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Filter Effects

Okay, now I test Susan. You ready? I am ready later. How easy is it to read that text? It's fairly easy. Fairly easy. But as are our job as an editor is I want to know. I want to know that you're actually reading the text. Commercial editors think about this all the time. How do I know that you're looking at the product and not looking at the background? Well, a friend of mine, Norman Holland, who runs the the editing track at the USC film school, has come up with a list of what he calls six things that attract the eye. I could generally remember five of them, and I didn't put them in my notes. So the first thing is is that if something moves are, I looks at it. So I first looks to movement deals with the fact that we were hunters long before we went grocery shopping. So movement is important. Second, as we look to something which is brighter or bigger or different from something that else or in focus or the center So we've got something which is which is moving brighter, bigger in foc...

us, centred or different. And that's almost like, ah, hierarchy. Your eye goes to Grand Majesty because it's in the center and because it's brighter. But these peaks are compelling, and they're also bright, and there's a lot of background noise here. I want to know without any question that the first thing your eye sees when this comes up his Grand Majesty. So to do that, I want to select my peaks clip. I'm going to go to the effects tab. Remember, that's where all of my effects are. Click this X, which clears to search out and go under video effects, and there's just loads of them. But the one that I want to talk about first is in the blur and sharpened category. When you're blurring and image, the blur you want to use that is both the highest quality and the fastest performances. The Gaussian blur. You grab the Gaussian Blur setting and drag it over to the clip. Now you can also double click it. If I select multiple clips at the same time, and I double click this Gaussian Blur filter. It will be applied to all of them. But sometimes I found doesn't work. I like dragging Dragon is my friend. So I highlight this. And now notice inside the effects controls the effect controls Tab. I have the Gaussian Blur filter is added and it has a setting of exactly zero. I haven't added any blur. I've added the effect, but the effect hasn't changed the clip. I'm gonna grab this clip of this setting and dragon. Now look at the screen. I can guarantee, Susan, that when you look at this, there is only one thing you're looking at. You have to look a grand, Majesty. You cannot look anywhere else. Now you may be looking around this one of the problems we have with text, which is centered in the frame, is that the eye gets bored with things in the centre really fast so I can guarantee you're going to look at it. But then you're also going to get bored. I'm going to start to look around the text to see what else is there. This is one of the principal reasons that, for instance, on this camera which has got the board over my shoulder noticed that I'm on the camera left side of the frame. It's a much more dynamic position for me to be in is not centered, but camera left because your eye keeps wanting to come over to where I am because it it's not a balanced frame. If I was in the center, you'd be looking all over the set to see what's behind me because you're tired of looking at me in the center of the frame. But by position me over on the left hand side, your eye keeps coming back. It's like rolling downhill. It's drawn back to the person on the left hand side of the frame. Same thing. I can guarantee that when I cut to a person on camera, if there on the left hand side of the frame and they're bigger than a graphic, which is over the shoulder camera, right, You're gonna look at the person first because they're bigger and they're moving. And then a graphic, which is not moving, then assumes the graphic starts to move. Your eyes gonna jump over to the moving graphic and look at that. So I guarantee you look at the talent. First you look at the moving graphic second, then you look at the title Super Third. If the title supers only been up for two seconds. First you got to look at the person. Then you gotta look at the graphic. The titles gone. That's why you have to hold titles longer. Because if you just put a title up for two seconds, nobody's gonna be able to read it because your eye hasn't done. It's checklist of Is it moving? Is it bigger? Is a brighter? Is it positioned in such? Your eye hasn't gone down now. Check listed. Ignores the text totally. And so you've guaranteed that nobody's going to read the super. They do this a lot with legal disclaimers. They figure out a way to put the legal disclaimer in. So it's there in the video. But sure, I will never see it because it's busy looking at other stuff in the frame. We can completely control where the eye goes in the frame by keeping in mind those six things. So one of things that I want to do is I want a blur this back so that you can see the text whether the text then moves or not. Another thing that will do also is we'll go back to this title, go back to motion. I'm gonna hit the up arrow key to move toe. Sorry, Turn on track to hit the down arrow key to move to the beginning of the title, set a key frame for scale and then set a key frame for scale at the end of the clip. Right there, I'll just click this open diamond, which sets the scale and have it go to 110%. Now watch what happens. I defy you to look anywhere except at the title. You can't. It's moving. It's in the center. It's bigger. It's brighter. It's in focus. You won't ever be able to pass a test on what's in the background except to remember that it's blue. Simple effect. And yet what's our job is editor Norman calls it manipulation. I call it control. Norman says that we want to manipulate the eye of the viewer so they look exactly where we want them to look first, and then they connects. Floor the rest of the frame, and we do that by remembering they look at the eyes, is forced to look at that which is moving, which is brighter, which is bigger, which is in the center of the frame, which is in focus, which is different than something else. So another thing. Let's take a look at this. This effect here. We're just gonna move that over. I went to, uh, see if I got this. Well, I'll pop in with a couple of quotes from the lounge as's faras. This section goes and one of our students said, Oh, my gosh, audio was great and I love audio, but this takes the cake. Yeah, these kind of effects are can be really powerful for your workflow. Is this when you you've done a little bit of ending its It's Have you gone this deep before? Not with the Gaussian Blur? No, I don't think I had the ability to do that. The pro programs I've been using. So how about you guys in the in studio Are you coming up with some good ideas? Or you're already thinking about footage that you already have and how you might use these types of filter techniques. You guys pretty familiar with markers and using key frames? Dealer. If there knotting one of the things, one of things that we can do is just as we can apply multiple motion effects toe a clip. We can also apply multiple filter effects to a clip Now. So far, within this clip, I've applied a blur filter. I want to apply another filter, which is a bevel edges filtering when he grabbed that filter dragon over dropping on top of the clip. And now it gives us this chiseled look of a bevel, but it's actually doing two things at the same time. The first is that it is a blood first blurs the clip after the clip is blurred. It then applies the beveled edges cause notice. The beveled edges are sharp. This is called stacking. Order filters process from the top to the bottom if I grab beveled edges and drag it up so that beveled edges appears before Gaussian Blur noticed that the edges air still there. But now the edges are blurred because the beveled edges added first, and then the blurs out of second grab Gaussian blur. Drag it up. Now we've got a blurred background, and the edges are sharp. The stacking order that you apply filters makes a difference in the effect that you create, and filters process from the top to the bottom. One of the things that, uh, we have a problem with our handheld images and a handheld image is caused by holding the camera, and none of us are stationary. So the cameras moving around. So let me illustrate. This is some footage that was shot by Michael Shea, Michael Shaw Rather, and he and I were working on a project together and I said, I need I need some footage of a hand held camera He said, Would a dog do? I said a dog would be perfect. So I want to introduce Michael Shaw's dog and noticed that as I play this, it's clearly a handheld image. I'm gonna trim this just a bit because I want to just miss the beginning care. Pick up the nice face of the dog with his happy smile, and then he breaks character. So I want to keep the character in, so I'm just gonna trim that clip right there now, as we discussed yesterday. Sometimes handheld images are good because you want to distract the viewer from being able to see what's going on. But other times we want to make sure that people can actually see what's in the frame. We want to stabilize that image. There's a film filter that showed up with the CS six release called The Warp Stabilizer, and in that would help If I'm in the effects tab, Let's goto warp, Okay? And there's the warp stabilizer. You grab the warp stabilizer and I'm going to drag it on top of the selected clip again. Double clicking may work, and it's gonna analyze this. It's gonna take about a minute to do that. Let me tell you what's going on. If I have a Hitler come over here. If I'm on a handheld shot and I moved the camera up, the image in the camera moves down. If I moved the camera, Teoh camera left, the image moves Camel right or camera right? Moose camera left. The image always moves opposite to the direction that the cameras moving well, image stabilization. What it does is it tracks the pixels in the clip, and it senses if they unexpectedly move up, and it then pulls the whole image down by the same amount, so that it artificially compensates for the camera moving up by pulling the image Downer Moving the image left, removing the image, right? The benefit to this is if we take a look at the the effect without the filter, watch the dog. See how that's handheld and jerky. Now I'm gonna turn the filter on. See this FX thing right here? When the FX is lit, the filter is turned on. When the effects is not let the filter is disabled. So it turns the filters like a check box. And it gave me a chance notice. By the way, that you're I was over here on my cursor and you didn't see what changed in a picture when I turned the filter on. This is slide deception. Magicians use all the time to hide stuff. Look at the dog. Look at how much it's not jerking anymore. Watch the nose of the dog and see how steady that images this is with the filter turned off. So what we've done is we've stabilized the image. But I want you to watch very closely and this time I don't want you to watch the dog. I want you to watch what happens to this beam of wood back here against the house. What's happening is is that if I stabilized this only I'm gonna move through this slowly. The camera is moving up and you'll see black areas. See that black area there were pulling the count the image to the right or were pulling it down. See the black bar right up here or we're pulling it up and down. We're we're moving at image around a lot to compensate for the handheld ness of the camera, and we hate to see black edges. So what we do is we stabilize it and we crop it and we auto scale it. We zoom it in. Remember up here in the effect control under motion, we have the ability to scale an image. However, the highest quality that you can get from any image is 100%. As soon as you scale an image beyond 100% all you're doing is enlarging pixels and enlarging pixels makes the image seem fat. And after your large him enough, it's gonna be stair stepping. You are going to notice a change. After about 105% you'll start to see the image looks soft. Your audience is going to notice a change after about 110 212%. So the basic rule of thumb is never scale an image beyond 100%. If you wanted to look good scaling less than 100% perfectly OK, making it smaller is easy. But making it bigger, not much past 100 510% Well, that's what's happening here. The warp stabilizer is scaling the image, which means that after a while it's going to start to get blurry. And I also don't like how this beam has sort of, ah, morphing character. That just makes me feel uncomfortable. So I'm gonna change this from subspace Worf to position scale in rotation and to really show you what's going on. I'm gonna set this to know Motion, which gonna look like it's set on a tripod and stabilize only. And now, as I move through, look at what's happening. It's rotating the frame. It's moving the camera down. It's moving. It left. It's moving it up into the right. Look at how much it's having to shift the camera to be able to get that image toe look stable. So if I zoom and crop and scale now, look at how stable that image looks. That dog is in the frame and it's locked. In fact, you'll make this by changing this back to my favorite setting, which is smooth. Motion position, scale, rotation stabilized, crop in auto scale. This is what I use is my default settings. Look at where we end up. That dog is just perfect, very smooth and very limited movement on the pillars behind this is a really cool effect for taking the movement, shaky movement, the motion sickness inducing movement out of a handheld shot. But there's something that's even Mawr important, especially for people that are shooting DSLR cameras. And that's something called Rolling Shutter. What Rolling shutter is is an artifact caused by the fact that DSLR sensors are huge and the electrons air pulled off the sensors from the very bottom left corner unto the very top right corner. What this means is, if I have a fast pan like this, notice that I've now got a decided lean to the right because the sensor is giving this data earlier than that data, and it automatically causes all straight line vertical objects to lean. It's also called jelly shutter rolling shutters caused by the artifact of how DSLR capture images. And if you've got a fast tilt or a fast pan, tilt moves up and down pan, move side to side. You're gonna get this problem. We fix it also with a special version of the warp stabilizer called Rolling Shutter, which would be useful if I was in actually the effects tab and I'd be able to find it. There's rolling Shutter repair. Watch the image really closely. I'm gonna grab this dragon on top. Done. What it did is it just straightened the picture. But the tilt was worse up here wasn't bad at all here, so it straightens it proportionately. And now when I slowly play this back with the arrow keys, noticed that my trash cans air straight up and down my light pole, which is this thing right here is straight up and down and we come to the car and there's no warp. There's no jiggle. There's no lean. It works great. This is a filter called the Rolling Shutter Repair filter. You just drop it on top of your clip, and in almost all cases, the default settings are gonna be just perfect. One last thing to show you before I turn it back over to to a gym and Susan. And that's cropping. For those of you who have worked with, um, final cut cropping is built into the motion tab, but it is not built into the motion tab with Premier, it's a filter. So here, that's just add. Let's go back to our Grand Teton barn here, and we're gonna change the sequence settings back slash. I want to crop. So I just see the barn. Select the clip. Go to the effects tab. I've already done a search for Crop. It's in a transformed folder. You are welcome to scroll down to all these folders. I'm just trying to be in a hurry, and I know the name of the filter, so I just type it in here and it automatically displays it. But you can go into the video effects folder by toiling down 12 down all the individual category. She'll discover hundreds and hundreds and hundreds of filters to choose from. Grabbed the crop filter dragon on top. When you grab the crop filter, I can crop remove the left edge. I can pull the top down. I can pull the right down and I can pull the bottom up. If this is a single clip on the V one layer, this black is actual TV safe, black. You can use that. If, on the other hand, option up arrow. I put this clip on top of another clip. Let's pick something gold like Grand Canyon sunset. Put that under here. Notice that now I've cropped, reduced the image. This is not the same. A scaling scaling changes the size cropping actually removes portion of the image I've now. I've now crop this. This is actually transparent. When it's on V one, transparency is replaced with black. When it's on a higher track, the transparency is replaced with whatever is below it. With cropping, I can also say zoom, and when I click zoom, it zooms the image, the cropped image to fill the frame. Otherwise, it leaves transparency around there. Remember, when you zoom, you're making pixels larger, and when those pixels get larger, your image is going to start to feel soft. So you're gonna have this is going to start to feel soft after a while, so this is a really easy way toe. Remove edges and either zoom to fill the frame or composite. Remember, that means combined two pictures at once. You know, there's so much more. Remember, also, click the curvy arrow to reset the clip back to the beginning. Jim, there is so much more we can talk about. But I'm sure you've got a couple questions, so let me give you some time to tackle those. That sounds great. Journey. We need oxygen here, quick. Almost needed. What? Oxygen? I called in a We need oxygen in here. Oh, no, no, no. You just have to breathe and, you know, go with the flow. The whole idea here is is that what we're doing is we are starting to see that effects air, not a single element, right affects their simple combinations of multiple elements that yield complex effects. And once you look in that Seo, he changed the position of it. Oh, he added a bevel. Oh, they added a drop shadow. Well, there's a position motion effect. There's a bevel filter effect. There's a drop shadow filter effect when you start to deconstruct it. It's like, Well, how obvious is this? This is like Sempra. So what? We're doing here is we're looking at how we build complex effects by step by step, taking small effects and building on it also, you know, I didn't want to mention this in public, but Susan has already said that she's spending her evenings watching the show a second time to be able to track what she's missed. I wanted to give her something that makes reviewing the show worthwhile. Nice. Thank you, Larry. Quite kind of you. Okay, I'm going to start with a well. And the question is, will action safe and title safe areas continue to be a port important While the world moves away from CRT and towards L. C D and other flat screens which don't have the shift issues, the answer's title safe is gonna gradually go away. As we move away from CRTs. We're gonna move away from title safe. But action safe was going to be with us for the long term for two reasons. One, our design sense implies border area around graphics between that on the edge of the image. And second, just because we're on the Web does not rule out digital projection, which has over scan, which makes action safe necessary rear screen projection, which is used for larger screens, also makes action safe, necessary. And because you can't control the environment within which your video is ever going to be displayed, then you always want to guard against having that critical last phone number that critical last Earl cut off. So action safe for the foreseeable future, probably the rest of our professional lives title safe has already started to fade away. All right, like Larry going back to earlier. Marco Masked. If we're pulling large still photos into premier, would it be better to scale down the still image in Photoshop before importing it into premiere? Or does premier do the job? Justus. Well, a really, really good question, because there's a couple of implied assumptions that we've got to be careful of. You know that when you're working with images and print, you're working in a C m. Y que color space cyan, magenta, yellow and black. All video editors hate C M y que images, so you have to make sure that your images rgb Nazi M y que also you don't want to saved in lab space. You want to save RTB second video editors are designed for editing video Witness Susan's camera. Susan's camera shoots at 24 megapixel image 24 megapixels, roughly 6000 pixels on one side by 4000 picks off on the other. Mega pixel size, by the way, is calculated by multiplying the number of pixels in the width by the number of pixels in the height. So wins time site equals megapixels. Video is a two megapixel size video is designed for smaller images. Most video editors will start to choke when you feed them a still image, which is larger than four, maybe 5000 pixels on the side. All the developers of all video software say No, no, no. Who? For proof We can handle images of any arbitrary size. They're all lying. You want to make sure that your image size is about 5000 pixels on the side or smaller. The reason that you would scale your image to be exactly the size of your sequences if you don't plan to do any moves on what are called Ken Burns effects. But if you want to start with a wide shot, zoom into a close up. The image has to be bigger than your frame size. Otherwise, you zoom in, it gets blurrier and blurrier. So try as hard as you can to keep your image size below 5000 pixels. Or you will have problems and you will not be able to export your sequence. Working an RGB image, not any other format. And keep your image to be the same size as the as the frame size of your sequence. Unless you plan to do moves like pans or zoom ins, there's amounts. Great, Thank you. Billy Joe would like you to show us again how you can recall a preset effect the next time you want to use it. I'll do that after launch. Great. Thank and remind me, because I want to show you well, Dio Thank you all right, Leroy Sparks asked. Can you embed video inside? Video picture in picture? Yes, good answer. There's three ways that we could do. That one is. You could embed video inside video by simply using the crop commanders we're seeing here or the scale command to create a picture in picture and put it inside a frame. It looks like it's in the frame, even though it's composited on top of it. We do that a lot. Another way that we do picture in video inside videos with Chroma Key with a green screen and you can have the video show up inside a shape. For instance, 1/3 way is to what Last years we could do this. I think we can do this. Never do a demo with 5000 people watching. So let's just graphic starts with a G. No, it sounds. It's in the radiance. Where's Grady? It's on the desktop. Let's go to the desktop radiance. I need my Roli poli, man. I'll show that to you after lunch because I don't waste time looking for this, but what I've got us. I've got this really incredibly well drawn, jovial Roli poli man, and I'll drop the video inside the Roli Poli Man. And we can move that it's called. It's called Traveling that we created traveling that where the video is inside a shape we can move the shape of the video moves with its very cool. Except I can't find my Roli Poli Man and I'll find it over. Lunch will do it first thing after lunch. All right, Perfect. Well, we have one more question before we take a break, unless any of you in the studio audience have a question. Another question from Trap City Productions. Can you do a ruling title in Premiere? Yes, All right, now just point. Remember, I said at the very beginning, just before Jim passed out from lack of oxygen. When you go up to new title, you can set a default. Still, you can set a default roll and you get to set a default crawl. With the default role, you can have it freeze at the beginning. Freeze at the end roll. Vary the role speed. All that stuff is possible with the world in title, and you would use the text title tool, which is not easy to say, but you'd use the text title tool to create the rolling title. We just don't have the time to show you today how it works, but it's the exact same concept, the exact same screen you just creating an animated title. And the speed of the role is determined by the duration of the clip. Scott um, going back to the rolling shutter repair filter since I do a lot of DSLR stuff. If you have a steady shot, let's say you're looking at at at in action and then you have your whip pan because there's something on the right side that you whipped over two and then you're steady again. Am I gonna have to do the razor blade cuts? Or I could just if there's no just why the filter? You should be OK now. You could do a razor blade cut, but the problem is, the way that filter works is it zooms into the image. So if you were to do a cut, you would be panning. Zoom in, stabilize, zoom back out and come back again. And you want to avoid that so you would apply the filter to the entire clip. Carrot for picture within picture. Do you have the ability to do more than two? Yes, you have 100 tracks of video. She would have won background track and 99 images of video. Remember I said that the biggest project I ever worked with was 31 tracks of video. It was a calendar was 30 days in a month. I had a piece of video for each day in the calendar background and each day had its own piece of video. Awesome. Thank you. So I know we had gotten in a little bit into the running. Matt and I wanted to see if you could kind of give us a refresher on that. This is so cool. This is my favorite effect. What we're able to do is we're able to put video inside video and were able to put it in a different shape. Now, if you look on my screen, this is the finished effect. I'm working with still images here, but there's no reason. I mean, this works exactly the same with video. I'm just using stills cause I got him. I've got a background image into that. I've keyed a shape, which is my Roli poli running dude here. And inside that shape, I've put another piece of video and I've got a drop shadow on the foreground shape to separate it for the background shape. In final cut, it takes four layers to do this effect. We can do it with three layers, but it's really different. So if you ever tried to put travel matched together and final cut, you gotta change your thinking. because Premier does it entirely differently. Let's show you how this works. We start with a background image. This happens to be a photograph I took near Banff in Canada when I was admiring the mountains. And on top of this, I've put a sunset image again. This is I'm working with stills, but this is exactly the same for both stills and video. The background image goes on V one that which you want to go inside the mat. What I call the foreground image goes on V two. That which cuts a hole in the background and this is the big difference goes on V three. Stacking order is different in Premier than it is in final cut. So the background on V one foreground on V two and that which cuts the whole goes on V three. This could be text. It could be a shape. It could be black on white animation. It could have an Alfa Channel. This does not have an Alfa Channel. You've got total flexibility on this does not have to be a bunch of stills. The process is the same then and this is a key step. We right mouse click on the V three clip and disable it so it becomes invisible. So now we have the background on V one. The foreground on V to that which cuts a hole is on V three and disabled, So it's invisible. You select the foreground clip, which is on V two, and now we go over to the effects folder and we type in the word Matt M A T T e. And we see inside video effects inside the channel category is set. Matt, grab set, Matt, and drag this to the two. Because remember, V three is invisible. Select the V to clip. Go up to the effects controls Tab and under set Matt, which is right up here. It will be when I get to it. There we go. Set, Matt, we want to take the map. That is the shape that cuts the whole into the background. We're gonna take the map from video three because his member background is on V one. Foreground is on V to that which cuts a hole is on V three and we're going to use the luminess for it. And what we've just done is we've now put just you can see what happened will set this back toe Alfa Channel set this back to none. There is our background. We're going to set this to be video three Set this to be luminous. And now the video from V two is placed on top of the background on V one. Select the V to clip on because we want to add a drop. Shouted to it. Add the word drop. There's our drop shadow. Drag it again on the V to clip because of the three clip is invisible Dragon V two All twirl upset. Matt. There's our drop shadow. I like a 90% of pastor. You can make it anything you want. I'm gonna increase the distance. I'm just simply click Hold on dragging. I'm gonna increase the softness to make it look blurrier And we'll type control Tilda to blow that up full screen. And there's your finished effect. Is that not cool or what? So cool. I like how How enthusiastic you you are. I love this. I've used this. I mean, if you think about it, we've seen it in everything from movies like Charlie's Angels to every known television spot. We've got video inside of text. We got the text moving around. It's called a traveling back because weaken the nest, this foreground peace and we can move the object all over in a drop. Shadow travels with it, and the the image travels with it. It becomes traveling, moving, Matt, where one images keyed into another, which is where the name came from. Awesome. Well, before we move on, Larry, can we just do a recap of one other question that we had earlier? All right, this is from Billy Joel. Who said, Can you show us how to recall a preset effect the next time you want to? You know how to recall call Recall? All right, well, we save the preset by going toe save preset. Oh, yes. I can't wait. My life was passing in front of my eyes there from we're gonna call this Larry's Precept now, you would obviously call it something that makes a whole lot more sense because you would say this is where it's a traveling, mapped or whatever, and you can have its scale. The preset will automatically scale to the duration of the clip or if it has a specific duration, because you're using key frames, it will anchor those key frames to the inner anchor. Those key frames to the opera give this save preset. We go back to the effects tab. Do you see a word here that says presets? Mr. Jim, sir. And when you twirl down presets, there's the preset you just had. This now acts like a filter. You grab that preset dragon on top of whatever clip you want to drag it on, and that preset has now been applied to that clip. Now the presets air stored by category, there's a preset for the motion effect. There's a different preset for opacity. In other words, you can't create a preset, which includes everything all bundled together at one. And if you can't haven't figured out how to do it, so we'll say, probably count to it. So you simply right mouse click to say, Save the preset. Then you recall the presets from the effects tab presets category, and all of your presets are listed there. Cool, awesome on the last bit, a bit with the floating mat traveling the travelling matte dollars video inside that Mac there has. You can absolutely, in this particular Excuse me. In this particular case, I did not put video because I wanted to show the process. But the process is exactly the same with video or with stills or a combination thereof. It works perfectly with all of them perfect. And if you wanted to preview that, would you have to render that hole will notice my render bars here. See how it's yellow Render bar, which means this shot will play in real time without having to render this would need to render Got you. So I would grab the work area option left bracket to set the work area here. Hit the return key and notice that as soon as you press the return key that rendering dialog appears which says it's going to go and render that particular effect and it'll render reasonably quickly as it renders. It converts the red render bar into a green render bar, indicating that that which was not able to be played in real time can now be played in real time. Because green indicates something it has been rendered and can play in real time. I'm gonna council this cause we don't need to spend the time with it, But that would be how you would solve that. The work area allows you to define where the rendering is going to occur.