Tour The Interface: Video Tracks
I'm gonna jump back into our main panel. I have all of these raw clips. I'm going to go ahead and hit Option. Double click. It again puts it into its own tab. I like that. Moving it all the way over to the left. Now I have actually three tabs of my media that I can easily access. I like to look at this as icons, 'cause I can then see my images. Down here, I have a little slider, if I wanna make it bigger or smaller to see more things. To edit this in, I could load all my clips. Usually I would. I mean, normally, I wouldn't cut this in an hour. I'll go through, and I could load these very quickly and get an idea of what works. This is nice, this is people interacting. What's the moment? What's the moment that I find is special here? She's showing her stuff and she's smiling. That's pretty cool. That should be my out point. Then, maybe I'll scroll back here. She's showing, that's my in point. I can see the duration's about two seconds and 18 frames. I can go ahead and grab that. I just w...
ant the video. I don't want all of the sound, the background sound. There's lots of way to control bringing things in or not bringing things in. The easiest thing is, instead of grabbing the picture, I grab this little video icon. It only brings in the video part of the clip. Put that in right there. I bring it next to it, and there's something called snapping, and it snaps right next to that clip. Let's go ahead. We're quickly watch that. (pleasant instrumental music)
These days, everybody talks about--
I can go through and put all these clips. I'm gonna do some things very quickly. I wanted to show you some of the controls. We're probably not gonna finish this. Instead of bringing the clip all the way up into my source monitor, I can, right here, scrub through it, and mark my in and out points directly in my project area inside this bin, and drag it there. I realized, I made the duration of this to be something ridiculous, six frames. Six frames is one fifth of a second. That's a little bit too short. I can go ahead and select that and wherever the play head is, I just mark a new out point. Now it's 10 frames, obviously I'm very zoomed in. It's gonna be once second. I wanna show you that. It's one second, I've marked it here. Drag it over. If I want it longer, all I have to do drag it out, and now I have.
These days, everybody talks about print your work, print you work, as photographers.
Okay, that's pretty good. I'm not locked into that. I think that's long enough. I don't want it to leave the, the frame, the image. I'm gonna grab one more picture. Actually, I'm gonna grab a couple of pictures. I'm gonna do something here. I'm gonna go ahead, click on this. This is where you can make yourself look like you really know what you're doing. One, don't use the shots that are bad, that you never like settled the camera, and two, the beautiful thing is, you don't have to show them the parts of the image that you didn't quite have focus at. It goes back to, if it's a still image, just crop out the mistakes, and you're good. I like this, I like the depth of field. We see Ken again. I'm gonna mark an in point and an out point. Throw that in. I'm gonna go down and look at this. I want you to see that. (pleasant instrumental music music)
These days, everybody talks about--
It's nice. But you know what, I think it would be really cool if we started with Ken handing that up. We're not limited by the fact that we've already placed it into a certain order. Lot's of ways to move things around. I could drag this, put it over-- I'm gonna intentionally put this on the next track. I don't normally do this, but what I wanna show you is when I do that, you'll notice that anything on the upper track blocks anything on the lower track. It gives me some flexibility. You'll also notice that I have a moment where I see the scene below it. There's some danger to that, but it's also another way of thinking that, "Oh, what shot do I wanna use?" I don't wanna make the decision. Maybe I'll stack two shots on top of each other. I'll come back later and then I can look at each of them individually. As a matter of fact, there's a great little feature that if I have this shot, and I'm gonna do one thing here, so I don't get that little flash frame. I'm gonna stretch it out a little bit. Now it covers it completely. If I don't wanna see that, I can right click on it and uncheck Enable, and now it still is in my timeline, yet it's invisible. I can go back and do that. That's kind of a nice thing I can do. You know something? I just wanna flip flop these. There's lots of way to do that. I'm gonna bring that down. I've changed my story. What is my first image? (pleasant instrumental music)
These days everybody talks about print your work, print your work, as photographers, and nobody does, and so we--
We're establishing a story here of, you know, what's happening, what she's talking about. I see print your work, that was very serendipitous, that I put that clip. You can listen and make notes. This is how you start developing what you're doing and you're throwing it onto a timeline.