story in which there is a scene, a boss.

What do you think will be your point of reference to create and the scene

that will be your reference?

It will not be another.

The same happens if you are a musician or if you are a painter or a photographer.

It's the same when you see the quality of someone's work.

I immediately ask whether their customs, what do they usually do in free time?

What kind of things do they enjoy?

I mean, everything we do in free time will feed our creativity.

I mean, editing is part of the filmmaking, and filmmaking is like a speaking

a language. You cannot fully

learn a language overnight, and it's full of so many things.

Music, theater, painting, sound art, soundscapes, etc.

So over

the years working in editing, I have come across many editors

and videographers who approach out of this work in a very superficial way,

because many of them focus all their knowledge on knowing

which are the best plugins to improve the quality of the image.

What is the best camera with the best dynamic range?

Which camera has the highest resolution, which is the most advanced software?

For example in the years go by?

And there were continuous with the same quality,

the same kind of places, the same lack of visual culture.

All of this is something that no is going to teach you in one single lesson.

It's something that takes years to cultivate for you.

It should become a habit that you go to a machine,

to an exhibition that you contemplate quality art.

I'm not trying to say that the technical elements are not important,

but in reality, if there is something, I don't want for you,

it's for you to become that kind of videographers

or editors who only cares about technical things.

So I wish you could really be the best you can be.

So what many people call talent is actually the byproduct of a lifestyle.

All these are very important for the video editor

because you are given the date of a project.

I mean, the film footage of a project

you are supposed to learn to choose which are the best shots of the scene.

So, for example, what is the criteria you're going to use

to choose the best take or to correct a shot?

Sometimes you have to crop shots, for example, or reframe the image

to create a new and you must have good visual reference to do that.

Determining the violence of an image is essential

for the editor because you will be cropping images all the time.

The violence comes from the vernacular sight of human beings,

and this vernacular site doesn't focus attention on both eyes

at the same time, but one is always the one that concentrates the most

and the other complements it.

And that is the reason why the law of figures in an image

must be respected to censor the main elements of the composition

In any of those four points that you see there in this case

is the girl's face that is close to the upper right point.

This was used for the balance of rock paintings and drawings,

and it's a fundamental the is today for cinematography.

Being aware of this knowledge is part of what make us better editors.

So there are a lot of ideas that will come to your mind

when you have a great audio visual culture.

Those ideas are the ones that will help you to create

very much a better editing and a better job.

So take all of these into account and let's

continue learning in this film editing course, you

perfect.

We are here again.

It is of a premiere and it's time to learn how to use the effects control panel

And why?

Because every time we add a video clip to the timeline

that, in fact can also be a photo or an animation, etc.

we are going to be able to edit certain parameters in that clip and above

all, give instructions to the software, automate changes in those clips.

So the purpose of this lesson

is to be able to teach you how to use the effects control panel,

which in fact is the same place where you will be able

to add different effects that the software has to use.

So this time you're going to work with this photo.

So I'm going to add to the timeline.

This photo that I have here is a photo of this space.

So you know that once we add an element to the timeline and this line is over,

that element, we're going to see that video clip on the program's monitor.

But it happens that usually the clips don't share the same size sequence.

I mean, most of the time the video or photo

has a different resolution in appearance than the sequence.

For example, this photo is bigger than the of the sequence.

And how do we check it?

Simply by double clicking on the monitor.

I kind of friend will be activated.

That indicates the actual of the image we are using.

So this frame is a tool

that allows us to modify the size of the image on the monitor.

For example, in this case we could the space image

match as much as possible with the sequence,

but it could be the case that we want a certain part of the image

to be seen in the sequence.

So this frame allows me to play with that because by moving these different points

that we see in the lines of the frame, we can change the position

and the size of the image, but we can also modify the image rotation.

But when we are modifying the position and size that this clip will have

with respect to the sequence we are modifying in the parameters

that are in Effects control panel, which is one of the most important places

in the perimeter when it comes to editing.

Anything for.

Example while we are moving the frame a few moments ago, the position

and the scale parameter was changing in the motion section.

In this effect Control panel.

So pay attention.

I'm going to move the image again

so you can see how the numbers move in the position parameter.

In the same way.

If I so mean or zoom out, the image changes the scale parameter.

In fact, we can go even deeper because these parameters allow

me to change if I want to.

For example, the scale to be uniform or not.

So if I disable the uniform and scale option, I can modify

how wide or along a one to image to look.

Of course we are distorting the original of the image.

So basically you can modify the size of the image either by using the frame

in the programs monitor or by changing the values in the effects.

Control panel.

Of course, you will always have the option to undo any of the changes.

So pay attention

that also with the issue of rotation, the values change in the panel.

And additionally, remember that whenever you want to modify

the rotation using the programs monitor, you must position the cursor

in the corners, the frame until you see that small curved arrow

indicating that we are enabled to change the rotation.

But the next tool after the rotation

one is the anchor point, which is very important.

The anchor point allows me to tell the software the reference point

it will have as we a scale in rotate the image.

For example, you can notice that when assuming an out,

that is when I change the scale.

This happens towards the center of the program is monitor in the same way.

When we change the image rotation,

the image rotates using the center of the image sexes.

But it happens that if a changing curve point to the lower

left corner, for example, when I modify the scale of the image,

this image will not assuming or zoom out towards the center.

But to that point below and to the left,

and the same will happen for the rotation parameter.

But why I am explaining all this to you?

Because now on we are going to know something very important

that we are going to use all the time.

When it comes to editing the key frame in what is the key frame used for the key

frame analysis to give an instruction to the software to make a change

in any of the parameters that we find in the control panel,

not only in the parameters that are already come by default,

but also the parameters of the different effects

that we can add to the clips and which will also appear in this effect.

Control Panel.

We are going to use this scale as an example.

You know that when you click on any of the clip, the corresponding effect

control is immediately enabled where we can modify many things.

I mean, all that we had just seen in many other things

that we will continue to see and learn throughout the course.

The idea is to go with step by step, but

you may also notice the next to the effect controlled by enabled.

It's displayed on the right.

I search for.

But this small timeline corresponds to the space of time occupied

by that small video clip that we have selected.

Obviously can modify that duration simply by stretching or squeezing the clip.

So it's important to know this

because this space is where we are going to place into key frames.

So we must be aware that

this small timeline corresponds to the duration of the clip.

It's important to know this because sometimes we are going to place

key frames, the effects control timeline, and then we are going

to change the duration of the clip in the main timeline.

And then when we return to the fact control timeline,

we will not see the key frames anymore because they were hidden ahead or back.

But you're going to see all these using one of the parameters,

for example, the scale here in the motion panel.

So the first thing we

must do is activate these little clock that we have here.

Notice that all parameters have their respective clock.

It's simply what allows us to activate the key frames.

Once we activated the first key frame that appears in the timeline

of this effect panel, which is indicating to the software that right at that point

the images are going to have that specific a scale that is specific size.

So we are going to automate this image about a universe from scratch.

We are going to make it move its size in time by automating

these parameters, using the key frames.

I mean, the values change assignment progresses.

So we simply position the cursor at the beginning of the clip,

then activate the clock corresponding to the scale and the first

keyframe will automatically appear and the automation will be activated.

Also So a few seconds later we make a change in size.

We can do it directly in the scale parameter

in the effects control panel, or we can do it by moving

the size of the image with the frame in the program.

Monitor

So in other words, changing the parameters in any of the ways is exactly the same.

The important thing is to be aware

that the key frames are in the place that we want.

So notice now that when I play the montage,

the image changes size.

Obviously, all this procedure works for any of the parameters

and even for many other effects that the premiere brings.

For example, we could do this automation to change the effect of the anchor point.

I simply activated the clock in the anchor point parameter and move

the anchor point to this lower left corner for example.

So since we also automated the scale, now when the image scales,

instead of going to the center, it will now go to that lower left.

But you must be careful with the key frames.

Notice that I'm going to add

another one here, but this time without changing the parameters

and pay attention

that it will not change at all because I didn't change the parameter.

Let's move on to another parameter, for example, the image position.

Then we simply have to look for the position parameter and click the clock

to activate the automation and the first key friend will be created.

From there we must advance a few seconds.

The ones we want of and change the image position.

We can do it using the frame on the programs, monitor

Pay attention that even the

software will create a kind of guide for the route

that the image will have up that position

so we can check

all the changes by simply going back to the beginning of the clip

and playing the mount Edge to see how the automation behaves.

It's something quite simple.

Once we understand it, we are ready to use all the premiere effects

because style will allow us to automate any of the effects

that the premiere has.

So I'm telling you all these because a large part of you want to learn

how to do it.

It is for YouTube or for your Instagram or TikTok channels, whatever.

I mean, create content so it's necessary to know these in order to add elements

that enrich the videos, turn them into dynamic and fine.

So we can use another example.

For instance, you see in this logo that I have here below,

we can add it on the top of the picture of the universe.

So let me mention that in this case, it's a page

that is one that contains only the part of the logo.

Let everything that is below part of the roof.

So I'm going to delete all the keyframes and the automations

that we made in the photo of the universe.

We just have to click on these curved

that are to the right to return to the initial state.

So what I'm going to do for you is something typical of the videos.

I'm going to make this logo appear.

Suddenly that is a it enters the image

and in order to do this we must automate the logo position

because it's what will allow me to remove the logo

from the frame in the image whenever I want.

Then we simply have to click on the logo clip and we have to activate

the automation of the position in effect, control clicking on the clock, of course.

So we need to set how long they want the logo to take to appear,

and then we need to create another keyframe at that position.

In this case, we need two positions to tell the software

where the logo should be at the beginning and where it should go.

You should always pay attention

to being right over two key frames to make sure you are on the key framed.

You should make sure that little blue dot lags have.

Let me mention that you can add other key frames using that little button too.

So when in the first keyframe we change the horizontal position of the logo

to a point where it's not visible on the screen,

remember that you can do it by changing these numbers here directly

in the horizontal parameter, which would be the one on the left.

The vertical one is the one on the right, but you can also change here

to use in the frame in the programs monitor.

But in this case I highly recommend changing it directly

to the horizontal value so that the logo moves

only horizontally.

So as you can see, it's quite simple.

If you want, for example, the logo to appear much faster,

you simply have to decrease the distance between the first,

the second key frames so that the change is faster.

Then we could even change another parameter like the scale.

For example, if we wanted the logo to zoom in

and slowly after appearing on the screen.

So we make a first keyframe just when it finishes appearing.

And then later we make another key frame where the logo is supposed to be closer.

So in this case, for example, we can use the frame on the screen

to put to the logo just the we want at the end.

Remember that once the automation is activated, any change we make to

the parameters will automatically generate a new keyframe

Obviously throughout the course we are going to use many keyframes.

But I wanted you to know the effects control panel,

at least this first part motion in this lesson.

In other lessons, we will see the other parts,

but it's a good story to know the key frames perfectly.

So try to practice photos with videos, with anything.

Well, we continue advancing in the opinion and the content of the course

until the next lesson.

Perfect.

We are going to continue learning to use the effects control panel

and this time you're going

to review the positive parameter, which is not as simple as it seems.

However, it's one of the most useful tools we get from here.

We are going to learn to create transitions.

So we're going to start

with one of the most important things to highlight about opacity.

So this is the first of the general parameters that allows us to make a mask.

And this is one of the features

that were going to find in the rest of the premiere effects.

A mask is nothing more than a tool that allows me to create

a specific selection within the image to which the effect be applied.

In any case, we are going to see these throughout the course,

but basically these three buttons allow me to create three types of mask,

a circular one, a square one, and a customizable

one in which I can create and the shape I want.

For example, if I choose the first option, the circle, the mask will be a circle.

And since I am in Duplicity, which is the parameter that controls

the transparency of the image, it automatically creates this effect.

Obviously, I can modify the type of circle,

but I also have the second option, the square shape.

And here I can also modify the structure of the square,

turning it into a different polygon and well, that there are three options.

That would be the one that allows us to make the shape by joining end points

as if it were a constellation.

And that is the one I use the most

because the masks almost always have a regular shapes.

And there are other features that we can modify

so that the ages are softened in no so sharp.

For example, if I move the feather, we can at the edges.

Actually we can also

modify the mask, opacity and.

The mask itself can have transparency,

and we can also expand mask ages to enlarge the size.

But anyway, we will understand all these better as we progress

throughout the course.

And although we are not going to talk mainly about the masks in this

specific lesson, it's important that you already know them,

because I believe that knowledge is like that.

You have to see different points of view of this same tool and above

all, lose the fear of using Adobe Premiere tools.

Let's talk about opacity then, and what is capacity.

Opacity is that feature that allows us to make an image transparent,

to make visible any image below it.

There's a way premiere

timeline works in layers in the same way as the Photoshop that is,

the video clips that are on top will be the ones will be seen on the monitor.

So here you can see an example.

I have put another photo of the universe on top of the one that already

had a mean a overlapped clip in this how this one looks.

First it has priority, but notice that if I modify the opacity percentage

in that clip that I just added, the image below begins to be seen.

So the less percentage it has, the more visible the image below will be.

But what I really want to show you is that Adobe premiere like Photoshop

allows me to modify the nature of that opacity.

I mean that the way in which that transparency mixes

with the image below has a spatial in unique characteristics.

So this

plan mode allows me not only to use the normal opacity,

but all these options that you can see here and try.

But the interesting thing is that when using any of the blend modes,

even having the opacity value at 100%,

a type of transparency will be generated the image below.

So it actually is a tool that allows us to experiment with the video layers

because that effect that you're going to see on the programs

monitor is the byproduct of that blend mode in the specific

characteristics of the images in terms of light and colors.

So for example, here we can see that when we isolate the clip,

I mean that the clip doesn't have any other clip below it.

The blend mode doesn't work.

I mean, it will only work when the images are overlapped,

when there is one below.

So as I told you, capacity is important because it will allow us

to make creative and professional transitions.

This blend mode exist to improve the transitions between one clip in another.

One of the most common transitions are dissolves.

When one image dissolves that the order appears survi, makes in the two images.

So in a previous lesson I was talking about

the pen tool in opacity automation.

So we automate a kind of fade in in the opacity line

at the beginning of the clip that in turn is overlapping.

Another one we will do a now of course dissolve.

So if in addition to this, we use different blend modes,

we make that transition more spatial because the images will have

visual characteristic that will adapt esthetically to each of those modes.

So if you use Photoshop, this will be very familiar to you

because this blend modes also exist.

Image layers in Photoshop.

On the other hand, there's an important element

to take into account when we make this type of transitions,

and that is that they blend modes to makes images.

Even when the positive value is at 100%, it's necessary that there is not only fade

in in the clip that is above, but also in the clip that is below.

There is a fade out because otherwise you will notice

an abrupt change when you reach the end of the clip.

That is below, for instance, you can notice it here when they hover

the timeline cursor over right at the end of the clip below.

So right there at the end, you will notice a change in transparency

that will not be soft, but like a cut.

So we must automate a kind of fade

out in the opacity line of the clip below

so that this is not noticeable.

So pay attention now.

How the transition is completely smooth.

Another important thing is that we can make that transition as long as we want.

So we're going to do another example.

The use in video.

We're going to use the same short film that we were working with,

and I'm going to select a part of a scene to make it transition with another scene.

So here we have this image of the girl looking back,

and I'm going to mix it with the scene of the character of the raft.

So if we want to make a special transition between these two scenes,

we simply click on the video clip above and choose the blend mode we want.

Remember that to check blend mode.

You must be right at the point where the two clips of video are overlapping.

Then you can try any of the modes using video.

It's much more interesting because in fact it's the most cinematic

way of doing holds.

For example, look how good this mode looks.

Soft light.

So the first thing is to automate with Bend tool, the fade in in the clip

above that cleaned up the character on draft.

But I also have to do the fade out in the clip below

where the girl is remembered that if you don't fade out

the clip below, you will notice an abrupt change in the blend mode.

The reason why

it's more professional this way is because the original way of doing face

when cinema was analog was adding filters

directly to film reels in the analog editor.

So use of blend mode in normal always is not that professional.

So pay attention how interested in the colors are mixed in this mode?

It looks very professional.

Check out these other modes called Darken

that only affects the plate.

This is an order called light burn that is interesting to.

This is an order called light color.

For example, these.

So there is to hard light.

This other one is called vivid light.

It's very nice.

Pay attention to these with dark mode.

For example, with this mode you could play with the mask

so that the transparency only affects the blade.

We could use a circular mask that only selects the blade, for example.

So we try to make the circle match the blade,

but it doesn't have to be perfect just an approximation.

And then we modify the edges with the fader parameter,

softening the edges of the mask.

So notice how opacity now only affects the blade.

It's a very creative resource, you know, because it really allows you

to create effects in and reach your radius a lot.

The important thing that you experiment so that you can discover things.

Remember that each area has a specific color features

that will result in a specific and unique blending with the other clips.

So put all these into practice in the next lesson.

So perfect.

Now we are going to address the last parameter of defects contraband,

which is the time remapping, and we're going to use this example to explain it.

I'm going to select a part of this video where there is a slow motion shot.

Actually, it's one of my music videos and well, in this case,

this shot was recorded at 60 frames per second,

which means we can slow it down without losing any fluency in the video.

So I had added this part of the video to the timeline and we can check it

in the program, monitor Slow motion shots are very attractive.

Remember that the slower where you want it to look, the video

should have many more frames per second.

But anyway what I want to do right now

is to teach you the time remapping.

If we click on the video clip and go to the effects

control panel, we are going to find this parameter at the end

is to last up the parameters of the ones that come by default.

So if you remember, I had told you that the line that you see by default

in the video clips belongs to the opacity parameter in that use in the pencil.

We can precisely automate the opacity in the clip, but the truth is

that this is not the only parameter that we can automate directly on the clip.

So if we wanted to change that parameter, there are two ways.

The first is to click on the right mouse button and we go to show clip keyframes.

We can change it, for example, to time remapping and we click on the speed.

The other way is by clicking and these are small box where it reads

effects and we can change the parameters of this automation line.

But what is time remapping for this parameter allows?

Me to modify the speed of the video clip automatically.

And what does that mean?

Just as you see the image in slow motion right now, you could make the images

speed up at a specific time or slow it down.

And of course, everything will also appear automated in the fixed control panel.

So what we must do, select the pen tool and draw on line

the points where we want a speed change to start and end.

I mean, we will be able to change like time gaps.

So I'm going to draw the first point

and the second point over here,

and I'm going to draw also a third point.

So this three points has generated four different gaps in which

I will be able to speed up and slow down the speed of the clip.

So we must select the arrow tool again, the first one,

and now we are going to

raise or lower the line we want of the automation.

For example, if I move up this specific lane,

I'm going to speed up at that moment,

but pay close attention to how the clip is squished,

because by doing this I am accelerating the passage of the frames.

So now look at the image that's just at that moment.

The video increases the speed.

I'm going to increase the speed even more

so can notice it.

And also in the same way, you can move the other gaps, the other lines

between the points,

so you can do it also in the opposite direction.

I'm going to slow down to video so you can see how it looks like.

Obviously when you slow it down.

The video clip expands.

Obviously, when we slow down the image, the frames per second begin to be noticed

obviously when they are not enough.

On the other hand, we attention to these same points

that I made in the automation lane were also created

automatically in the timeline of the effects control panel above.

So you can speed up or down like this as long as you take into account

that the midpoint of the lane

is the actual speed of the clip and app is faster and down is slower.

If you want to clear older automation, just go to the time

remapping and effects panel and turn it off on the blue clock.

But pay close attention to this wing.

When you do that, the clip is going to get completely squished.

So you have stretched it again to make it normal.

Try to remember it because you might even think that the clip was late.

But there is another way to modify the speed of the clip.

We simply press the right mouse button and go to the speed duration parameter.

For example, in this first feature percentage,

if I set it to 200%,

the speed of the clip will be multiplied by two.

I mean, in the case of this clip, it will run at the real speed

because the look of this video is the byproduct of setting the video

recorded at 60 frames to 24 frames.

On the other hand, in this same tool, you reverse the speed of the clip.

I mean, make it go backwards.

This is very useful as well.

You only have to select the reverse speed

box and the clip will go backwards.

On the other hand, with you should pay close attention to in this tool

is the last parameter time interpolation.

This parameter allows me to modify the way in which the frames will appear

when the video is displayed.

I'm going to activate the reverse to explain it to you so you can see that

this shot, this video is in slow motion,

but maybe we want the video to go slower.

So we go to the speed tool and select, for example, 60%.

But when you do this, the

video will stretch and therefore the frames will start to show.

I mean, as if the image had some small jumps

because in fact, it's jumping from one frame to another

because there are not enough frames to make the movement look smooth.

So you will have three options.

The first frames sampling that is selected by default allows you to show

the frame, said the video has no matter if the video is a slow or fast.

The second option frame blends in allows you to mix the frames a bit.

I mean, when you slow down the image, the movement is smoother,

but the less option optical flow will create more frames

per second, compensate for dead lag frames.

But the truth is that it will never look like you have the video with more frames.

So I highly recommend you not to make an excessive use of this tool.

Do not force it.

So this would be the most important

characteristics of this speed parameter of this a speed tool.

This rehabilitative feature is very simple, simply that sometimes

the clip to which we are modifying the speed is next to another clip.

And obviously sometimes when we modify the speed, the videos are squished.

And that tool allows me to make the next clip attached to the clip.

We are changing.

The speed of a symbol is that it doesn't add match complication,

but the most important features are the ones I mentioned before.

So let's recap.

So you don't forget we go to the speed tool

and the first thing we will find

is the percentage of the speed we want the clip to have.

The second option is to reverse that.

The video goes backwards.

The ripple added so that the clips are stay

attached to each other even when we change their speed.

I don't think you guys use this too much.

And the one you're going to use the most is the time interpolation.

It's a way

in which the frames will appear to make the video smoother and more fluid.

Remember, there are three options.

The first one that shows exactly the frames the video has, the second one

that mixes the frames to make the video more fluid and is smoother.

And the other one, the last one

to create the necessary frames to make it look more fluid.

But let's talk about this option that is deactivated

it's important to mention that when the video has out,

you and you modify the speed, the speed of the audio will also be modified.

Therefore It will be had a lower when the audio is lower

and faster, like a squirrel voice when it's faster.

But this option called maintain all the pitch

here, it's disabled because the video doesn't have audio,

but it allows me that even though the speed of the audio

changes, the tone of the audio doesn't change.

I mean, the voices do not sound like squirrel or very slow.

But will

you already know how to modify the speed of any clip?

And this is the most important thing related to this lesson.

Until the next time

or perfect.

We are here again in the Adobe premiere in this lesson

are going to learn to use this toolbar over here.

So this bar next to the timeline contains

the main tools that we will use when editing.

So I would say that the main purpose of this a lesson the main objective is,

is to give you a powerful insight on these buttons over here.

The buttons in the toolbar.

So we are going to look for the sequence we have already created

in the previous lessons and we are going to add a video fragment,

the timeline that is to say to this sequence.

So here I have selected a piece of video.

Remember that you must use the AI in oh two said

the beginning and the end of that piece of video.

For example, the video fragment could be up to here.

So we press oh to select the end.

So we are going to drag the video to the timeline,

holding down the right mouse button.

We pull the video to the timeline

and we are going to click on keep existing settings.

Remember that it's to maintain the sequence configuration.

So already have our piece of video on the timeline.

But before dig into the Timeline toolbar, I want to address this

yellow line over here that appears here on the timeline.

So this yellow line indicates that the computer's dedicated video card

that is the DPU is generating temporary previews

so we can see what we are editing on the program.

Monitor that the yellow line represents a partial render.

If you had a powerful computer or, the preview will look good enough

on the program's monitor.

However, depending on the complexity of what we are editing or how heavy

the fires we are working with are, we will have to advance in the render

that is, convert that yellow line into a green line.

I mean that

the computer makes a complete render so that what we see on the programs

monitor looks completely continuous without interruptions, without delays.

And you will need these,

especially if you don't have sufficiently powerful computer.

So what you have to do is select the input and output of the section

you want to render by pressing right and o on the keyboard

and once you have the section

selected, you are going to go to the sequence tab

and then you are going to click and render in two out

and then immediately a kind of final render of the entire montage

of what is between the scene in the out will begin to be made.

Of course, you will have to wait a bit, especially depending

on how many effects each of those video clips have.

Additionally, that render will also have a higher quality.

So regardless of whether our computer is powerful or not, if we want to see what

we have edited with the higher quality, we must do that render.

Now look the line.

It's now green, indicating that the render is finished

after.

This is very important when it comes to editing music videos

because we are supposed to the video with the music it to perfection.

So let's start in with the first button on the toolbar.

This arrow over here.

So these are all is like the most general tool that allows me

to select anything in the Adobe premiere and especially in the timeline.

And of course, move what want as a nanny software.

It's the default selection tool of the software.

So there's no minor thing to be confused with.

This is simply the programs, two settings to move the mouse in the software

and use all the functions right below the arrow tool.

We will find the track select for word tool.

This allows me to select all video clips that are in front

or behind the position where I am with the mouse.

So basically it allows me to select several clips at the same time

when necessary, thereby making it easier for us to work.

So if we press the old key on the keyboard, we can change

the direction of the selection.

That is, if we want it to be forward backward.

I'm going to give you an example.

I'm going to add a portion of the video from the short film

in order to overlap the clips.

I'm going to drag the video along

and I'm going to drop the video just over here.

So going to bring the track, select forward button,

making sure it's in the right direction, which would be forward.

So when I have this tool activated and click

on the timeline, it will select all the clips that are to the right.

That is those that are forward.

It doesn't matter how many they are, they will all be selected.

So I'm going to do it again and notice that it's even going to select

the respective audio clips that are connected to those video clips.

Now I'm going to press the old key

on the keyboard to flip the direction of the tool.

I mean, select everything that is behind that mouse cursor.

Try to notice the difference.

Pay attention that when it's activated, select backwards

in a click on the timeline over here, as there is not clear

behind the mouse cursor, it will not select anything

because there is nothing to the left that is backwards.

But conversely, if I click to the right of the clips,

the clips will be on the left,

so the tool will select them because they are in the back.

So the tool is very simple, simply with the old key on the keyboard.

We changed the direction of the selection when it comes to selecting many clips

at the same time.

So let's go now with the third button

of the timeline toolbar, which is a bit more complicated,

but there is an important detail to highlight

before moving on to the third tool, which is that, well,

the Arrow tool is selected, we can stretch in a squeeze, two clips.

I mean to travel in all extension of the original video file.

For instance, although we had this of the short film,

if we stretch the video clip backwards,

we will travel backwards in the short film.

Adding more of the short film.

Obviously, and explained these because the third button has to do with this.

The first button is the replay tool, but actually press an old on the keyboard.

We have rolling.

Edit in red Stretch tool.

So what is the first one for the rebuilt added tool?

This function allows me to move the transition between two clips

that are next to each other.

For example, here we have two video clips that are together

and they have this function activated.

This allows me that whenever you stretch the video clip or exquisite,

the next video clip will not change its beginning or its exit.

It's like pushing or pulling the next clip.

Pay attention that, the clip stretching and right and the character's face.

And immediately the next clip starts when the character

is on the raft with his back visible.

So The replay tool allows me to stretch this clip

by pushing the next one without changing the beginning of the next one.

It's a very useful tool for not changing the beginning of the next.

The next function in this same third button is the rolling

edit tool, which we can switch to by pressing old.

So the rolling tool function allows me to the clip as well, but this time

it will not push the next one, but it will advance its extension.

It's as if it were inviting the next pay attention to the fact

that the part where the character's back is seen no longer appears,

but rather the clip advanced to farther forward.

So it's as if I had to move the transition forward,

as if I had made a cut in the clips by the forward.

So you already know the difference between the first and second function.

The first one to rebuild the tool allows me to stretch

a clip by pushing the next one.

I mean, without changing its beginning

in the second option to which we change in old on

the keyboard allows me to stretch clip, but this time I do.

By the next clip, I mean, the beginning of the next clip is not preserved.

So the third

option of this third button is to rate stretch tool.

This option is related to the speed the video clip will have,

which is something that we are going to see later on.

But basically this tool allows to stretch with squeeze

the video clip, altering its speed.

In other words, when I get stretch it, I make it to slower.

And when you squeeze it, I it faster.

Look how I stretch the clip.

And now the video looks slower.

So when I use stretch the video, obviously the frames separate

and run at a slower speed, thereby

slowing down the movement of the video.

That is a function of that great stretch tool.

So I'm going to press on to reset, which is on the two,

particularly back like before, and keep moving forward in the tools.

So the next tool is the racer tool.

So the racer tool is the tool that we are going to use the most.

It allows me to cut the clips as I want in, where I want using this tool,

I will be able to cut a portion of the video from any clip

on the timeline to be able to move it to where I want.

Remember that you must cut the beginning and end to be able

to separate it from the clip as if it were a cake.

I mean, to cut a piece of cake, you must make two cuts.

So as I told you, the tool that we are going to use the most in the editing

and it's not too complicated, we simply selected and got where I want.

Of course, once we cut to move that that we cut, we must be in the Arrow tool.

Obviously you can also use the racer tool in the audio clips.

Now we go to the fourth button, the fourth tool.

This tool is very useful.

In fact, it has two options that we can change with the old key

on the keyboard slip tool and slide tool.

Let's review the first option.

This tool allows me to modify the input output of one.

Be the clip that is between two other clips.

For example, when clicking on this small portion of video,

these four screens will appear on the programs.

Monitor the image above, and to the left belongs to the end of the clip

that is before it in the image to the right and above belongs

to the beginning of the clip.

That is after each the two images below belong to the beginning

and the end of the clip that we have selected.

So this sleep tool allows me to change the entrance

and exit of the clip they have selected without altering the position of the clip.

With respect to the other two clips that are before and after respectively.

So holding down the left mouse button

and at the same time moving to the right or left.

A change to start in the end of that clip.

Moving in the short film.

So it allows me to move where I want that little clip to start in the end

without having to go to the reference monitor and separately

edit the clip and then put it right there.

I mean, it's useful because sometimes we want to change little things,

but it's tricky to get the clip out to where it is and put it back in its place.

The truth is that I didn't use that too much, but it's important to know

that this tool exists so that IT workflow is as pleasant as possible.

The second option, which would be slide tool, works differently.

This tool allows me to move for the position that the clip will have.

With respect to the other two clips, I mean, the one that is after

and the one that is before, but without altering beginning

and the end of that clip that I have selected, be attention to the timeline.

Notice that I am moving the clip in now its position is moved.

With respect to the other two clips, look how I am moving

the clip to the place where I want.

So now in the program monitor the small images are both

now belong to the beginning and the end of the clip

that I have selected, and both the images below belong to the clips

that are before and after respectively.

So it's a very useful tool because it allows me to edit clips

without having to separate them in another part, the timeline,

which would be more work for us.

So let's move on to the next button

on the toolbar, which would be the pan

depend tool allows me to modify the automation line on the clips

that by default are volume for audio incapacity for video.

By making this points called Keyframes, we construct software to change

both volume and opacity automatically as the timeline progresses.

But I do not want to go into this right now because there's going to be

a separate lesson regarding editing, audio and also editing opacity

as well as a lesson where we are going to explain what a keyframe is.

The important thing for now is that you know that the pencil allows me

to alter these automations simply by making points

on those horizontal lines that have both the audio and video clips.

And the last button on the timeline toolbar is the text tool,

which of course we will also see in detail

in a specific lesson for that,

because obviously I have to explain the parameters in detail

in how you're going to be able to use the letters in place

and move them on the video for now.

The important thing to know is that when this option is selected,

we simply click anywhere on the program monitor

and immediately the option to write opens in.

At the same time, a graphic clip is created on the timeline

and I will be able to modify

that clip as I want, as if it were one more video clip.

I mean, I can change how long it will last and move it exactly

the same as if it were a video clip.

If I can show you a little bit at once,

simply when I have selected that graphic clip, the effects control

will open all the parameters to move that, as I told you, as if it were.

One more video clip here.

We are going to be able to obviously

move the characteristics of the typography as well.

There are quite a few features, but since they want to go step by step,

I need to first explain what defects control is like

before tackling how to the text in the premiere.

So this would

be all about the time line toolbar buttons.

You already have a general notion of those

that are going to be very useful for you from now on.

Try to review all the content again

and I see you in the next lesson.

Hello people.

In this module we are going to work on color correction.

First, we're going to learn how to make masks

because in fact masks are the tool that will allow us not only to do

color correction, but also to apply an effect to an image.

So try to be patient.

I mean, there are several lessons and I explain everything

in step by step so that you can do it yourself.

There is something important to take into account in terms of dynamic range.

The dynamic range of colors in an image is

the number of color tones and gradients in an image.

As I mentioned in a previous lesson, an image with a higher resolution

will have a greater amount of dynamic range.

But remember, that resolution doesn't necessarily mean a larger image size,

but a greater amount of information for each pixel.

There are now strategies to make the viewer feel that the image

they are watching on the screen has more dynamic range.

For example, if in an image we change the color

of certain objects within the frame, we're going to create a look

or a sensation that the camera was able to detect those colors,

those colors, variations, thereby

improving the prurience of our video substantially.

But this will not only make the image look better in terms of dynamic range,

but also in terms of cinematography.

I mean, the static quality of any image itself.

So take a look at this example, which in my opinion is excellent.

In fact, I highly recommend this film.

Is this kind of films seen in photography seems magnificent to me.

As you can see these the scene was shot in a beach,

which is one of the main factors that makes the image look good

because this scene was shot at the best time of day.

But it happens that even in perfect conditions,

the gap to record is never too.

Therefore, the production team will prioritize the scenes

that need the presence of their direct sunset flight.

But what about the other?

Those that are necessary for the scene

but in which the sky is not directly visible?

Look at this example.

This shot vigorously clean, being a kind of hill near the beach.

But even when the sky is not there, we must give information

in the shot that the place is close to that beach

and that the action is taking place at the very moment of the sunset.

So how we can do it, We attention to the bottom rocks.

You can see the bottom's rocks are pink

as if the evening light is projected on them.

But the truth is that in the original the shot, surely the pink color

was not there.

Okay, You may think, well,

maybe it's a big red lamp that is illuminating the rocks,

but it would be much more expensive to do that today.

In this age that is no longer necessary.

That direct the color of the rocks can perfectly be done in color.

Correction, in reality is much easier than you think.

If the movie was recorded it in high resolution, much easier still.

Obviously, in the case of a film like is, it's evident

that everything was recorded in a maximum resolution.

Now the most difficult thing is not to change the color of the rocks

the most difficult thing is to know when it's necessary

to change the color of the rocks to match the sunset.

Now, to be able to know these, you must have a great visual culture.

You must feel the visual need to add something to an image to make it complete.

I tell you these I tell you all of these

because today's has multiple jobs.

Many of you take many courses

because you want to learn how to do everything yourself.

But where do I want to go with this example?

If you are giving it out to

I mean, the video files of a scene recorded on a beach like these

and in the data there are, for example, paint shots,

but only three of them show the afternoon light.

You should be capable of modifying elements, you name it,

to suggest that all the shots was recorded at the same time.

That is your job.

So even if you are just someone who does color correction,

you should be prepared not only to get the image corrected

but to know when the image needs to be corrected.

So I always insist on this.

Try to watch good movies so that you can have

good reference sources when it comes to doing color correction.

Let's start in

perfect who you are here.

In the first lesson about quarter regrading or correction,

what is the first thing you must know

to have a powerful inside of color correction in color grading?

The first thing is that what I'm going to teach you in this lesson,

in this module, in the following lessons.

It's my point of view of this past production stage.

I mean, every single teacher you're going to find around,

they will have their own

point of view of how to color grading and color correction,

because actually that point of view is the byproduct of their experiences.

So I would say that is like painting or drawing.

Everyone is able to develop his style.

And why I am telling you this

because I'm focused on creating art to create in his stories.

I am an artist.

It's what I love to do.

It's what dedicate myself to.

And so from my point of view, there are certain technical elements

that we should not follow completely, or we can have the respect for complete.

In other words, we must be able to break the rules

a little or bend the arm of the rules a little.

And I'm going to start this by differentiating

between color correction important gradient.

What is the difference?

So from a technical point of view, color correction is to fix

the various colors of the image colors, to make the image match.

And the original idea that the cinematographer had in the shooting,

I mean, the director of photography or cinematographer

was carrying out that job in the shooting and he had a purpose.

I mean, he had an objective, a kind of objective

in terms of color and illumination lighting.

So when you are shooting, you are supposed to look over the images

in the monitor and that monitors provides information

about what is passing through the camera sensor.

So it's possible that in the day of the shooting, you as a cinematographer

or film director or videographer, you are pretty confident about.

You are watching on the camera monitor.

But it happens that by the time you will be reviewing the footage,

you realize that the footage done match what you were watching on the monitor.

And so, for example, in this in this image about this gear on the pool,

you can notice there is a kind of seal a white veil upon the image.

But it happens that that veil that you can notice is a kind of rough configuration

that the veil has in order to be modified in terms of color.

So it's a kind of forward configuration.

So going back to knowing what is color correction, color correction

would be to return that image to that look to that appearance

that the cinematographer was watching on

the camera monitor or the external monitor in the date of the shooting.

But just at this point, conclusions come out

because maybe the initial idea of the original idea

that the cinematographer had was to modify the color of the image,

the color of the video in the post-production stage.

So in this sense, when you talking about

distorting the original colors of the image

in order to enhance its appearance, you are talking about color grading.

And so sometimes these borders between color correction and go to end

are very closed, are caused and mixed.

So for me, everything all the time is a quarter of grading because your purpose,

your objective is to enhance the image as well as possible.

So let's start it.

The first thing we must do is to change to quarter percent.

I personally always use the editing preset

that only because is the more efficient, but also because is the better

in terms of performance and computer resources.

But this time you are going to need to research them.

You made three scopes in this color presets and what is this?

You made three scopes to the naked eye.

It seems very complicated because you are watching a kind of

strange waves, but they really tell you that it's not that complicated at all.

So the lemaitre scopes is a tool to ensure that your image

is filling the entire spectrum of color Gamuts.

So you can notice that in this panel in the left side of this panel,

there is a ruler or a now of a matter that goes from 0 to 100.

And you can notice also this wave of three colors

that is located in a specific section of this panel.

For example, we attention to this blue stripe.

White is blue.

This stripe is about it happens that the 100 value

represents the maximum amount of light in the image.

You know, the other hand is zero represents the minimum amount of light.

So pay attention to the program monitor.

You can notice that the blue color extends out because the pool is blue

in the water has the maximum amount of light

and the on the other hand, the skin has less amount of light.

And you can notice in the center of the pale

that there is a kind of fall in terms of light in the center

of the image in that fall is represents in the hair.

For example, in the girls swimsuit that is black, actually.

But the problem is that at this moment,

this wave that you're watching in the panel is just filling

a small section of the spectrum, a section closer to the light than to the shadow.

So we are supposed to expand and stretch that color

range of the image to fill as much as possible DC spectrum of colors.

But pay attention to this because I don't mean to say that

it is imperative to fill the entire spectrum of colors

because maybe your artistic purpose is not to do that

in entirely these, because maybe your objective

is to to reach a kind of vintage look in the video.

And that look is inspired by it.

By a time where there were not that sophisticated TVs or cameras,

I mean, there were cameras, there were not able

portrayed a great deal of colors and gamuts.

So if it's the case that you want to match that, look, maybe that appearance

that you are watching at this moment is the most suitable for you.

But let's suppose that this is not the case.

But suppose that you want to to a kind of equalize

in the colors of this video, to come out this video as quick as possible.

So you're going to need to add some video effects in terms of color.

So we need to go to the effect.

It's important to stress that

that there are a great deal of tools in terms of color.

But I'm going to show you those that I used the most.

So we go to the effects folder, we go to video effects,

and this time we are going to add levels.

Also, we're going to add you may three color and also a color balance.

RGV I have already added these effects, but they are all activated.

I'm going to do it from scratch.

So the levels effect is located in the adjust folder,

so the direct effect to the effect control panel.

And then we go to the color correction folder

and we pick the illuminated color effect.

And lastly, the color balance.

We are going to find it in the image control

over here.

So what is the level effects used for?

I usually use this effect to stress the black tones in the image.

I mean, for me is the first step in order to banish

that the forge revealed in the footage.

So in levels, parameters, you are going to find several color correctors

that are focus and adding more light or remove light from the image, either

modifying the whole range of colors or a specific range of color in the image.

And that is the reason why you can see different tracks in terms of range

black input or white input, and not only in terms of RGV,

but also for the red or green or blue separately.

But as I told you, I use this level effect

to enhance and strengthen the black tones in the image.

So by moving this first track, you can enhance the black tones.

So I'm going to move this parameter to the right

and you're going to notice the difference in the program monitor

So you can notice a difference and you can notice how the image

is going to the original state.

So now you're going to going back to the you made three scopes

to review the spectrum, so you can notice how the color wave is

to the downside of the spectrum.

I'm going to deactivate effect so you can notice the difference.

Pay attention where are located, the red tones.

I'm going activate it again and pay attention to the new major scopes.

So by moving this first parameter, this first track, adding

almost points in terms of black tones to the entire image,

thereby increasing dramatically its range of colors.

And pay attention that scene as tigers swimsuit is reaching the black tones

completely in the hair.

Also, you can notice in the center of the panel

that the color wave is reaching zero in the spectrum.

And you know, that zero represents the minimum amount of light.

But you can also modify I know there are tracks of the levels.

I mean in order to fix the tones and return the appearance

to the original state.

I mean you can add, for example, light

to the whites that sometimes are necessary because maybe the video lacks of light

and you can fix that problem by moving that parameter, that track.

But pay attention to that you made there.

SCOPES In this time, since they move white input

the color wave that which is the maximum amount of light.

But some reason I use this effect and this little effect to equalize

the tones is the first step in terms of color correction in color grading.

But let's move on to the following effect,

and that is that you may add three color.

And here going to add some contrast to the entire image

in another very important thing, saturation, the first iris

and an in saturation is because the image is called

I mean, even though you can notice the sunlight reflected on the pool,

I mean is an outdoor shooting.

There were a of clouds in the sky in the clouds

were preventing the light reaches the objects directly.

I mean, light is filtered by clouds.

So when it happens, everything around loses color immediately.

But I'm going to modify a little bit the highlights

in order to decrease the amount of highlight of it.

And I'm going to level the highlights with the whites

to this point just right here.

Now you're going to go back to the numerator scopes to review the spectrum.

Now you can notice how the red stripe in the color wave

is reaching almost 30 in the spectrum.

But pay close attention to this. You don't need that.

The color wave reaches the zero 100 level.

Actually, that is not good, just like it is is well enough to come out of video.

But it also depends on what you want or your style.

But additionally, we can add another effect

these color balance effect, color balance.

RGV And this effect allows you to add a kind of extra

veil of color that covers the entire image, not altering.

So nature, I mean, its nature in terms of light in tones.

So you can notice that in enhancing the blue tones and removing

also the red tones in the image in actually it looks very nice.

It looks like the shooting was in an indoor pool

that had some windows where the light is coming through.

And pay attention to this.

I'm turning the image blue and you can notice that blue veil.

But let's go back to the lumen scopes.

Now you can notice how powerful was this color correction?

I mean, the color wave is filling almost the entire spectrum.

But in this case, we shoot the low.

The blue reached the 100 level,

so we must try to level the red tones and blue tones.

No reaching the limits.

So reaching the limits means that you are saturating the image in terms of color.

So I'm going to move the blue track a little bit.

And the red track also now pertains to how the limiter scopes behaves.

You can notice now how the blue stripe is next to 100, but it's not reaching 100.

And that means that it's not saturate often.

Well, that would be what I usually do in terms of color.

Correction the first steps.

But pay attention, which in the limits doesn't mean that the image is

maybe your creative purpose is to do that you're esthetic purposes.

So feel free to experiment and to play with these parameters and tools.

So I'm going to leave you this shot for the screen

and I see you in the next lesson.

Perfect to be here. Here again.

This time you're going to use this another example.

It's the same film setting with the same actress,

but this time you can notice that the sunlight is not filtered.

And this is a perfect example to make you understand that

even under the same conditions in terms of production

and film setting, just the fact that the sunlight is filter

by clouds brings about another different look in that features in the hair.

For example, you can notice that the highlights

reveals the brown tones in the hair, for example.

So this time I'm not using the levels I'm

using only the new metric color and the color balance.

RGV But additionally amusing, another effect

called sharpen to add definition to image.

So we are going to go to the folders to look for those effects

to do this from scratch.

Of course, we are going to continue analyzing that you made through

while doing

these color correction.

So let's go to the new miter scopes to analyze the spectrum.

So here you can notice that the color wave looks differently,

I mean, differently than the previous lesson.

And the first you can notice in the illuminator scopes is said

there is a kind of white color covering the color wave.

And what does it mean?

That means that the image is

I mean, the footage is burned.

I mean that the camera settings were not more suitable for those light conditions.

And the reason why that it happened was due to the weather

conditions, I mean, clouds were moving quickly.

I mean, the camera was set to work with the light filter by the clouds,

but that weather conditions were not as stable.

But even though the video is a little bit burned, it's not exposed at all.

But we must try to adapt the color correction to this conditions.

So since the sunlight is reaching the objects directly,

we must try to create that effect of the afternoon light.

So I'm moving the temperature, the warm tones

and at the same time adding some contrast to the video.

So in this case we must try to focus on the black tones in the shadows

to compensate that overexposure of light

by attention that you can notice that these blacks track

is almost exactly the same, that the first track in the levels effect.

I mean, remember that

the first track in the label, this effect was two black inputs.

So you are supposed to make the black tones of the image to reach

completely the black level, most of all in the tones of the girls swimsuit.

On the other hand, you must differentiate between in whites

or between shadows in black.

When you are modifying the highlights, you are modifying in the highest levels

in terms of light but not torching the whites in the lowest

level of light.

I mean, you can modify some objects that are illuminated

but are not white at all.

But when you modifying the white, you are going to modify the whites

whole range of tones in terms of light.

So for shadows in black, it works the same.

Pay attention that since I'm

moving the black track, only the black swimsuit is changing.

But if you modify the shadows,

you're going to modify the whole of shades in the image.

So once you make this first step,

you're ready to move on to the color balance.

And what we are going to do, it's supposed that the sunlight

is reaching the objects directly, I mean, like they're after in the light.

So I'm going to decrease the blue tones.

But additionally, you must know that the sunlight produces

more saturation in the image and enhancing the color of the objects.

So we are supposed to increase the color saturation in the luminance reflect.

So we go back to the limited color and we look for the last parameter

in the basic correction is the saturation and we increase the values.

Pay attention to the leap's color and also to the hair color,

so we can go back to the caller balance and try to level the amount of blue

and removing blue actually, thereby increasing the red tones.

You can add more or less as you want.

Remember that it depends tones your creativity also.

And now we are going to go back to the illuminator scopes to review the image

for pay attention that the color wave is filling the entire spectrum.

But additionally you can notice that every single color

a strap is located in a specific section of the spectrum.

But you can continue modifying the color

parameters, I mean, in order not to reach limits.

But even though you are reaching the limits, but you like

what you are watching and the program monitor, try to be confident with that.

And additionally, in this specific case, I already told you

that the video was burned.

I mean, in terms of light in any way, even though you can notice that the image

look very well, the color look very well, you can increase the reds, for example.

I'm increasing the reds by removing blue and for me, the video looks better.

And you can notice also that even adding more red to the image,

the color wave is filling more of that spectrum.

Now we are going to move on to the next effect of this lesson that is sharpen.

The sharpen is used for adding more definition to the image.

You can add as much sharpening as you want.

The reason why I use this

is because most of the blades from the users are going to your video.

The coming user is going to use the less amount of resolution in the player.

So by adding this sharpen effect, we can create that effect of more resolution.

Even though the video is displayed in a player with a low resolution setting.

So is a trick very useful for YouTube and those kind of platforms.

But you must pay close attention that when you are working with high

end cameras, you will be able to add a graded amount of sharpen to the

I mean, the video is going to reach more image quality.

It's exponentially actually, and it's related

also to the amount of information per pixel.

But on the other hand, if it's the case of a DSL or camera,

you cannot play with this in that way

because it will be noticeable that you are forcing in sharpen.

Perfect. This lesson is up to here.

Remember to review all the counters, to digest all the information better.

I see you in the next lesson.

Perfect. We are here again.

We're going to work with this to last takes.

On the one hand, if are going to work on this take

that is it is horse galloping.

Let me stress that this footage belong

to one of my music videos.

So on the other hand, we are going to work on this other take,

which is the same actress getting out of the car.

So are we going to do we are going to start with this first, taking the horse

in this case, we are going to change the color of the horse.

We are able to change the color of some objects,

but not using After Effects or DaVinci, for example.

I mean, it's not necessary always to use those software

to change the color of objects, but additionally,

we are going to use all their effects also.

So we go to the VFX folder to look for those effects.

We need to change.

The color effect is located

in the color correction folder and also brightness and contrast.

But we are going to use also the illuminated color.

So can check the limit for scopes to review the image,

to review the color weight.

And you can notice that in this case

the wave located in the middle section of the spectrum.

But the color with is a still too small.

I mean, we still need to stretch the color wave to the whole spectrum,

but we are going to the red spheres to change, to color effect.

So we opened effect.

We must go where it reads from.

So we must click on the dropper and we are going to select on the screen

the exact color we want to change and we are going to select a color

that is not visible in a greater of sections in the horse here.

Then over here into we are going to click on the dropper

and we are going to select the color we want.

So you can notice automatically the color has changed immediately,

but we must try to level that by modifying this parameter hue.

I mean, to do right

is a more deal of color and to the left is to decrease the level.

I'm going to change the specific tone in the frame parameter.

I mean, we are supposed to select the specific tone with precision.

And additionally, I'm going to set the other color more red.

I mean, so that the change is noticeable

so we can increase the hue as we want,

But I'm going to increase it a little more just right here.

Then we move on to the brightness and contrast.

And here we are going to lower the brightness a little bit.

The following effect is the Lumiere true color.

We must go to the basic color correction

and then we go to the saturation parameter.

If we are going to increase the amount of color dramatically,

we can move the temperature parameter to the warmer color,

but also you can move to contrast to level

the amount of black tones in the image.

We can modify also the black track a little bit to bring out

all those black tones

and you can notice how the horse hair color looks like this.

It's completely red and you can notice the difference by deactivating those effects

that is the original Take the original look

so we can go back to the Lumen

through scopes to review the spectrum.

And you can notice that color wave is stretched to the spectrum.

But in the case of this video of Tears take,

we cannot reach the highest amount of light because this steak is also burnt.

I mean, a little bit burned.

And that is the reason why the better the direction of photography,

the better quality of the image.

Because if the image is burnt.

It doesn't matter how much resolution the camera has.

The sensor is not detecting all the full colors of the spectrum,

so you won't be able expand the color wave throughout the spectrum.

So in this case, I'm going to try to find a specific setting to try

to fill the spectrum as much as possible so we now add a color balance effect.

I'm going to decrease the blue range, thereby increasing the order to ranges.

And you can notice now that the color wave is more expanded.

But will that would be to change the color of some objects in the image.

You can notice the difference.

The activate in the change, the color effect,

and you can notice the change.

I think it's very nice.

But let's move on to this.

Another example, the girl in the car, which is very interesting shot

because the image of the girl is filtered the window.

So there is not only a veil, which is the byproduct of the veil

settings of the camera, but a veil upon the object in terms of production

and you can notice that veil in the made through scopes.

You can notice that even in the darker tones of the spectrum,

there is a wide stripe across in the panel.

But that doesn't mean that the cinematography is run

actually is quite well.

I mean, that is the look of a window and there are those conditions

of that nature because those are stains that you can notice on the window

would be the byproduct of the time.

And actually it could be dust, for example,

or maybe that the window is not clean at all.

And I'm telling you, these in order not to force the camera

to detect something that it's not noticeable

to the naked eye, most of all to the naked eye for the human sight.

So for the moment, I'm going to use a lumens

recorder to correct this video.

So we go to the video

set folder and we go to color correction in select lumen through color.

So we go to basic

correction and we are going to modify only the black tones, the shadow tones,

and the contrast to bring out the girl's face.

We must try not to exaggerate the black tones we can have as a reference

point, the black frame on the window, I mean the black essence of the car.

So we can play with these parameters until we reach the look we like.

But I highly recommend you to experiment, to move all the parameters

with a lot of patience.

Additionally, you can notice also that I modified the temperature

to the cold tones and also the saturation.

And now we can check the limiter scopes

and you can notice how the color wave is more expanded.

Obviously, image is not rich in the brighter tones

because it's caught and it also has a kind of dark vibe.

I mean, it's not necessary to reach the most illuminated

sections of the spectrum and we can notice the difference.

I'm going to deactivate the effects.

It's completely different.

It looks more professional.

So for me, this is color

grading because even though I'm not adding an extra color to the image,

I modify the major color parameters to reach another look.

But I highly recommend you to experiment with your footage

and with your recordings in order to have chances to modify the corners.

I mean, if you have a very cinematography,

you will have more chances to reach a more professional color grading.

So lesson is set here in until the next one.

Perfect. We are here again at the Adobe premiere.

What we are going to address in this lesson,

we are going to learn how to create a mask for the color correction of color,

a rating of a moving object, a mask with motion tracking in.

What is this work?

This allows me to correct the color of an object that is moving

or that a space that is around that object.

I mean, I am able to correct and the color spell with elements.

So you're going to use an example.

These are seen where these categories moving in this room, the ship cabin.

What I want is to be able

to correct the color of the character without altering the color

to room, or vice versa, to be able to correct the color of the room

without altering the character in Why do I teach you with a moving object?

Because once you learn to do it, this way, it will be easier to master

a mask of an element that is a static without moving,

which is much easier, obviously.

So I find much more useful to teach you guys the hard way at once.

Be attention, because at first it may seem that way.

It's tricky, but in reality it's not.

So let's start.

We already know that this is our scene and we must make a mask

to isolate the character from the point where he is walking

until the moment he opens quarantine on the window.

So the first thing we are supposed to do is that we need to add

a color correction effect from the premiere effects bank

to the effects control corresponding to this clip.

So we click on this a small tab, and then we click on Effects,

and then we must look for the bead effects folder.

And then the color correction folder.

So once there we must click on the color you made through effect in bullet

to the effects control panel of the clip in which we are working.

So when you add that effect, it will be as if it were one more effect

and those that come in the control panel by default.

So once we add that effect we must pay attention to the mask patterns

that we saw in one of the best lessons,

if you don't remember it, I'm going to remind you again,

remember that there is a circle, a square, and the result is a feather.

And this later is used to create customizable masks.

So let's check the first one. The Circle.

Remember that you can modify the nature

of that circle to make it more or less oval.

So all the changes you make in that effect

will everything that is inside that circle

or what is outside that circle, and we will be able to choose that.

On the other hand, once we click on the Circle, for example,

it automatically creates a first mask

that we are going to see right here in the effects control panel.

Notice that if I now click on the square a second is created

and this time we can modify the nature of that square however we want.

And finally,

we have the third option that is customizable here.

We will be able to create the shape that we want by joining

these points as if it were a cancellation.

And this is a matter that we have to use to create masks

for regular, reshaped objects.

So we simply have to make as many points as we think

are necessary to match the shape of the object.

We want to isolate it.

Not only you will be able to make the shape you want,

but even rotate the mask in changing its position.

So I'm going to delete the three masks I have created

so far to make it the one we need to from scratch.

So I'm going to try to better defines a video fragment.

Sorry one to edit.

I'm not going to use the whole clip so I'm going to use from this point

until the moment the character reaches the window.

So I'm going to cut a bit of video at the beginning to work more.

Unfortunately.

So once we have defined the exact clip in which we are going to work,

we go back to the control panel and position the course or

the beginning of the clip

and we are going to

select the customizable mask called free draw base here.

So automatically I click on that little feather.

The mask is created as we are ready.

So there's something very important to take into account before

start to create a mask, and that is that we must assume out of it

the program's monitor to allow us to make the points freely.

I mean, that is far enough away

so that we can either make points outside the Monitor's frame.

So I'm using the monitor at 25% and I'm going to start making points.

Don't worry that it's perfect.

It's just an approximation and that you can get out of the frame

of the monitor.

I mean, the mask can be outside the screen as well.

Obviously, when you had to draw points

in the smaller areas, you can zoom in to try to be more precise.

But remember that no matter how precise you are, an approximation

is more than enough for the mask to work.

So we are supposed to create the necessary points to create a mask.

That mask be closed.

I mean, the shape we create mass enclose a space.

It doesn't matter if it's regular or not.

We must close this shape.

So after finishing close in mask shape,

we must go to this perimeter that is here, which is the mask bath.

So here we are going to activate the mask automation

we need click on this little cloud.

It automatically creates a new friend

corresponding to the mask in that specific frame.

So from now on, what we have to do is to move the mask as the shot progresses.

Obviously, the mask belongs to the character shape, but the character

is going to get out of the mask as the shot progresses.

So we are supposed to change the shape and position of the mask every few seconds

so that it matches the character as the shot progresses.

But Let me mention that this process for many people,

coaches and society fear they think it's very complicated.

But the truth is that it's not the only thing I can tell you

is that depending on the shot, it may take more or less time,

but actually try to think how long a take can be for this to be really impossible.

Shots always last seconds.

So approximately every half seconds you're going to change the mask

to match the character.

You must do point by point.

Do not get stuck in too many details.

Remember that the mask is always an approximation,

so the mask will follow a path of changes, a type of

where it will adapt from one keyframe to another.

But to find that gap between one keyframe in another, The recent moment

to wear the mask loses too much of the character's shape.

We must set an intermediate keyframe

so that we make the mask continue to match the character.

For example, here, due to the movement of the arm,

there are some frames were the mask loses the shape of the character

leaving that extra space.

Those moments must be corrected

because they will be noticeable when we do the color correction.

So we positioned the line between the two key frames and correct

the mask in automatically and other keyframe will be created.

So we should continue like this, I would say, adding a change every half a second.

Actually, I think it's less than half a second.

But creating necessary keyframe

so that the mask follows the character as well as possible.

You should take into account that you have the possibility of creating more points

as many as you want, especially for those parts

where there are curves and very irregular shapes.

On the other hand, remember that it doesn't matter if the mask goes

out of the screen frame, that will not affect the image.

But additionally, this mask bath parameter

gives us the possibility of tracking movement.

I mean, by using artificial intelligence, the software will create a mask

approximately adapted to the shape we create in each the frames.

But the problem is that this is never exact, so sometimes

it causes problems.

So what I recommend is to use this tool partially.

In other words, we press play in the tracking tool

and immediately that mirror of the creation process will appear.

So we shouldn't let the process finish.

But as soon as we see the blue stripe starts to advance,

we stop it because the whole process belongs to the whole clip.

But what we need is that some moments it does the tracking,

but not in the whole clip.

So as you can see, the software created a keyframe for each frame.

But as you can see, the mask is not perfect,

so we have to correct it anyway.

So I recommend using it, but deleting all those key frames

where the mask doesn't match.

So this is the reason why I don't use it too much because it's a lot of work.

I mean, I had to delete the key frames that are not correct.

So I would say that this tool is useful when the shape of the mask is regular.

I mean when throughout the whole clip, the shape of the mask

is not going to change much.

But anyway, I think that combining the two tools,

I mean, tracking and doing it manually would be a good option.

So I'm going to leave this lesson here.

I'm going to finish the mask until the character reaches the window.

And we continue in the next lesson.

To start with, the color correction correction,

we are going to continue knowing the mask parameters.

One of the most important parameters is Tibetan.

That allows us to merge the selection made by the mask

I mean, if we want the fact to change what is inside the mask

or what is outside, by default, the mask will affect what is inside.

But if you check this box where it's rich inverted, you can change that.

And now the mask will affect everything that is not inside.

The mask.

Before we continue, let me remind you again

that you can create a mask for any premiere effect, a meaning,

any of the effects that are down here in the folders can add masks.

For example, if I choose to brightness and contrast,

notice how I can also create a mask that effect.

It's important to know these because obviously there are hundreds of effects.

So knowing that you can create a mask on any of them is important.

So let's continue with the new made through color effect.

We had activated the selection inversion.

So when we do these in change example, the exposure of the image

be attention to what happens.

I'm going to hide the mask so that the blue guide is not noticeable

and we see the changing lighting more clearly.

Now you realize how important the mask is.

Look how the light in the room changed without affecting character.

Then you can imagine everything you could do in change with this procedure.

In this case, I'm modifying the exposure which allows me

to change the range of the light in a more general way.

The exposure is a parameter that mixes the brightness and contrast.

At the same time, we attention to the fact that the is not perfect

and errors are noticeable and we mask correct him of course,

but in general what we should do after creating the mask

is to try to blur the edges of the mask so the effects look convincing.

That is crucial when it comes to creating masks.

So once we create the mask,

we must modify that important parameter that is the feather.

That parameter allows you to soften the edges of the mask

so that the mask is not noticeable and blends more with the background.

Pay attention.

I'm going to hide the blue guide of the mask so you can see better.

It works.

Pay attention that at the edges it expands an extra guide

that widens the edges of the mask that is the blue area.

So we are carrying out the sharpening the edges,

and that is the reason why we don't need the mask to be perfect,

because when we bluer edges, it softens the hole, the shape of the mask

thereby blends in better with the background.

No, the edges are going to be a lot less noticeable.

I'm going to hide the Blue Guide again and I'm going to modify the exposure.

Look how much better it looks.

It's also important not to exaggerate.

I mean that we must develop a sensitivity to light and we cannot modify

the background lighting in a way that is not convincing.

We must be subtitled in is static, so we must right above all that

the modifications in the lighting are convincing during the whole shot

from the beginning to the end.

So the next parameter can modify in the mask is to it.

I mean, it's as if we were activating the mask or deactivating it.

But with transparency, actually, there's

nothing complicated about that parameter.

The next parameter is expansion, which is similar to the feather.

This parameter closest enlarge the mask and also make it smarter.

It's not very complicated either.

It's simply help us to better land the mask with the background.

Now you can see more of the difference in terms of lighting in the room

using the mask.

This tool is really useful for refining the image.

So another very important feature when it comes to creating masks

is that we can copy and paste the same mask and use it in all other effects.

For example, I can add another limited three effect to the clip.

Then I select a mask of the first limit

three color, and then we press on the key word control.

See, come and see.

And then we go to the other Lumi three color in breast control Z

and then we will have in this new effect the same mask above.

But for example, in this case we could select the box

for inverting this election.

So by doing this, we can now correct

only the color in light of the character,

so we can modify, for example, the saturation,

so you can see more or less how the colors change in the character.

The saturation is to strengthen colors in an image.

So pay attention to how the color of the skin changes.

For example, it looks more tanned with, more color.

So whenever you make a change, you can check how it looks

with respect to the original video by turning the effect of art on you

only had to click on that effect symbol.

I'm going to modify the color

temperature of the character to notice the difference much more

so in the

same way that we are able to change the color of the character

and and the background and we could also modify

the color of that window that is there.

So all we have to do is add another unitard color or to the clip

and this time, since the window is at the end of the clip,

we go to the last frame of the clip and we are going to create a mask

for the window.

But whose automation is going to be created in the opposite direction.

So we draw the mask.

This time it's easier because the window is a much more regular object than others.

It's a static, it doesn't move.

So once created, we activate the automation in the path of parameter.

Then we go to the timeline of the effects control panel

and we are going to create the automation, but this time backwards.

So I'm going to hide the Blue Guide so

it can be seen.

So pay attention. That is much easier.

Or simply as we go backwards, we must make the mask always stay in the window

and remember that doesn't matter if the mask leaves the screen frame

because the window also leaves the frame,

then the mask must also do it.

So we are ready to modify the corner of the window as we want and.

Then we return to the parameters of the LUMI tricolor.

It's important to highlight that we don't need to bird disinfection

because we want to modify the window along.

So we go to the basic correction and then we go, for example, to temperature.

And for example, we can make the light color, for example,

if we want the light outside the shape to be morning or to have a cold environment.

So here we already have the window with cold light

and we can compare it with the original color of the image.

It's important to always make that comparison to see the difference.

But to the extent that we can modify and colors at the start of the window,

we must be aware that this light with that temperature

should affect the objects that are inside the room.

In this case the character.

So we are supposed to go to the character's mask

and modify its color and even the contrast

so that it would also be embellished with cold colors in one.

So with the type of contrast that matches all the lighting

that is in the place, we attention

that since the colors are colder and we had darkened the entire room,

the contrast suits the character very well.

We can make the comparison again.

We deactivate all the limit to reflect and we activate them

one by one so you can see the difference.

Look at the first limit three for the background.

Look at the difference.

The whole room is darkened the cabin.

Now look at the second limit.

Three that of the character. It's very good.

It Makes it blend very well with the garden lighting.

And finally that gloomy tree of the window.

We can even exaggerate in the cold light from the window

so that much more noticeable.

It's very important to see good movies and paintings with good lighting

to inspire us in three to do this work in more detail.

Notice that in fact it seems that inside the cabin

there is some kind of artificial warm light

and the cool light of the morning enters through the window.

So try to practice creative masks

and we will continue to delve into color correction in the next lesson I

perfect.

Now we go with a more detailed process of color grading H.

S l color correction.

This tool allows you to modify the color in a much more precise

way within the same mask.

I mean that the changes that we make to the colors

will not only happen in the mask, but within a specific range of colors

within the mask, that would be a more professional step of this same process.

For example, here you see the mask selects the character.

And what we are going to do now is correct the colors or light of specific areas

within the mask.

So the result is much more professional.

It's one more step in

everything we had been doing up to now in terms of color grading.

So in the previous lessons we had created some mask to correct

different parts of the image.

But this time we are going to focus on the mask that selects the character

because what we are going to correct

is the skin and the illuminated areas of the character only.

So I have received

everything we changed in terms of color in light to use this method.

So let's start then.

Once we have created our mask in the new meet to reflect,

we must go to the following parameter h s l secondary.

So this parameter is located a little below the basic parameter.

So at first sight it looks complex,

but in reality it's not because in fact we didn't have to use all the buttons.

So I'm going to hide the Blue Guide before continuing.

So once we are attach parameter, we are going to try to find

a neutral point in the video clip to correct the screen.

I mean, you are supposed to find a moment

in the clipped where the character's skin is known as well enough to correct it.

So once this is done, we go to where it reads set

color, and we click on that little dropper that is there.

And in this case, I'm

going to click on the cheek, which is the area I want to correct,

then automatically defect, select the color ranges of the cheek

and in order to check it, if we go down here in this a small tab

and we must select white black, and then you're

going to check the little box that the reads show mask.

So as you can see, the software is only selecting the area that looks white.

But in turn, this election parameter only take into account

everything that is inside that mask we did previously.

So since we can automate all the parameters in the premiere,

we could also automate the selection ranges using these three selection lines

that belong to the light saturation and color range.

For example, remember that the light changes as the character works.

So the selection could also change if we automate it.

For example, pay attention to the of light.

The light in light.

Look at how the selection changes

in the character selecting the illuminated areas of the face in the shirt.

So this is interesting for two reasons.

On the one hand we're realized that both the sheer and the face have

similar colors, even though it doesn't seem that way to the naked eye.

And on the other hand, it's interesting because in the end it's that same light

that enters through the window that is illuminating the entire character.

And these are the kind of things you should learn

in terms of lighting by your own, knowing how to use the software or not.

So once we have made the selection,

it mean that we are sure that the selection we had made is correct.

We uncheck the show mask box and we go a little farther down

where we are going to find the doors to make it The color grading.

We are going to find, for example, the same parameters of the basic color

correction, such as temperature, contrast, saturation, etc.

But there's also this wheel here, which is very useful because by moving

the center point to either side, the software will change the color

of those selected areas to worst with those colors that are on the wheel.

And of course we can combine the parameters to achieve a result.

For example, I'm going to move the temperature,

I'm going to increase it enough for you to notice the difference.

So look at how the light that illuminates the character has a warm color.

And in fact, if we go back in the clip, we realize that as the character advances,

the light becomes warmer.

So, for example,

we combined this technique with what we saw in the previous lessons.

The result is much better.

For example, we could change the temperature of that light

in the window to match what we just did in the character.

So by

doing the color correction in this way it looks much better

because notice that it really seems that the light from the window

is illuminating the character because we are doing gradient gradient.

But as I told you, it's not enough to learn to use the software.

We had to be aware of the behavior of light

and we will only achieve by consuming quality art.

I mean, you are supposed to go to galleries to see good paintings,

good photographs, qualified exhibitions.

Of course go to movies.

So I'm going to deactivate the effects so that we can make the comparison

and we can see the difference from what we have done so far.

So this is what the original image looks like.

Then we darken the background, then the characters color layer

and then the window layer.

So from here we can add one more effect layer.

I mean another.

You meet the recorder and in this last effect we can add

that contrast that affects the entire combination of layers

to combine them much more and make them look better integrated.

So this contrast is perfect

because it even reinforces the shadows that are projected on the wall.

And it really seems that the light that is coming through the window is real.

So we can do one last comparison to see the difference.

I'm going to turn off all the effect layers again.

So we attention to the nature of the original image.

I would say that there is a much more constant range of colors.

So now I'm going to activate all the layers again

one by one.

I think the difference is amazing.

And since the video is of high quality because it's a good camera,

actually we have the chance that these will turn out very.

On the other hand, we must pay attention to correct.

And those are small frames where the general mask doesn't match the character.

Because remember that the age as the mask works

inside that blue mask.

So this is a possible color grading, but this could be totally different

as it was in the original color grading of the project.

But you should always take into account that the better the resolution

of the camera, the more possibilities there are to correct the lighting

and the colors of the image.

So let's move on to this another example of how the color graded was done

in the following a scene of this short film.

So pay attention that mainly a mask was used to illuminate

the character in the same way as we did in the previous exercises.

So if the camera has a good resolution in dynamic range,

this will be possible to do without my your problem.

But pay attention to this other layer that is almost imperceptible.

This mask is adding a warm morning color to the shield.

Remember, the quality of the color grading is the byproduct

of a set of small details that in turn make the image look better.

In this case, the morning light is warm, so the shield should adapt

as much as possible to that.

So here we can see the difference of how it looks

with the mask and without the masks.

Another important detail of this shot was the lighting in the place,

and this detail is quite similar to that of the movie Portrait of a Lady on Fire.

I mean, the color of a specific part of the image had to be modified

so the whole image would match with a previously seen shot.

In this case,

they are those parts that you are looking at where you can see the ball

in the background, peeking through the trees

in those parts where a lead to match up with these shots

in that previous take was these these are being shot.

That tells us that the actions are happening in the morning

here.

You can see how I deactivate and activate the mask

so you can see how it looked for it, how it looks with the effect.

These was all these in the exact same grading that we saw

with the character in the cabin.

Take a look at this other shot here.

We had to do more or less the same thing that selected part of the sky.

That part that peeks out the trees.

We had to change the color

so that somehow it seems that the sun was speaking out there.

So we made the mask and then we selected just illuminated

area with the secondary edge as well.

And then we added the red color so that the color would look warm or not cold.

And here you can the difference between the original shot

and with the mask.

But pay attention to these other more advanced examples here.

As you can see in the different shots of the forest,

the sunlight manages to pass through the trees and reach the ground.

Like in this shot, for example, The problem was

since the sky conditions are never perfect, it is stable.

That lasts for a very short time.

So in one take it was necessary to directly create

the light on the ground because at that precise moment of the shooting,

the light in the ground had almost disappeared.

So we created a mask of the little trail of light

that was barely visible in the shot, and we increased the light from that part.

This example is excellent because precisely gazes like

is visual culture is necessary.

I mean that

you know about painting, for example, we attention to this important detail.

The mask doesn't change.

Even the camera moves forward

because the camera traveling has nothing to do with the sunlight, the light.

It's supposed to be in the same place.

So we automated the mask to stay in the same place on the ground,

taking 80 parts of the ground as a reference point.

Here you can see what the image looked like before

the original image without the light on the ground.

I think difference is fantastic.

It's a proof of how far you can go using this technique.

In this other example, you can see how we can use exactly this

same technique to enhance the color of something in the image,

the blood that the character has on his arm during shooting.

The blood on the arm was not completely perfect.

I mean, it was not red enough.

So this had to be corrected with color grading.

So we created a mask that selects just a red

color that was barely visible on the shirt.

And then when has that red color

here you can see what it looked like before.

Here you can see it in more detail.

Look at how the color changes as I move the color on the garment will.

But you must pay close attention that the changes

must be subtle.

So all these are examples of everything you can do using the color

gradient technique that I teach you in this lessons.

But as I told you, you must practice.

You have good references to achieve it

until the next lesson.

Hello people.

In this lesson we are going to talk about performance and cameras,

but above all going to show you on the screen videos

recorded with different cameras and different lenses so you can learn

to recognize the difference when it comes to seeing the quality of an image.

On the other hand,

although in this lesson I'm going to talk about technical aspects,

I highly recommend you to consume movies with a good cinematography

so that you can recognize when one image is better than another

in terms of lighting or cinematography.

And I tell you these because it's our task to improve image quality

and we must know what are the weaknesses of an image

in order to correct them and to improve the appearance of a video.

This is start in

this is the Sony NEX five.

This is a medium low quality DSLR with awesome medium quality lenses.

The image looks good because the cinematography was good.

I mean, it was recorded at the best time of day.

However, if we freeze the image, we can realize the weaknesses of.

This format, first of all, everything is synthesized in general, shapes and colors.

Maybe you don't realize it with the naked eye,

but when you see a high quality later on, you will see the difference.

This synthesis has to do with both

the dynamic range of the sensor and the resolution of the camera.

And in addition to the fact

that the lens doesn't allow a large number of light points to reach the sensor,

we can notice this in the small details and especially in the dark areas

that lack information because they are completely compressed by default.

This is the typical image in which the technique of modifying the colors

of some objects or elements like the sky, for example,

is one of the best ways to improve experience

and quality.

This next example is a little better here.

A Canon five.

The camera with AIL series lenses was used.

Additionally, the real footage belonged to a Phantom four drone.

However, from my point of view, although it looks better than the

previous video, we can still notice signs of compression.

The image like the compression we can notice in the hair

details.

In the case of the drone images there is flickering

in the water areas that have complex reflections.

This flickering can often be cleaned up using this tool

in the effects control panel.

But the problem is that it doesn't usually remove the flicker completely.

In the case of the Canon five D, it does exactly the same as the previous camera.

I mean, it compresses two colors that are apparently flat.

Additionally, you can notice on the edge of the mountains

the lack detail captured by both the camera and the lens.

So my take is for a video to look really good with a5d camera.

It's necessary to use very high end lenses

to compensate for the lack of dynamics in the sensor in.

Finally, in the same way, changing the color of some elements

in the image or improving them will help the quality of the image.

Now we are going to move on to the following example A Black Magic

four key with Canon L series lenses.

Here, the appearance begins to look more professional.

I don't mean to say that the previous works did not look professional.

I mean that the raw image looks more professional.

Pay attention to the gear's hair, looks.

Each strand of hair is noticeable on the screen.

However, even under these conditions,

I mean that the black magic sensor is better.

The kind of lens blur in the background, Not the best of all

because it seemed that this is too much

in the

following example, which is in fact in the same work

we used a rare two Scarlett with a Canon L series lenses.

The most noticeable difference is the dynamic range.

It's better than the black magic.

Pay attention to the rough color.

The neck arrangement is a kind of pearly white

that you can only notice with a good sensor like that.

Obviously there is a great light

in the place as well, but even under this conditions,

the red helps to improve that blurred background, to look really professional.

This is another example with the black magic, but with all other

rocking and lenses that I personally don't

like so much because they are not very bright.

But even though it looks professional because of the lighting and the color

correction, for example, that green color you see in the grass in the branches

below was modified in the color correction to make it look greener than normal.

So in this way it appears that the image has a higher dynamic range.

The same with those fainter blue lights in the background.

They weren't originally like that, but where it turned

blue in the color correction.

Not to mention that the color of the skies was also modified to make

them look like these.

Look at this other example here.

The quality of the image becomes completely professional,

but it's not because of the quality of the camera

that because the lenses that were used where a completely professional

Carl Zeiss lenses look at the way the background is out of focus,

you get the distance in which those horses are in.

It's even out of focus.

At that distance you can see that they are horses.

And not only that, but you can notice the strengths of the horses hair.

Additionally, pay attention to the outlines of all the shapes.

They don't look like that outline of the mountains

in the first example with the kind of five to pay attention to this frame.

Look the drops of water on the grass AMI

and look how good the blurred background looks

in this last example is the work we are going to use

in the color correction lessons, and that every camera was used here,

which has the best dynamic range of all the ones I had shown you so far.

But nevertheless, the lenses used here are not half as good

as they once in the previous music video.

However, will use this video because it's the camera with the best

dynamic range.

There is something important to take into account

when trying to discover how a scene was shot

or what was the format to use in a short film or a movie or a music video.

Take a look at the next example.

This To a layperson, we sit with you.

If you pay attention, you can notice that since the videos is shot

in France, in Paris and in France,

there is an obsession, a kind of obsession with the independent look.

I mean, that independent movie type look.

So the video of Dua LIPA is inspired by that.

So those images of Dua LIPA sharing tonight with another girl

or another singer as if she where her friend,

it seems that they are totally spontaneous, random,

as if it were a simple camera and they are recording random moments

on one single night.

But it turns out that despite the fact that the music video is representing

almost a kind of documentary project of that night,

the camera they are using not as cheap as most of believe.

In fact, suffice it to say that there are shooting at night

and the lenses are so good that they capture details of the blurred background.

And it tells you this because there are naive filmmakers

in naive videographers who think they can take any camera

and record the same video and it will look at the same.

And it doesn't work like that.

And in the same way, there are also video editors who think there is a plugin

or a filter that can replace a car sized lens, for example,

and they tell you this not to discourage you,

but because one of the most important things in terms of film

production is to note and recognize the nature of a film production,

this is necessary to be sure of how far the color correction can go to have

a quality resort that the client requires an advertisement, for example.

So independent films in Europe are very expensive, not as expensive

as Hollywood ones, obviously not, but they are more expensive than most believe.

Believe me, what I tell you, I studied cinema here

and I tell you with certainty you get noted

was a clip in French custom.

The same things happens when in a production

we use a cheap camera, but with a super expensive, very high down lenses.

For example, this video 30 seconds

desperate and

broken, the

sound of many people will be shocked

to realize that many of the shots were recorded with a can of five.

The the use of our camera.

But what is the reason why the image looks so good?

Because it's evident that they used a high down lens

which goes to thousands and thousands of dollars

no matter how it all the camera is, the image coming through the lens.

Sensors will be beautiful.

So try to be aware of all of this and have a world and get fooled

by supposed plug ins that are supposed to give your videos

a completely cinematic look.

That is impossible.

So. Well, thank you very much.

And until the next lesson

or hello people.

In a previous lesson, I was talking about the blurred backgrounds

and scenes that feature related to the quality of the lenses.

Obviously the ideal scenario would be to work with the best lenses,

but if this is not the case, we must be able improve this feature

on the videos when it comes to improving the visual quality of the project.

So let's start in perfect

because here again in the premiere, what are we going to do this time?

First of all, I want you to see a comparison

between a shot recorded with an iPhone and one with a cinema camera.

Obviously, they are shots of the same object.

There are the same conditions.

It's an exercise.

So the objective of showing you this

and the goal of this lesson is that by using the premier camera real effect,

we can try to approximate the cinematic look of a movie camera.

So I'm going to start by showing you the shot of recorded with the iPhone.

So here we have this shot of this bust

recorded with an iPhone 14 that I would say that using a DSLR

camera would average lenses, I mean, normal lenses would look more

or less the same.

Of course, the exception will be that we were using scene lenses

with a D SLR, but this is not the case.

So an average DSLR looks more or less like a last generation iPhone.

But anyway, in this shot you can relevant details

like, for example, that there is a slight blurring of the background.

But pay attention now to an image recorded with a movie camera

of the same object with more or less the same conditions.

Okay, obviously it looks much better, especially for the dynamic range.

I mean, the amount of tones, the whites and grays.

But look at the nature of the blur in the background

as they get closer to background changes in a more cinematic way.

Obviously more to focus than in the previous image

because the lenses allow more light to enter the camera sensor.

And this is one of the reasons why I have always said

it's very difficult to try to imitate this quality

with a plug in effect because it will never look the same.

But nevertheless we can get closer,

we can get closer to that look

and we are going to do it using the blur

because that parameter,

that characteristic tells us about the depth of field

in the lenses as well as the sensitivity they have to light.

So we are going to click on our clip

and we are going to look for the V defect folder.

And in that folder we are going to look for the blur

and sharpen.

And here we are going to choose the camera blur.

So this effect allows me to imitate that look of a cinema lens.

Pay attention that it not only blurs image, but

also stretches the image slightly to the sides.

So we must to the effect parameters and we are going to decrease to

and the percentage in the percent of layer parameter.

Now we are going to look for a midpoint of the clip,

I mean, not at the beginning or at the end, more or less in the middle.

So now we must create a mask to select a region that should be more out focus in.

What would the region be?

Well, the entire area of the canvas in the background

and everything that is at that distance.

So we the option to create customizable mask and we create a mask

that selects all of that with the great care and patience.

It's always so point by point we created.

Remember that the mask can get out of the frame and nothing happens.

You can zoom in or out the program monitor.

I see. Once

perfect.

We already have our mask ready.

Now we have to do is activate the automation of the mask

so that the first keyframe is created.

Then we complete the mask in the other parts of the clip.

It's not necessary to make mannequin frames

as the forward movement of the shot.

It's not very strong.

The mask will not get too out of the shape of the bust.

Therefore, we just have to adapt.

What has changed, especially in the past, in the candle on the right.

So we are going to try to make some more keyframes,

but it's not necessary to make too many, as they told you.

Just do a few throughout the entire clip paying attention, above

all to the main objects.

Perfect.

We already have our mask made throughout the entire clip.

Now we simply have to to the blur effect.

We must determine which is the appropriate torch for each part of the clip.

Because at the beginning of the clip, the background should be less blurred.

So pay attention that only raising three points in the Blur

parameter is more than enough to improve the Blur

and make it more cinematic right At this point, at this moment in the clip

so we

can see how it looks with effect and without the effect.

Here at eight, you can notice the difference.

Now it's not activated.

I'm going to activate it again and look at the difference.

So since the clip continues a little farther forward,

we must be aware that 18 it must be more out of focus.

So I think that the race in three more points would be good.

Reaching six.

It's important to note that when comes to improving the flowers,

we must be very delicate, precise.

I mean, not exaggerate with the blur because it looks unreal.

I mean, a slight changes are perfect.

You should also remember to bring the feather up a bit

to soften the edges of the mask

so we can automate the lower percentage.

Now, if we already know what the final point of maximum blur

is, we add the first one at the beginning, which should be less blurred

and that's it.

So with the crease of LA Beat, yes, right here.

And that is enough.

Now, we rendered the clip to see it more fluently.

And here we have our shot.

With the blurred background,

it looks more

because as the shot advances, the background becomes more blurred.

You can notice it in the edges of that canvas and that kind of canvas.

Obviously, this shot is just an example.

If you were working on a similar one with a person in the middle,

the closer you get to the person, the more blurred the background will be.

Obviously we cannot tolerate like in the example with the movie camera,

because although they are different lenses in terms of quality,

they are also different in terms of millimeters depth of field.

So you have to take that into account.

Now pay attention, this blurred background,

we can combine it with a slight flaw in the front part of the chair

making that slight blur noticeable when the camera approaches it.

Here we simply have to add another camera,

a blur effect to that clip.

Obviously at the beginning you must decrease

the percent blur to zero

and you are supposed to create a mass

that only occupies the front area of the chair.

But we must find a maximum approach point of the camera towards the tier

and we must create the mask right at that point.

Now, the mask is supposed to only affect front parts of the tier

because that part is the one closest to the camera.

So we can make a kind of polygon that only focuses

on that part of the chair.

So we must raise the feather

to soften the edges,

and then we add the lower

we can use expansion if we want. It's

always trying to not overuse the fact,

try to make it real.

So from now on we can create the keyframe.

I mean, to activate the outer lines in The Blur,

we already have the last Keyframe.

You only had to create the first keyframe,

and you must know that defining

the blah shouldn't be noticeable.

And they would say that

before the beginning is simply when the chair moves away from the camera.

You should no be out of focus.

So I'm going to render it again.

So you're really have the image with more blur, both

in the back room and in the front part of the chair.

All the it doesn't look like a film lens.

It looks more professional.

In addition, additionally, if we were working

with two cameras, for example, a film camera in a D SLR

or a film camera in a knife, and we could combine

the two formats in the same work and he would look pretty good.

But obviously the idea to also be aware of the differences between the formats

to understand

why one format looks better than the other,

especially when it comes

to working with lenses that are slightly better than others.

And I think that this is the most difficult thing to be aware of that

of course, in this example, I don't think the difference

is difficult know which is evidence.

Well, you know how to blur the backgrounds

and let's move on to the next lesson.

Hello, everyone.

What we're going to do in this lesson.

In this lesson, we are going to learn how to create a shot out of another shot

because eventually you're going to have to reframe a shot in order to fix it.

I mean, in terms of cinematography

and the byproduct of that process brings about the creation of another shot.

And this is going to happen to you

when you didn't have enough footage for your editing.

For me, it's a very common thing in terms of

so we are going to use this take of this camera.

You can notice that it has a color correction, a kind of color correction.

Let's a quick review.

There is a little effect limit recorder and also sharpen.

But before addressing the creation of another shot,

we are going to talk about something first.

When you are an editor, you're supposed to become sensitive with the changes.

And those changes could be in terms of color, violence, etc..

For example, in this shot and there is a kind of wickedness in terms of balance.

I mean, you can notice that when the cars approach the camera,

there is more space in that gap between the car and the frame in the right side,

and we must try to fix that to level that so we can.

Sumi in the image modifying the scale and then move the take slightly to the right.

So when I was talking about being sensitive,

I mean, to be aware that the take needs to be fixed

in other words, you're supposed to detect that in balance.

You must also be aware that that imbalance could be related

to a specific point of to take moving to take it.

There is a kind of traveling in a movement.

For example, here there is a tilt up, but once the shot reveals the windshield,

the take seems to be moving too much to the left.

So in order to solve that,

we can create a kind of automation in the position to fix that movement.

The take in this example seems to be

not that complicated because the camera is in a tripod.

So just by automating the movement in the position

parameter is enough to fix that problem.

But anyway, as I told you, you must have a great deal of references

in order to know if a shot is violence or not.

But let's move on into the creation of the other shot.

First of all, we misled a photographic moment into take in, for example.

That moment could be when the car stops once we have selected that moment,

we are ready to focus on one single object in the picture.

I'm going to tell you these changes here in the automation for example,

this headlight on the right, we are able to zoom in the image,

move in this scale in order to find that balance

taking into account, that headlight, for example,

because actually the travel rules are a kind of constellations.

But even though this is not a travel in itself, there is a movement

the passage of time.

And that movement has moments where the picture, the image is balanced.

I talk about these in a lesson of my filmmaking course.

It's called anchor point.

So you can notice that from the moment the car stops, I'm

moving to take to the left, right to the left headlight

to create a kind of artificial movement in the take.

So I haven't automated the movement yet.

I'm trying to discover at those moments those anchor points

that I can use to create entire movement.

So let's go back again to the first anchor point.

I mean, at the beginning of the shot.

So once we find that moment, we can create a keyframe in the position parameter.

We must create a keyframe for the scale too.

But that's just right. Here comes a problem.

And it happens that when the car stops and the camera stops, also,

that movement created by editing will be more noticeable.

So we are supposed to place the keyframe.

That keyframe related to the position just before the camera stops.

I mean, in this way you will be creating an

that the camera has a longer movement because the take will be in motion

just before the camera stops, thereby deceiving the viewer a little bit.

And there you are.

You have another take out of the original take.

And it looks great because it seems that that movement to the left

is part of the entire take movement.

Now I'm going to show you how you are not supposed to do it.

Pay attention to these.

Take a movement. It begins in just right here.

The movements created in the software begins.

So the audience will notice that the movement is a strange

you can notice just right here, the artificial movement begins.

So you already know what is the difference.

I'm going to show you again the right way.

You can notice that yes, at this moment that, movement to the left is softer

and you are supposed to place that keyframe related to the position

just before the camera stops.

On the other hand,

wanted to mention something important related to the scale,

and that is that when you want to to create that sensation of interest

in the audience but in the shot you are working with is as static,

you can add a slide zooming in or zoom out to create that effect.

But in cinematic terms, this zooming or zoom out has two functions.

First of all, when you have a sequence which has several shots,

a most of the shots have traveling, and additionally

the shots are passing one after another very quickly.

So in those cases, they recommend you to add a little zoom in into the shots

to match with the rest of the shots I mean, it's a visual feature,

so the audience will come for it while watching the sequence.

So on the screen you can see an example.

The unit on shot has a slight zoom in

and the other function is when you want to represent the injuries

that the character is experiencing about an object or something that he

is looking at carefully in general terms, that interest is represented

by zooming in on the character's face to represent the thoughts.

Generally.

This is done and said, I mean, with Adaline example.

But additionally you also have to add a slight zooming in

to the object or theme or landscape that the character

is looking at here on the screen you can watch an example.

The character is looking at that arrow stick on the tree,

but there is assuming into the arrow, but is an artificial zoom in created

editing in that Sumi is representing that the character is thinking deeply

about that I wrote that he is looking at this is another example.

There is a slight zooming into the landscape

because this scene is a flashback out of the previous scene.

And he was remembering when he saw that family on the farm that day.

But this also works for dialog scenes to finish the lesson.

I'm going to leave you a complete scene

where two characters are interacting in dialog and assuming works.

Get into their thoughts.

All this up till some eons of thesis scene were created in editing.

So I'm going to leave you this scene and until the next

to know

during that point

when the images it

it it also

makes note

perfect.

We are here again at the premiere.

What we are going to do now

we are going to stabilize image a shot take in

this case is a sequence shot but I'm going to tell you this

from scratch from the beginning is stabilization is not that magic at all.

It stabilization can help us a lot to fix a shaky image.

But if the image

if the sequence is really shaky, we are not going be able to fix that.

I mean, if that were possible,

Steadicam would not continue to be used today, as simple as that.

So I think that with this example, you're going to how to do it

and get to understand the stabilization tool.

So this is a take we are going to fixed.

It was shot with a Steadicam.

But due to the nature of the ground where the assistance where

it was impossible for the shot to be completely stable.

So just at that moment where the camera slowly approaches the character,

the camera shakes, spoiling the sequence

so the destabilization could be even higher.

But this example is quite good.

In fact, the image shakes during the whole shot.

So we are going to repair all this with the tool that the premiere gives us.

So I'm going to select a portion of the sequence shot to fix.

I would say that this part where the camera

gets closer to the character is the best and I'm going to tell you way.

So I'm going to

drag the video portions of the timeline, as always,

and I'm going to open the program's monitor.

So here we already have the take on the timeline, the shot.

So the problem is that sometimes we as editors are going

to have to grab the frame to get closer to the character.

I mean, we are going to have to do this either by decision of the director

or by ourselves, because we think that the cinematography looks better like this.

But pay attention now.

How The destabilization in the sequence is much more noticeable.

And since many of you are videographers or filmmakers, I will tell you something.

This is the reason

why it's not recommended to use a lens larger than 50 millimeters

on a Steadicam, because this kind of lens is sumi of the image and the camera.

It still a long away from what we are capturing.

Then each millimeters of movement will be much more noticeable.

But anyway, we must go to the video effects folder

and then we open the store to folder.

So here we're going to find RGB stabilizer.

So we are going to drag this effect to our clip and it so now the software

will automatically begin to analyze this shot

frame by frame to try to fix it.

Here we can see in Effects control panel how the analysis process is displayed.

So depending on the length of the shot,

this analysis will take more or less time,

but the software will do it automatically in the background.

And once this is done, the effect will automatically stabilize this shot.

But now we must be close attention to some fundamental parameters

so as not to fail. Stabilize in the shots.

First of all, is the smoothness of the stabilization.

We will be able to modify it with dispersant age.

It can be higher or lower.

It's important to mention that the effect will not analyze the image again

unless we stretch or squeeze the clip we are working with, but dive right below.

We are going to have the method parameter, which is by far

the most important of all in effect.

So here we are going to find four methods position,

position, a scale and rotation perspective in the formation.

There.

Something you have to know from the beginning.

I don't know why these last two exist perspective in their formation.

In my opinion, they should not exist.

They are completely useless when it comes to stabilize

in a professional shot for a movie or a commercial or a short film

because no one would like to see a shot

work like a jelly as an option to stabilize that shot.

So if it's an Instagram or Tik-Tok reel, it's fine.

You could use it, but I wouldn't use it anyway.

Even in smartphones nowadays.

Stabilize the image enough so you didn't have to use these two options.

Obviously, these last two options are often used when the image is too shaken.

If these were the case, then the software would leave.

The character is stabilized, but the entire background that we see of

that forest would be deformed like a tele which is actually terrible.

So position is scale and rotation is the best option to stabilize.

So this option, instead of distorting the image, will change the rotation.

It will zoom in and out.

It will change the position.

All this automatically until the shot is stabilized as well as possible.

So for me, is the best option

to stabilized without altering the nature of the shot.

So pay attention to how it looks like the most interesting thing

is that I can even zoom in on the image much more

as if it were a median shot and it will look

perfect.

So let's do a comparison.

I'm going to deactivate the effect to see the original shot again

so we

can notice that it was enough with radiation

to spoil the scene.

So I'm going to activate, in effect, again and we're going to check the take again.

So pay attention below in the parameters of defect.

We will have the possibility to make a detailed analysis.

In other words, instruct the program to do everything possible to

stabilize the shot.

It's spoiling image as little as possible.

So in this case, it's not necessary to do it.

But we can do it.

The only thing that will happen is that it will consume more computer resources

and also in turn, it will most likely crop the image more.

So if we check that little box,

it will start analysis again, which will take a little longer.

Just below you will find this parameter that allows us to choose

between two options. To the right.

The image will be more stable, paste into to the left,

less stabilized, but will crop the frame less

so we can play with that parameter however we want.

On the other, I think that this issue of stabilization

using Premiere is a last resort to solve this.

I mean, as videographers or filmmakers, we should do everything possible

as not to need to stabilize the image in those begins

by choosing the most appropriate lens to record with the camera in hand

and with a Steadicam generally, that lens cannot be more than 35 millimeters.

And if we are shooting camera in hand even less because in fact, even under

perfect conditions, we are going to need to stabilize the image.

I mean, sometimes we are using Adobe, for example, and for some reason

at some point the image shakes due to some small operator error, etc.

And for those cases, these are stabilizer issues.

So pay attention.

How it took to do the detailed analysis much more.

But the result would be the same because in reality that first analysis

was more than enough to repair the image

I'm going to get the monitor bigger, to see the shot better,

and I'm going to increase the resolution of the monitor to.

So in summary, you can use these as stabilizer.

But remember that if the image cannot fixed

with the parameters position of scale and rotation,

the image doesn't qualify to be stabilized professionally.

So take all this into account

and until the next lesson.

Hello people.

In this module, I'm going to show you the technique that I use to add

visual effects to my latest works,

to my stories, effects like sparks, fire, etc.

I basically made it by using videos recorded on green screen.

These consist of and videos, a studio or outdoors

of any elements such as fire, sparks and fake blog, etc.

But using green background that is later removed

with the Adobe premiere Chroma key tool.

In this context, there are packs that are sold on the internet.

We'd already recorded videos that include these elements.

The Action Essential Pack is a good example.

So what is the advantage of this box that they make our work easier

when it comes to creating a short or a video for YouTube?

The downside is that when it comes to producing

a movie or school is to be the best movie.

These facts are going to be good enough to win you an award

for special effects, for example, not because they don't look good enough,

but because they are going to recognize that you are using those effects.

So I'm going to use two very simple videos to explain how the action

essentials work so you can use them in the future in whatever videos you want.

An example of these was the sparks which we used

in the lesson about how to add the letters.

The other more professional example would be how use it in my last short film.

So pay attention.

It's not very complex, but you need to pay close attention

on the other hand, and going to leave you some videos of Sparks and Fire

previously recorded with green screen

so that you can download them and use them as you wish.

Let's start then.

You know

perfect what you're going to do now in the Adobe premiere.

We are going to learn to use the fire element by using Action Essentials.

This is a very useful tool to make really entertaining various,

but actually is the same technique I use

to create visual effects for my short films.

So in order to teach you how to use the fire

action essential, we are going to start with this video.

And in this video I'm supposed to set my hand and fire.

So what we are going to do is add the action

essential to make it look like a you actually set fire to the hand.

So the first thing we are going to do is look for most

appropriate fire action essentials video.

I mean, for this hand, obviously, one of the factors that affect

the resort is to the size of the fire resembles that of the him.

So here you can see that there are many types of fire

and you will be able to use whatever you want.

Editing under this same principle that I'm going to teach you at this moment.

So pay attention that there are fires of different sizes

and even with different winds, all fires were recorded

in a type of a studio with a green screen in the background.

So I'm going to choose this one that is like a kind of torch.

And I would say that is a size similar to that of the hand.

But there are many types of fires anyway.

It also depends on your own creativity to choose the appropriate.

I mean, it doesn't

have to be exactly the way they choose the one that will look better.

However, I'm going to choose this specific one, and I'm going to add

this video above the video clip we are working on.

Pay attention. That is a perforated video.

It's as if it were opinions filed only the fire is seen

because the process of removing the background was already done.

I mean, this was recorded on a green screen

and the background was removed.

So the first thing we are supposed to do is to blaze the fire video

just when the candle makes contact with the hand.

And that would be the first step

here.

It seems to me that it's fine.

So once we had done this, we must proceed to move the fire

to the exact point where the hand is.

And for that we must click on the fire clip and go to the fact

control panel and use the position parameter to move it to the hand.

So we simply try to put the fire on the hand

at the beginning.

But obviously once we find the right place, we must adjust

the size of, the fire to really make it match with the size of the hand.

Then we must use a scale to adjust the size

and here we can continue adjust in the exact in which the candle

makes contact with the hand so that it looks more convincing.

But obviously this is not enough

because the hand will have a movement, a kind of movement.

So what we should do is automate the movement of the fire to make match

with the movement of the hand throughout the video clip.

And this is interesting.

It's much easier to put a fire in a house or anywhere.

It's more complicated to place it in a blaze that moves

or a moving object, and that is way I showed you this way.

So we are supposed to go back to the effect control panel.

We go to the position parameter, then we go to the beginning of the clip

and we activate the automation, by clicking on the a little plug in.

As you know, the first keyframe will appear

and that keyframe belongs to the at first position.

But as you may notice, there is a moment the word to hand begins to move.

I'm going to zoom in the programs, monitor a bit perfect.

And now we are going to look for the exact moment before the hand begins to move.

I would say that is right here.

So I create a new keyframe.

So as the hand moves to the right, I will move the horizontal

value of the position parameter to follow the hand.

Obviously, I'm doing this a little later to create a new keyframe.

Of course, the attention I also moved and the vertical position.

So pay attention to the fact that in the gap between the two key

frames, there is a point where the fire doesn't match.

Then we must set just that moment to in another keyframe will be created.

So with a lot of patience, we are going to continue

creating key frames throughout the entire clip.

The fire masks follow all the movements of the hand.

In all these must be automated.

So at this point we realize that the clip is longer than the fire is,

so we must duplicate the fire clip so that the fire follows and all the way.

So we select a clip and we press on our

keyboard, come and see or control see.

So here we have the fire clip again, but we must delete

all the automation of the new one because we must create a new automation.

But we are supposed to leave only the last keyframe belongs

to the last position that the fire had in the previous clip.

And you're going to move that keyframe to the beginning of this new clip.

So from we are going to continue making the fire

match the movement of the hand from keyframe to keyframe.

Little by little, perfect.

Despite the fact that the fire follows the movements of the hand,

there are still things to fix.

We must fix the perspective of the fire, because when they bring the ham

closer to my body, the fire must move away a little.

So there are several moments where the fire approaches the body,

so its size must change at those moments.

Because even though if the fire gets just a little bit closer to my body,

those are small details of perspective that change in perspective are

what make the visual effect convincing or at least look good.

Therefore, we are supposed to go to the effect control panel again

and we go to the scale parameter.

So in that parameter we are supposed to activate automation line,

but we must pay close attention that in those moments

where we change the scale, the position will also move a little.

So we must continue correct in all those details little by little.

For example, here we can activate the automation line

by adding a keyframe and we can add another keyframe just before the hand

starts to approach my body.

So we can create another keyframe when the hand is done

approaching the body, and then we can move the scale

in the values of the scale parameter or directly in the programs.

Monitor As we have already learned,

I'm going to hide the Blue Guides simply when we select the parameter.

The guide disappear.

So look at how good the fire looks like now

in terms of perspective and movement.

But since I had moved the size of the fire,

the position is always a bit out of adjustment.

So we must correct those moments.

Pay attention that here the fire moves away from my body again.

Therefore, it's necessary to increase its size again a little

because it's closer to the camera.

So once we have adjusted the scale and the position, we can

then see what we have far.

So the process of making it look real is about going forward and forward,

correcting those small details with a lot of patience.

This requires seeing it several times, many times,

until we realize that the movement looks real.

I mean, if you pay attention, there are still details

that need to be corrected to make it look perfect.

For example, when the hand goes up, there are some moments

where the fire gets out of the hands.

But I think the biggest problem is the transition between the two fire clips,

and that shouldn't be noticeable, or at least

we should try to hide as much as possible

so we can fix transition by making an automated transition

between the two clips by using the capacity parameter.

So we overlap the fire clips

to make that transition as we learned in a previous lesson.

And then we must adjust to movement of the fire In the rest

of the clip that we moved

or so

we can delete all the automation that we have in the clip that we moved in.

Do it again after overlapping the clips are perfect.

So now we do have all our fire counter units

terms of position in the scale.

So we're going to move on to the next lesson where we are

going to make the corner of the fire look like a real fire.

And in a next lesson or

perfect, we are here again.

Now the challenge is to make the fire in my hand look the candle fire.

And this has to do with the color correction.

I mean, using the candle fire as a reference, it's clearly the best.

So the first thing we are going to do is nest the fire clips

to join them into one single clip type.

So we must select all of them.

We click on the right mouse button and then we click on Nest.

We had to type a name over here, so we press K

and this kind of clip will automatically be created,

which will contain the two fire clips inside.

And now these new nest clip will be clickable

and we can add effects just like any other video clip.

But you had to be careful because if you guys store will click on the nested clip.

It's going to take you inside

where the two clips that we previously nested will be here.

We can check them. They are isolated,

but we are going to work on the nested clip.

So we do a single click on this clip and we are going to add a lumi

three cutter to that clip

and this is going to be very easy.

We're simply going to the basic correction.

And if you can notice the candle fire,

you can realize that the color is more desaturated.

I mean, it has less color.

Then we must modify the saturation of the fire that is in the hand

so that it matches the fire of the candle.

We can also move the other parameters related to light

and the amount of white to get a much closer.

There is no criteria to move each of these parameters.

I mean, what works for one image may not work for another.

So if someone tells that the white parameter must always

be in only one way, they are wrong, that is not possible.

We must develop sensitivity to notice what is necessary or not.

So you can already see how the fire color looks much better.

It resembles that of the candle.

I'm going to add a little more saturation.

I think It's better that way.

Always tried to take the time to get it right color.

But on the other hand, there

another element that is crucial to make this fire look real,

and that is that we must make these fire

interact in some way with the environment.

For example, when they bring the fire close to my face,

the fire is supposed to light up my face somehow.

So this type of detail takes effect to the next level,

I mean, it's the same official factors that gives rise to a good visual effect.

The light of the fire has to interact with the face.

So we must go to the video clip below and we must create a mask that illuminates

the face at the specific moment the fire approaches my body,

we must set a new meter color and create a customizable mask.

The mask is supposed to illuminate

a part of face and torso, and in this case it wouldn't be very difficult

to automate it because the face practically doesn't move or hardly move.

So we simply have to check if the face moves

while the fire is close and adjust the mask position.

So here you can see the mask and you can notice that

at this moment, at this point, the face moves away from the mask.

And in the previous frames.

We also have to check that the mask is in the right

position.

Additionally, we must create the fact

that the mask is only noticeable when fire approaches the face.

So what we must do is use the capacity parameter.

To achieve this.

We must automate the capacity so that when the fire approaches the face, he said.

100% in just when the fire is moving away, it's at 0%.

So at this point we have the capacity at 100%.

But just at this moment before we are going to set the capacity

at 0%,

but it's necessary to do it not only in the moments before, but also after.

So I'm going to set again the opposite parameter to the minimum level.

But obviously, since what we are doing is a light, we must modify

the feather parameter a bit to soften the edges of the mask.

So from here we can modify the color temperature.

We could start in another parameter, but we are going to start with this one

so that you can notice the difference in now the face color looks warmer.

We can check the full

video and you can see when the fire gets closer to the face.

The color of the face changes.

So I have increased exposure of it to

here.

The light is much more noticeable. Right?

It looks good.

I'm going to exaggerate all the parameters a little more

in case you don't notice it too well.

I'm going to raise the temperature and also the exposure.

And let's kick it out again.

I think it's a bit exaggerated, but I do it like it is.

So you can notice the difference.

This is a principle that you should use when creating visual effects

with action essentials.

The first factor is that the action essential follows movement we want.

Secondly, that it has the correct color.

And thirdly, the defect that in this case

it's the fire interacts in some way with environment,

just like we did here, that the fire lights a face when it approaches.

But as I always tell, try to

experiment because in this experimentation

we can improve all these visual effects.

In fact, you can combine different types of fire

to have more random reactions of the same effect.

Well, since you know how to to add the fire

by using the action essential, we can move on to these and other

more professional example If we are going to do

a kind of dissection of what we did here.

First of all, you may notice that the shot in itself

has a blurred background due to the nature of the lens.

So we were supposed to match that look

that are produced by adding a blur to the fires.

So there is a blur is in Spanish because that is the original project.

But anyway, that is a blur.

And you can notice that I am activating the blur and.

You can notice how different it looks, but that blur is interesting

because since the Blur is diffuse

in the image, that Blur make us take the fight for real

because we are not able to look at the fire in detail.

So that strategy really pays off in terms of filmmaking.

If you're supposed to add some

effects to your shots, anything that prevents steals is to detect

that those effects are artificial, are not real, will be your best ally.

We also modify the saturation parameter in the lumen through color

to make the fire match with the lighting of the scene.

Because you can notice that the scene is almost in the night

and the colors are supposed to be desaturated.

It's also the nature of the short films look,

but you can also

take into account that to make an effect based for real,

you're supposed to add masks to the nearby songs.

I mean, that ground, that grass is supposed to be illuminated by the fire.

So this mask works for that.

So you can notice I'm turning off an effect

and you can notice the difference.

It's an essential feature in terms of lighting.

Remember that we did it in the example of the of the hand with the fire.

We illuminate it in the face when the fire was approaching it.

And obviously this effect, this mask is on the clip of the shot.

These are the depths of color gradient

and they are not related to how powerful the is your computer,

but rather that to be sensitive to these changes,

to the nature of the light, the nature of the picture, etc., etc..

On the other hand, you must also take into account that when it comes

to creating visual effects, it's crucial that stage of color grading.

I'm going to deactivate the fire to check the color grading.

I'm going to deactivate and you may add to color.

There are several layers.

They are in a Spanish color.

The luminary bat is the elementary color.

And in this shot we did applied everything I have taught you so far

in every layer is a very subtle detail I'm looking for.

The most important layer, I think, is death

is the following.

So pay attention how different it looks.

This is the raw look of the image, the original lighting of the shot.

But due to the high dynamic range of the camera,

we were able to modify the colors in this way.

So we did modified its posture where it creates exposure on its exposure

in Spanish and just by moving that parameter, the image looks so interesting.

But obviously the illumination, the lighting up on the character

is decreasing too.

So in this another layer, we added another mask

that was compensating that absence of light.

I mean, we did just the same process.

We did that previous lesson in the ship cabin

and you must pay close attention that we not only modified

the lighting of the character, but also the temperature,

because since the light was different and it representing a kind of night,

a cold night, the temperature was supposed to match that.

So we did move the temperature to the cold tones a little bit.

You can notice here I'm exaggerating the temperature,

but is for you to notice the difference.

And that was all for the character.

Additionally, we did also modify the grass color.

I mean, in order to bring out

more colors of the shot, thereby increasing its dynamic range,

you can notice difference when I deactivate the made to color.

I think it's not that subtle, but it increases the color of the

entire picture.

I think that detail makes the image looks beautiful

and that was created by using the H as old secondary effect.

You can notice the selection when I check the box.

Only the

grass is selected and since the grass is wholly selected

we were able to modify the color of the grass in detail.

We did raise the temperature

actually here and moving the temperature to the cold tones.

So you can notice that is a whole set of details that makes the shot.

We prepared for.

The visual effects in the last Lumiere record

or later was to decrease the light dramatically.

So you can notice it looks amazing.

We did modified all these parameters that you already know

to reach that kind of lighting.

I'm going to activate again.

The light produced by the fire.

You can notice them over there on the background

and I'm going to activate again the fires.

I would say that the most important thing when it comes to creating visual effects

is the lighting, because the lighting will help you to deceive the audience

all the time.

And even though you didn't have the best visual effects,

even in the cases that you are using animations

and 3D objects, for example, the lighting is fundamental

because you are supposed to make those elements blend with the background.

A blend with the shot in the audience is supposed to take those elements

as one more part of the environment and the scene.

So this lesson is up to here.

I hope you enjoyed it.

And until the next lesson.

Perfect. We are here again.

This time we are going to use a spark action essential

in this subject that is actually a sword.

What I want to do

is to create that effect of a spark along the length of the sword,

where the sharpening in the sword with the object.

So we are going to use the sparks again.

Last time we used it with the letters, but this time we will do it with the sword.

So I'm going to look for the Spark video.

I'm not going to focus too much on that.

I will just use one that I already had in mind and I'm going to add it to.

The timeline.

So it's basically the same spark we used the last time,

but this time we must take a good look at the nature of the spark.

But above all, we can see in the video the place where the sparks come from

and the direction in which they came out, because we have to make the spark cam

from the contact zone and also the sparks go downwards or forwards.

But I insist you can experiment.

It doesn't have to be exactly as I told you. Maybe.

Does it make sense that the sparks come out like this?

But I think in that way they could look good for the exercise we are doing.

So the first thing to do

is place a spark in the right place on timeline.

In this case, the spark should start.

Just when I start to rub the object against the sword.

Then in the control panel, we must change the scale of the spark

and also the position so that it's right in the contact song.

But additionally, we must change the rotation because

as we know, the spark originally goes to the right.

So we must change that.

But we have two to do that.

We have the option to change the rotation in the control panel

or also add a horizontal flip effect.

So this time I'm to use effect.

So we go to the video effects folder and then to the transform folder,

and then we choose flip horizontal.

So we that effect to the spark clip

and now the spark will come out to the left side.

But since the direction is not completely perfect,

we are going to modify the rotation a bit

so that the spark goes exactly where we want it.

So the idea is that you can use the two tools,

the horizontal flip and their rotation to achieve it.

So we just

go to the effect control panel and change their rotation a bit so that the spark

is not completely horizontal to the left

but is slightly tilted downwards.

We can correct again the position of the starting point.

So the next thing is to determine how far the spark will be seen in the clip.

I mean, to cut the spark clip when the object finishes torching the sword.

So I think it's right at this moment.

Then right after here it disappears.

But you know that the spark has moved towards the tip of the sword.

So little by little we are going to look for a point in the path where.

We can make another keyframe of this automation.

So we go on and on and on.

And I think that over here it's okay.

So we move the mask towards the tip,

placing it just right here.

So a beginning, it will not be perfect.

We must go long correcting it.

So here you can really see the spark move in, but it's moving faster than the hand.

So we must adjust that by creating other key frames

in between.

Remember that you can create as many keyframes as necessary.

So I think it's ready.

Let's remove the Blue Guides.

So it happens that also, because of the position of the sword,

the spark must also be affected by the perspective.

So we must correct that too.

When the spark starts near the hilt, it should look slightly smaller,

so in this case, in order

not to exaggerate with the size of the spark,

the best option is to keep the size of the spark a down of the clip,

and we simply the size of the spark at the beginning of the clip near degree.

So I'm going to reduce the size of the spark.

Had to begin in by at least three or whatever

it's necessary.

So as we modify the scale, I think the position of the spark

was misaligned a bit during the traveling.

We must correct it.

So you had to be very patient, incorrect everything

until it looks perfect.

Uh, but

there is still something else missing, and that would be the color correction.

So We must add the lumi tricolor to the clip, and here we change

the color saturation to make it the spark look more real.

So you could perfectly combine these effect with a source sound effect

that is part of this process.

You know, the sound also makes the picture look more real.

So now you know how to add the spark effect to a sort in

now you can try it in other context gowns or as we did in the previous lessons.

So thank you very much.

And until next lesson

for this lesson, I used a digital drawing tablet.

You could get one if you want to achieved what I did in this lesson.

Digital Drawing tablets are not that expensive, but the resort

of what I'm going to teach you in this lesson is really worth it.

So once you really have your drawing tablet connected

to the computer, you simply had to record the

computer screen while you are writing what you want.

I mean, specifically that phrase signature or title

that you would like to appear in your video here at the premiere?

I already have the video where I recorded the screen when writing on the tablet.

The only thing that can be a little difficult is the calligraphy,

the handwriting.

But in fact, you didn't have to be the one to write.

You could ask someone who has a good handwriting to help you and write for you

what you want, what you need, or simply you make your signature.

For example, all these drawing tablets come with a default software

that you can use,

but there are graphic designers

who use their own tablets directly in the Photoshop.

I mean, that's not a problem because these tablets are all and play.

So I recorded the screen and I spent some time writing.

I confess that it costs me a bit because every time I was run.

But since the screen was being recorded, I recorded all the attempts.

But among all these attempts, evidently some of them stand out and work.

I was writing.

May I tell you something very important to remember is that in

writing software you must choose dark colors for the background

and wait for the letters or whatever you are writing or drawing.

Try to make it the background, always black, blue or green,

but just being black or dark is enough.

So we already our video portion on the timeline,

the part where we write our based on the timeline.

So what we had to start doing is that the video clip only shows what we wrote.

So we must have started by cropping the ages of all that part of the upper

section of the software types and also below where the toolbar.

And there are two ways to do it.

And the first is in the passage parameter, we simply make a mask and that's it.

We have cropped in the whole section of both and below,

and I think this is the most suitable way because you can crop

just to where you want it simpler and easier.

It all depends also on what you have written

or if it's a drawing or a relatively irregular shape

in which you need to isolate that irregular shape.

But there is also another way to do it.

You had to go to the effects folder and then to view the effects

and then to transform and there you will select crop.

So you must add defect to the clip.

I'm going to deactivate what we did in the

So in the crop effect, we are

going to modify, in this case the top and bottom parameters.

I mean, to be able to cut all those sections

that I don't need in the image.

So as I told you, you can cut the image however you want.

It all depends on what you need.

But well, the opacity tool is free, more useful, I think.

So once the edges of the video has been cropped,

the next step is to delete the background color in this case, that gray color.

And to be able to do it, we must go to the chroma key effect.

So we go to the effect folder.

Then we click on gain folder

and then we choose the color key effect.

So we add the effect to the video clip.

In the first parameter you're going to find is the key color.

Here you will find this small dropper where you are going to the color

that we want to eliminate.

In this case, we are going to select a gray background.

Basically, this is the same way we do a chroma key, you know,

in which we remove green backgrounds or someone dressed in green

to pierce the video and show what is on the right that video.

So here we already have the perforated video.

I mean, the atelier signature is the only thing visible in the video.

And now I can add that signature of all any other

or image and put it whatever I want.

So this is very useful.

If you want to make a YouTube channel or you are editors for a YouTube

or any brand, you can embellish the videos a lot to use in this technique.

Now I'm going to add a background image so that you can see

what the signature looks like, and that's background.

So obviously at first it will not always look perfect.

So we must modify these parameters over here and play with them

and especially at thin an edge feather.

So both parameters allow me to soften the edge.

In the case of the feather is directly to soften.

And the thing is to increase or reduce the size of the edge.

So pay attention to how well I am of it.

The edges are seen more I mean, they are more noticeable.

Obviously, the objective is that these edges disappear.

I'm going to render this

now pay attention to how the

layers appear as if they were an animation kind of animation.

Actually making an animation of layers like this is complicated.

Not to mention that if you get a software that makes animated

of this type, they are not going to be unique.

And if there is something you need in social network or to identify

a personal brand or whatever you want is that this element is unique.

So the only way you can do something unique is to do it yourself.

I mean, draw in it or writing it yourself is the best.

Additionally, since these letters are also one more clip, we can move it as we want

and increase its movement and improve its animation also.

So I'm going to do an example

of what it would look like if we added movement to those letters.

For example, we can make the

letters leave the screen once they finish appearing.

So in the position parameter, we put a key frame

when the letters finish appearing and maybe have a second later.

We put another keyframe in which we change the position.

Now look how interesting it looks like.

I mean, as if it were all an animation made in a special software for this.

So it is quite useful because it's cheap in the end.

There are very cheap drawing tablets out there.

And additionally you then need a very advanced software

or a very powerful to make animations.

So I think the only difficult thing is having the ability to draw or write well.

But in fact I think that the letter is done.

Need to be beautiful, to be unique.

Everything will depend on the style you have.

So take all these into account and until the next lesson.

Hello people.

In this module we are going to work on sound design.

Sound design is one of the most important stages of the editing process,

but at the same time it's also one of the most underrated stages

for a large part of the film makers I have met during my career.

It seems that not important to create with detail and creativity

this sounding mention of a story of any audiovisual work.

But the truth is that half of what we are filling in, the information

we are receiving from any movie or any short film enters through our ears.

Additionally, in many current films, the immersive capacity is related

to sound design.

On the other hand, in the same way

that there are video editors who only focus technical aspects,

there are also sound engineers and sound designers

who only focus on technical aspects related to mixing in.

For example, which we are going to see also in this module.

But the truth is that nowadays tools give us many possibilities

when it comes to solving technical problems,

but it's precisely the creative part that we have to address,

especially generally in the projects you are working on a beginning.

There will not be good sound designers, so you had to be able to do that

job yourself.

But above all, show the producer or the director of the project

that you are really of doing that job saving production costs.

Of course, all of these would mean that you are a worthwhile professional

for the production team.

So going to show you an example of how important it is to use

sound design creatively in a scene,

I'm going to show you a scene from the movie Hair in Scene,

the main character is finishing up divorcing his wife.

But the truth is that deep down he didn't want to get divorced.

So they are sharing one last coffee

where she is finishing signing her divorce papers.

But pay attention to the sound design of the story, to the sound design

of this scene. I, I

think that

this could.

Wow, here we are.

We could do this in person.

And then you've been traveling a lot.

No, I'm really, really glad you suggested it.

I signed all the papers

for you to sign.

What's the rush?

Yeah, I know. I'm. I'm a really slow signer.

I realize it took me three months just to write the letter.

Anyways, it's marked in the very design,

so you know, you have to do right now.

I can just.

It's just going another way easier

with you Realize how important the sound

design was in the emotional structure of the scene.

Basically, in the scene they show us the memories of the protagonist,

those memories about when he was happy with his ex-wife.

But actually the scene shows those memories

without sound in silence,

only leaving the sound of the restaurant of the cafeteria.

Just like your memories are in real life,

we usually the images in our minds,

but we continue to hear what we are hearing, whatever we are.

So even if we did remember the sound, the sound that we remember in our mind

is not louder than the sound that we are hearing at the moment.

So this decision is not something that has to do with technical aspects.

It's something completely creative that goes by

knowing how to equalize the audio mix or adding sound effects to the mix.

It's something that serves as a storytelling.

It's a sound narrative element.

Another important element is in music selection, in filmmaking.

This stage is done by the music editor, but the music

is that person who works with a composer

and the director of the film to select those musical pieces.

That best represents the idea the film director has in mind

to be

able to know what is the most appropriate music for our work.

We must ask ourselves the right questions.

First of what is the target audience of our project

if it is a commercial film or is it an independent film?

For example, if it's the of the independent short film

or an independent film, you have to be aware

that you should use as little music as possible

because the target audience is not common people.

It's a group of critics who need to see this cinematographic language

in its purest level without anything that can deceit our emotions.

I mean that according to them.

Music often does that job that the story cannot do,

which I don't always agree with that, but well,

that is the of critics of specializing in independent cinema.

On the other hand, if it is an advertising or a commercial

or the target audience is also important, I mean, how

old is the target audience That is important to know?

If it's a video for Instagram, you could ask ourselves

the question of whether or not the music you are listening to is trending.

So try to take all this into account and let's move on

to working on the sound design and the premiere.

Perfect.

We are here again at the Adobe premiere.

The purpose of this lesson is to be able to do professional audio

editing regardless of whether we an adult or not.

I mean a professional digital audio workstation individual premiere can do it

because in terms of audio editing, we have all the tools to make it.

So this time I'm going to use a scene from one of my best short films.

So the idea is to edit all the sound of a scene,

I mean to create this sound design.

So I'm going to start using only the video of these is in to add to the timeline.

So let's check the scene

on the programs, monitor

The scene starts right here.

The character is running for a very long way.

And in fact, in that part, there is no sound but a soundtrack.

But where we are going to create and this sound design is right from

the moment the character crosses the river and then he crawls and crawls

until comes across the corpse of another character in the story.

So we are supposed to add every single sound

effect of that environment.

So obviously, most people are very afraid of this

because generally we are filmmakers who know how to use the camera.

We are interested in video editing, but when it comes to sound,

it seems that it's a completely different world.

But the truth is that this knowledge is very important and since the tools to

the sound are available at the premiere, we must know how to do it.

So the following thing we must know is that we need some sound sources.

I mean, we must find each of the sounds that should be playing in the scene

and we must find them separately.

There are two ways to get them, the first in the most

difficult way is recording them directly, either on set using

a portable recording device like the one you see on screen.

And the other way is looking for the sounds on the.

So this later process

would be the cheapest, but that doesn't mean that it's the worst.

It's simply the cheapest.

I mean, it turns out that there are many sound effects of anything on the internet.

We can find them on sound pages or on YouTube itself.

So we simply put the name of the sound we are looking for

in the YouTube search engine, and many of them will appear.

Then we simply have to download them and use them in the editing.

Another important thing to know is that we are going

to have to change the premiere layout several times.

I mean that preset layout for with you

because we are going to have to add effects to the tracks, mix them.

Remember that the mixer will appear in the audio preset the mixer console

which corresponds to each of the all the tracks that we have on the timeline.

Remember that the timeline is divided into sections one sections

for the tracks above and the section for all the tracks below.

So pay attention to the fact

that each one of the failures of the mixing console are identified

or the one or the two of the three and below

in the of tracks we see a18283.

Of course, the result is a master track where the general mix comes out.

So the most interesting thing is

that we are going to need to change from 1% to another because.

Actually, the editing preset is much more suitable to create the sound composition

and we are going to use the audio preset only when we go through the mix

in a stage.

Everything will also depend on how comfortable do you feel with each preset.

But personally, from my experience, the audio preset consumes

more computer resources than the percent.

So I think that this is an important variable when it comes to choosing

one or another.

On the other hand, returning to the issue of sound

sound sources, it's important to create a kind of sound bank,

a sound backup that we can resort to

when it comes to doing sound design.

For example, here I have all these folders organized for different types of sounds.

There are environments, footsteps, sounds of water

or fire or sounds, shots, etc., etc., etc.

And the most important thing is that some of the sounds were recorded by me

or by my production with a portable recording device

and others were downloaded from the internet,

as I told you, from YouTube or all their pages.

So knowing all, what do we need to produce a scene?

Obviously the scene takes place nearest stream, okay, now of a smaller river.

So we need to add that background sound to the whole.

Anyway, it's important to know when it comes

to recording a river, the sound of that river, for example,

What we record doesn't have to be exactly that.

It could be a little louder, for example.

That doesn't matter because we can correct that imperfection in the sound design.

But in any case, this time I'm going to use a river sound

that I downloaded from the internet so you can convince yourself

that it can be done with sounds from internet.

So on this folder, I'm going to pick this sound

that I have here called Distant River Ambiance.

So I'm going to drag that file to the Premier.

Additionally, since it was a short film produced by my team, I have the sound

of the actor who was myself, but that sound was recorded Later.

A dubbing was done to have the acting of the scene

because during the shooting of the scene it was impossible to the sound

because Steadicam was generating noise and it came through the microphone.

So we had to double the performance later.

But what else do we need in terms of sound?

We need the sound of the contact of the hands to grasp.

For example, the sound of crawling on the ground is also important,

but we also need the of contact with the water splashing sounds.

So that sound is important for this scene? Yes.

When the character crosses the river, I already have.

That's in my sound backup, so I'm going to use it.

So I'm going to direct that

sound all at once into the project.

So when it comes to selecting the sounds to make it the sound

design of the character crawling through the grass, we don't necessarily

need the sound of some hands in the grass.

We could use other sounds that could represent that.

For example I'm going to use some sounds of footsteps,

some with Earth, and also steps on sound to create the sound of hands on the grass.

And I tell you this to motivate you to your creativity

when it comes to creating sound environments.

In other words, don't let limitations prevent you

from developing a project of this nature.

And I have always come across this.

I have come across good filmmakers who are afraid to get involved

with sound design just because they don't know what it's really.

So I'm going to add the sounds that I told you I have put in

in their respective folders.

So the first thing I'm going to do is add this sound of the distant river

to the timeline which would be like the sound background.

So I'm going to select a piece of audio from the river and drag it onto

the timeline

so you can

modify the volume of the clip on this line here.

And you can also automate

data volume on deadline using the pen tool on the toolbar.

I mean, you can automate the volume in the same way as we did

the opacity in those previous lessons.

So we already have that distant river sound next to the image and can start

contemplating the image next to the sound to see

if it starts to match.

Pay attention that with that ambient sound the scene begins to come to life.

Obviously The rest of the sounds are amazing, but that ambient sound

helps me to have a point of reference regarding the volumes

that each of the sounds in the scene should have, because it's

not just about choosing the sounds well, but about knowing the exact volume.

They should have the exact reverberation index that's panning.

So I'm going to start by adding the splash

sound to create the moments when the character comes out of the water.

So I'm going to search for the sound and I'm going to select a splash of water.

Good enough for that moment.

We have to take into account that the character

comes running.

I think this part sounds interesting

and remember that not only the splash sound, it's necessary,

but also what comes after, I mean, a bit of the water movement

so that the sound we choose must have all of that.

So I'm going to drag it to the track under the river

and now we have to position it right at the moment where the character

comes out of the water.

Note that here I had automated the beginning of the sound with the band.

I had created a kind of fade in because character crosses the river

and then steps into the deeper water.

Another important element of these, a scene, is that if you look at the scene,

the scene starts with an overhead shot from above where the character looks

very small, and then we see a closer shot of the character crossing the river.

So That visual difference should also be noticeable in terms of sound.

And in fact, this shouldn't only be noted in terms of the splash sound,

but we should also turn up the volume of the distant river

so that difference is felt.

Also, you can turn up the amount of volume you want to write.

You feel the scene until you feel it matches.

These elements are too important.

At first glance, it seems that it's something

that the audience is not going to notice, but believe me, that they will notice it.

They will have the feeling that the scene is more real than the scene is better.

But pay close attention to this.

If you look at here in the splash sound

here in the corner, there is an effects symbol.

If you click here, you will be able to change the automation

line to another parameter, like, for example, panning.

So in this a scene,

the characters moves from the left to the right, he comes from the left,

and that sensation must be created in the sound into mention.

Even though we are the character from the front of the screen.

In our main, his movement, his traveling in has been understood in 360 degrees.

So we need to represent that.

So the splash sound should also play from the left.

So pay attention that after words, the camera follows the movement

of the character in turns to the right precisely to create that sensation.

I highly recommend never pan completely to one side.

This is a recommendation from my experience

recording with my band in a studio.

I mean, if we panned completely to one

side, the steering sensation of the sound is lost

because every single of the clip must always sound on

both sides, simply that when we pan it's to the place we want.

The audio clip will sound from that side to a greater

extent.

Perfect. This lesson is up to here.

We are going to move on to the next one where we are going to edit the sound

produced by the contact of the hands and the body with the grass.

Perfect. We are here again.

We are going to edit

the sound of the contact of the character with the ground, with the grass.

We are going to use the sound running on descend.

It took it out,

but we are also going to use this other one working on the sound.

This sound is very interesting because you can feel the water a little

in every step.

Perfect.

We are going to start with the sound about walking on the sand.

We are going to cut a portion of the sound and we are going to drag it

to the timeline down here.

So first of all, we must level the volume.

We are going to increase the volume

than we are consuming on the timeline.

Until we see in detail that sound you're going to need pay attention with.

I'm going to do I'm going to separate each of the steps with the research tool.

One, two, three, four,

to have each step separately.

So in this way, we will be able to place each of these cuts

where we want to create that effect of contact on the grass.

This is very important.

Trust me.

I know a lot of good film directors who don't know this

and it's really useful.

It's not as complicated as it seems.

So we need to make each cut to match the movement of the character on the screen.

If while we are editing, we feel that those sounds need more volume, for

example, we simply have to select them all and then click with the right button

and then delete all the train and race to gain of the clips.

So here we can raise the amount of decibels we want.

So we need a lot of patience.

Little by little, we are going to place each of the cuts taken take on that.

If at some times

we see that some of the character's movements are stronger than others,

we can increase the volume of the clips in that specific

moment.

Pay attention here to how I am increasing the volume little by little

until it matches the image image.

I personally love it when the scene starts to come alive like this.

This really takes the scene to the next level.

Additionally, remember that we can also find

every single cut that we are adding here.

I mean, in the same way as a river.

Also, the sounds of the character come from the left.

The most interesting thing about this is that in Cubase or ProTools

or example, which are a professional sound editing software, these is done

exactly the same way.

But pay attention to this.

When the camera turns to the right, the character leaps the frame,

but his footsteps have to continue to be heard somehow

because are still close to the character.

So I'm going advanced his work a bit.

I'm going to add the rest of the sound cuts.

So the lesson is no so long and we continue in the process

of creating this sound in this same lesson.

Perfect.

I have already made

each of this sound catch match each of the character's movements in.

This is the result.

We can add more volume to these last steps of the character

even more because we are

seeing the character from much closer.

So what we are going to do is mix the sounds of the footsteps

that we have already added with the older sound effect that we had.

They went off running and descend because that sound is slower.

So the byproduct of the end of the two sound effects

will be of fair quality.

So we select a portion of this audio and then we drag it to the timeline.

But pay attention that I have run out of all the tracks

in the timeline so I can add another track in two ways.

The first is that we can add a track by simply going

to the sequence step and add track.

But there is another easier way we can simply drag

the audio portion to the space below.

The last sequence in note two Magically, the software will create a new sequence.

I'm going to put the audio clip here on this track that we already have.

So pay attention that if I drag it to the space below,

look at how the new sequence created.

So what we are going to do is separate each of the sound heads

to have the cut separates it as with the other sound.

And then we put in right where?

The ones we added previously are so they are

mixed.

It's important that the way

you are doing this whole process, you can experiment with the sounds.

I mean, try them.

I mean change their place to see how they sound.

Because sometimes we discover random things that we never imagined would sound good

or you can now hear how each contact with the grass hats

match my body in terms of sound.

Now we are finally going to add the sound of the actors

expressions which were recorded separately.

So we search for it in the folder and drag it to the timeline

in the same way as with the other sounds.

So obviously

the sound of the actor's expressions belongs to the part where we are ready?

See him up close.

So we must make it match the image of the character

so if it's necessary to increase

the audio gain would simply do it

right?

Ideally, each painting should match each movement of the arms

so we can even add binding as well to the character spent in.

We can make a curve.

I mean, at the beginning it starts from the left

and at certain moments we automated change towards the center.

So it's heard that the sound moves with the character,

for example, here the character enters the frame again.

We can move the pan to the center.

You realize how good everything sounds, right?

So we are going to leave this lesson here and you're going to move on

to the next one.

So the first thing we are supposed to do

is to check the reverberation of each track,

because we must make all the sounds seems as if they were in the same place.

Sometimes this is something almost imperceptible,

but dose small details make the difference.

For example, we could start by recognizing that the bass sound here is the river.

I mean the rest of the sounds

should be congruent with the reverberation of that river.

For example, let's start with the splash sound.

Not only does it have to match the reverberation of the river,

but the action of colliding with the water is happening a certain distance

from the camera so the reverb can generate that distance for us.

So we are supposed to go to the mixing console at the top of the tracks.

We are going to find this vinyl.

So right here we are going to be able to add effects to each of the tracks.

In this case, the splash sound is on the second track.

Pay attention that there is a very thin gray line.

The divide is the panel above the line.

We will be able to add defects below the line.

We can route the tracks to play on group tracks.

But I would say the most important

thing is labels where you can add the effects to the tracks.

So we must click on these small tabs and there we will look for there

with their effect.

You can notice that there are three types of reverberation

going to select this surround reverb.

So here you're going to find several parameters.

I know it seems complicated, but it's much easier than you think.

This step, you're going to find several presets.

It's like in the reverb style that we are going to use,

but we will also be able to change all the parameters to customize those presets.

For example, I'm going to use these cathedral presets.

So of all the parameters we are going to find here,

the most important is this one where it creates mics.

So this little fader indicates that it's a 100%.

The sound will be completely affected by the reverb, but as we lowered

the percentage, it will sound like the original audio without reverberation.

So this is the main tool

where you're going to add more or less reverb to the track.

Keep in mind that this reverberation in the track

will affect all the audio clips that are on that track.

But there is something important regarding reverb, and that is

that as we add the effect to any audio gain is lost.

So that is the reason why this other fader is next to it, where it rates

gain, that is very important to take into account.

We also have another fader that belongs to the feedback

in another one that belongs to the violence.

We can make the reverse sound more to the right or to the left.

There is also the first failure that is to increase

the wetness of the effect, which is like intense city.

Basically, these are the most important feature of this output panel.

But pay attention that over here there are other parameters that you can change.

You can modify, for example, the room size, you can modify the reverberation

bounces over here in bridge delay

and also the width of the reverberation.

In fact, these last two parameters are to control

that how the reverberation expands to the sights.

But I highly recommend you try the effects, try to experiment.

I'm just giving you an overview of the main parameters of the reverberation.

So the splash starts to sound better.

I'm going to isolate in the track to test

the reverberation better,

so I'm going to add even more reverb, but also increasing the gain.

So remember how to do it by raising percentage and also raising the gain.

Fader

Now, it sounds much better because now the splash can be heard at the distance

the design suggests, because obviously nothing is happening next to the camera.

I mean, there are meters away.

So let's listen to how it sounds together with the rest of the sounds.

So once we had added the reverberation to the tracks, mostly

we are ready to move on to the music because these are singles music.

I mean, at least one part of the scene.

And additionally adding music will allow me to explain to you

something important related to audio editing.

So in order to do this, I'm going to use two files.

On one hand,

there is an audio that contains the music with this sound design

at the same time, but you know that we are doing the sound design.

Therefore there is another audio that only contains the music.

So first of all, what I'm going to do is to extract a cross section in the file

that contains both the sound design and the music, a cross section

where only plays the music.

And I'm going to try to mix this portion of audio with the other audio

that contains only the music obviously is the same music.

So this part of the scene where there is overhead shot, only the music plays.

Originally I that was the original idea.

But once we get closer to the character, the sound design is starts to play.

So what I'm doing here is trying to to cut that part into sound design.

It starts to play in.

Obviously in that part I'm going to add the audio file

that all the good taste in music I'm doing this.

I'm using the original audio mix of the short

film.

So this audio clip

that I'm moving at this moment, trying to get it closer to the older

only contains music, of course, since it's the same music, I'm

trying to match the correct point opinion.

So the purpose of teaching you this is for you to learn that you can add

all the effects to the clips and also all the transitions to the clips.

And they are old, exactly the same effects that we can add to the tracks.

I mean, those we are able to add to the tracks.

So we just go to the effects folder and we look for the all the effects

in these folder contains all the effects you can try.

For example, there is amplitude and compression,

there is also delay,

modulation, noise, etc. etc.

For example, compression and is very useful for voices.

So for example, those acting expressions that we added to the sound

design are likely to sound better with compression.

So my purpose is also encourage you to lose the fear of using these

or the effects.

For example, you must know that for voices in also voiceover

single band compressor is the most suitable compressor

when we are talking about a voice that is playing in a monitor.

Like for example,

we can also add equalizer to stressed the most suitable frequencies

for a specific type of voice, but this time for the music.

We are going to use audio transitions in the premiere.

There are three kind of transitions constant

gain, constant power and exponential fade.

They are all almost the same.

I would say that the only difference the blending mode,

but it will depend on the nature of the audio and most of all with the nature

of that specific part of the audio clip

that you want to mix with another clip,

I'm going to use the constant gain that is the most natural of all.

You had noticed that I had added this transition

just right in the union.

So for me it sounds perfect, that transition I had to match this hit

that sounds here with that action of race in the face, I'm

of course

that hit was representing that impact

of coming across dad that gear.

So I'm going to unmuted the track where the sound design is playing

the rest of the sound of the scene.

I'm going to fix a little bit the volume of the music

and I'm going to try it again.

I'm going to raise the volume a little more.

So now I'm going to add that compressor that I had mentioned before

to the actors performance.

So we just go to the audio effects folder and we look for dead

and we look for the single band compressor.

I have already mentioned that it was the most suitable

when the Voice is playing in a monitor track.

So it's over here.

So once we have added that effect, we can go to the effect control panel

and we are going to find that effect over there.

So we must click on custom setup and then edit In the parameters window opens.

You can notice that the effect control

works the same for audio under the same principle.

You can automate any feature in the audio clips.

Actually, you can notice that since I have automated the volume,

the automation line in the volume is activated.

But let's continue with the compass here In the set up,

we must select the voiceover over here

and let's

check it out.

And you can notice that it has more presence and more definition

in general.

But actually we can improve that sound, that quality by using an equalizer.

So we go to the all effects folder and we pick a graphic

equalizer of 20 bands.

And you must remember that equalizers go always on top of the compressors.

So we open the custom setup and since it's a voice pantin,

most of all, you're supposed to raise

the mid high songs on the equalizer.

This is very important not only for this case, but also in dialogs, for example.

But do not exaggerate.

This changes you are supposed to be subtle, modifying

the frequencies.

It sounds so much better actually,

and it was not necessary to raise the volume of the clip or the track.

For example,

so you can notice how far you can go by doing sound design.

India premiere because actually Adobe Premiere provides

all the tools to to create a sound design, to create a professional mix,

not use in ProTools or Cubase.

Even though I have another course related to sound design

in Cubase Focus and how to use Cubase professionally.

But I could say that it's almost the same process.

Try to remember everything, the transitions, the equalizers

to compress saws.

You must also take into account that when it comes to audio mixing

in the final tracking and the general track, you can also add effects.

I mean you can add multi band resource and equalizers

to create that effect of mastering as a friendly reminder,

you must also take into account that when adding tracks

you are able to add as many video tracks you want in all the tracks you want

and you can select the placement where you want.

The track is located and also the track configuration.

If it's mono example, these little symbol will appear on

the minor track is a very small speaker that you can notice over here.

So if you using an interface and interface,

the microphone will be connected to one single line, one single input line.

So the track where you are supposed to record that voice

or wherever you want must have also one track.

So just by clicking on that microphone

symbol, you can start recording a simple asset.

I'm not able to record anything at this moment because the software

is connected to another software in order to to record the lesson.

So my interface is connected to that another software.

So it doesn't work at this moment, but since you are going to be recording

lesson, you will be able to record the voice as you want.

So, so far, so good.

I highly recommend you to take that another course.

Have sound design because I really teach you there about how to master A.U.

mics.

I'm talking about surround mixing many subjects

to sound design, and most of all, always

from the point of view of a filmmaker that is the most important of all,

because most of the courses related to

sound design are related to sound mixing

rather than the creative process behind crafting a sound design.

So lesson is have to hear and until the next lesson

or perfect.

After having learned the subject of reverberation,

I want to teach you how to add effects and transitions to the audio clips

because not only we are going to be able to add effects to the tracks,

as in the last lesson, but we are also going to be able

to add them to each one of the clips we are using.

After all, they work like a video clips in which we can add effects.

So I'm going to start explaining these by adding music to these as seen

in the particularity of this whole the file that I'm going to use,

which is in fact the that the scene originally has,

is said this audio contains not only the music

but also the original sound design of the short film.

So I need to subtract from this audio only the part where the music sounds alone,

which is the part where we see the character running from the shot overhead.

But since I also have another file,

the music alone, I'm going to mix it with that audio

so that only the music sounds all the way

because we have already made it the sound of the scene.

So here I'm trying to join the two audio clips just at the moment

where the sounds of the scene start to play and obviously

I have to match the same part of the music in both

audio clips.

So here we are pretty close to almost matching the two audio clips,

but obviously it's not perfect.

I mean, it's noticeable that there is a cut.

We must delete that cut.

We must smooth the transition between one clip and the other.

So using this tape that we already know, we go to the premiere effects folder.

So here we will be able to add to the audio clips,

those same effects that we can add to the tracks and.

It will be exactly the same as when we add in effect to a video clip.

For example, here there are noise reducers

that are very useful for cleaning up the voices.

You can also add that compressor to the voices.

They sound more clearly on the rest of the mix.

In fact, that there is a very useful one in this folder,

which is the single band compressor which works. Yes.

For that there are also equalizers which are very useful too.

But what we need right, are all the transitions.

And in this folder we will find three types of transitions,

game power and exponential.

In reality, more than in a technical issue.

To choose the right one, you simply have to listen at it

and listen to which one sounds more similar to what you need.

So I'm going to choose the game transition.

I just select it and drag it to the junction of the two clips.

So this allows me to smooth out that change from one clip to another

so that you don't notice that cut that we did.

So now it sounds like the original music complete

without the sounds of the scene.

So I'm going to move the music a bit because when this low beat took place

in the music, the character is supposed to be facing forward. I'm

now pay attention how it all sounds together.

I'm going to unmute the rest of the sound of the scene to listen to it

together with the music and feel the magic.

We can turn up the gain of the music in general.

I think I exaggerated a bit.

I'm going to lower it a bit.

Perfect.

Now we can add a compressor in an equalizer to the voice,

I mean to the performance to improve its sound.

Actually, we could add this to the track where the voice is playing,

but I want to show you directly in the clip.

So we go to the audio effects folder

and look for the single band compressor.

So we selected and drag it to the voice of the clip.

So now when you

click on the audio clip, it will appear in effect control.

And here we will be able to modify its parameters.

So then we click on Edit and the Compressor Parameters panel.

Oh three Attention to this important detail.

I almost forget this notice that appear divided in panning parameters.

Have the automation clock activated precisely

because we have modified the automation line in the clips.

I mean, they tell you this so that you can see

that it works the same as with video clips.

So going back to the compressor here in this a small tab,

we select the preset that the compressor will have.

In this case, we are going to select the voiceover.

Listen to how the character's voice sounds now with more Bresson's.

But we can even improve the voice

with an equalizer so we can add a 20 band equalizer.

You should always pay attention to the equalizer always goes

before the compressor.

This must be so because the compressor must work on the frequencies

that we are going to reinforce with the equalizer.

So we add it, we click on edit, and we must raise the frequencies

a bit where the voice is playing.

For example, this gap between 1005 thousand hertz,

it's generally where these kind of voices sound.

You listen to how the voice sounds now with more clarity and presence.

I'm not increasing the voice volume, only

improving its equalization.

So basically this is what making a sound design is about

the same that I had done in The Voice.

For example, you could do it in the general output track,

in the mixing console.

I mean, you can add an equalizer.

And then for example, a multi band compressor

to give more volume to the whole sound design.

On the other hand, remember well that you can download sounds from the internet

and make a completely professional sound design without any problem.

And also remember the issue of transitions that in fact

you are going to have to use it a lot, especially with voices.

On the other hand, there is another very useful

and important tool when it comes to sound design,

and that is that you can record directly on the timeline, record audio

if you go to the sequence step and then add track and then you add a MONA track.

For example, actually here in this panel, you can also add

a video track or another track of any nature.

I mean, if you want it to be stereo or mono.

So if we had them on a track, we will be able to record what

in through the input line where the microphone is connected

to your interface in the case that you are using an audio interface, of course.

So this little white you see here is what identifies

the Mona tracks on the timeline.

And those Mona tracks are where you should record when you are using

a microphone with the interface.

So this is great

because we don't need any audio editing software to record anything.

But anyway, you must record on the Mona tracks because the audio input is minus.

If you did it on the stereo track, it would be recorded readily on the one side.

I mean, it wouldn't make sense.

So you simply had to press these little

that is here and the software will start recording immediately.

At this moment, I can record anything because everything

is connected to the software that allows me to record lesson.

But this is not too complicated.

Just press there and it will record.

Well, I think

the most important thing is that you lose your fear of editing.

Now you don't limit yourself.

It's not as complicated as it seems.

Yes, try it.

This is very useful for videos on YouTube and obviously to create fiction projects.

Sharp films, movies, etc..

But I think that today is useful for everything, including some documentary

video.

You could improve the audio using this entire procedure

and do not forget that important detail of their reverbs

that work very well to create the soundscapes.

Well, this lesson is up to here and until the next one.

Well, this video editing course comes to this hand.

The most important thing is that I'm going to update eventually with more lessons,

especially concerning the understanding of cinematographic language.

I believe that this is essential to become better editors,

better filmmakers, better videographers also.

So put everything into practice.

As I told you, you consume quality.

You are to develop your own sensitivity

to moving images and also the sound dimension.

Well, if you like this course, you can leave me a review

because it will help me a lot to create even better courses than this one.

Until next time.