Lessons

Lesson Info

Advanced Video Editing

now. Video video. Um, I am not a videographer. I don't even play one on TV. But one of the reasons why I'm not a videographer is because you shoot something again. This is one of Neil Bowman's shot. Coming from the Caribbean is what we do. They are still images we can't haven't up until now, typically been able to enhance like we have in photo shop for a CR. Except as you noticed that a CR is now built into Photoshopped and Photoshopped Now actually has a very cool video editor built into it. If we look at, um, this right here, that entire clip that we started off with the music and everything and all the ships going by and all the different pans and zoom that was all edited inside a footer shop, this is the entire clip with all the different settings right here inside of Photoshopped, you'll notice in some of these I would cut between the same clip. This is the same clip, but I was able to, you know, say I don't want it here. I don't want it here. So I jump back and forth of these cro...

ss cuts and this was all edited completely inside of Photoshopped, including transitions, sound music, everything and what's what's known as the color grading. So rather than do it to everything, I'm just going to take this one particular clip and great color grade. This clip and the A couple things to remember is one. You could just drag a video clip into onto your icon for photo shop. It will automatically open it up, or you can place it. Start with an existing filing, place it however you want to do it, Um, but if we were to apply a filter to do anything to this file, it would be doing it only to a single frame that's currently active. And this gets us back to that smart filter concept that we had earlier that if you have your photograph or in this case video clip, be a smart object. It takes that video clip and puts it inside of kind of like an envelope where folder it maintains the integrity of what that waas. Same reason why, if you open up a raw photograph inside, a photo shop is a smart object you may have noticed down in adobe camera raw. You have the ability to open up image or open up object. If you hold down the shift key, it switches between image and object images. Just a dumb flattened layer object is actually a raw file. Embedded into the file is a smart object. So you can get back to those sliders at any time. Really cool. In this case, when I opened up this video clip, I have to actually tell it to be a smart object. And that is right. Click on it and say, Convert to smart object now, because this is all encased in one encasement. When I apply a filter to it like adobe camera raw, it is going to apply it to every single frame across the entire clip so I can come over here and use that same thing so I can go here and do just auto. Just that by itself may be a huge amount. This has been compressed a couple times, so we're going to get a little bit more artifact ing. Um, exposure. Uh, looks fine. Clarity. Be careful, you know, Don't get too greedy with it, but we'll add a little bit of of that, uh, speaking about greedy. A little bit of saturation? Sure, why not? Um, highlight. Be careful. Remember, Anytime you shoot video 99.9% of the time, it's basically a J pick. In other words, it's a flattened eight bit of information image on Lee just now are Are DSLR starting to be able to shoot video? And what would technically be a raw file format just now? Is this coming in? Which is, of course, awesome, especially in video. When you're trying to pull out this information, you're shooting in a challenging light. Huge another just, you know, Gutenberg press, moment of transformation, the ability to shoot raw video. And, of course, that needed to have be able to shoot, have hard drives that are, you know, 50 cents for terabytes because the amount of information your shooting is huge. Yes, think with older M. O. V files. Yes, you can open up. This is this may even be a movie file, but movie, especially if you're using the apple of the Mac platform, that's is adobes. I mean, Apple's file format. So there, you know quite good at it, so yeah, yeah, if you are going to open up something and tweak it multiple times. The thing to keep in mind if you have to re compress something to take it to another program. What's known as animation mode is the one truly lossless file format or one of the main lossless file formats in terms of video. So it's a very unique wits where it's saving every single image as a distinct file and trying not to re compress it as opposed every other. Kodak is actually trying to save space. So this animation file format, which is a very unique one, is where you could open it up multiple times and, you know, get is close to non destructive as possible. So here is our P. So we'll just say that I'm not gonna need to, you know, go any further than that. But say Okay, it applies. It It is again, is a smart filter in here, and we can come up even though that is, it will have to render it preach one. So it's going to kind of jump around and skip around, but it is doing it to that file, and again, you can come up here file and export. Okay, render video Okay. Another thing that is cool and groovy is light room, light room. Um, probably at large number of the people in our studio audience are light room users. Light Room, which has no built in video editing, actually has some great built in video editing. There's no video segment or timeline, but what Adobe has done is they've taken the slide show module and basically put whatever you put into a slide show, both still images and video. It will automatically do a nice, beautiful cross dissolve transition between them, and they allow you if you come over here to the slideshow panel to add type, whether in an identity plate. Or you could bring in a graphic from, say, something like Photoshopped. If it happens to be a transparency laden image like a PNG, you could actually bring in title that would overlay on top of your video. Well, in here you can. We were turned off most of this stuff here, and we won't use an identity plate up there, and we can do all sorts of things and hear Zoom to fill the frame. We won't do this or stroke, but what is kind of nice is coming up on playback. You can have audio selected and select music and select the amount of music to the audio built into the video clip to put in here. And it's basically set up to do a standard slideshow, meaning you play it from within light room, but you can export video so you get all your video clips exported with transitions and sound quick and easy, the proverbial wedding photographer. This is a great way to go because it's the same place that you're optimizing your shoot. It's the same place you're gonna make a book for the wedding. It's the same place. You can actually do a little video. Of course. You know you're gonna charge 10 times for the video that you would go Greedy bastards. Um, the problem is, we come over here to the develop module and it goes. Videos not supported in develop module. Well, that doesn't do me any good. If I've edited, you know, let's say the proverbial wedding. I've got all these things going on. Why tweaked the winning shots? And now I've got some video clips in this case, usually getting the drone out of the situation for shooting video with the same cameras that were shooting the stills with be really great if we could synchronize what we did there. Stills to our video. That's what we want. But video is not supported in the develop module. Would you like to know how you can get video in the develop module? Jim, would you like that? I would love. Okay, that's the thing that we want. Basically, you go into the library module and click on an image, and if I've got a reference shot, here I go. Beautiful Malibu coastline. Love it. Gorgeous. I want to tweak this a little bit in the library module. It gives you this little timeline here, this little play head. But if you click on this little option here, you can actually come up here and capture a frame. And that makes a J peg. And what can you do with the J pick? Jay picks can go into the develop module. So you're going to come over here and we're gonna go to all photographs which will include my J pic. You'll notice it doesn't have a time stamp on it. So that means that it is a J pig. And now this Congar Oh, into the develop module light room does not support everything that Adobe camera Raw does in its processing as an example. Clarity, clarity. One example that I wouldn't have at my disposal, But in terms of that basic panel, if I come over here and want to, uh, well, in this case will do a little saturation in here, maybe increase of that contrast. Maybe take our highlights, pull those down a little bit, maybe. Take that black point. Bring that down. Maybe if I'm getting a little bit of a green cast, you know, warm that up a little bit. Here's my remember my backslash key. Okay, A little bit too warm. Sold in it. Cool that. Okay, so that's that video. That would be great if I could apply that to all my video clips. I would love that. And of course, you can buy simply coming over here. And even though I can't work with those video clips inside of the develop module, if I come over here and shift click, I'm gonna select all whatever is currently in the window is my parent. You'll see a sink option over here. I'm gonna come over here, it's gonna ask me what? Actually, we're gonna sink settings. Sorry. This shows you What's great out can't be sink. So it's the basic setting tone curve you can do black and white. You can use that hs l, which is awesome split toning, some camera calibration synchronize. And now when I come over here to my images now my video and you can see why it doesn't do everything because it does it on the fly That rendering in Photoshopped takes quite a while to do that. But this is very cool. And again, if I went into the slide show and export video, then I would be good to go. In this case, I could come over here and go and maybe some shadow. I want to find tuning whatever you want to do. So that is two things showing you there. One had a grade video or tone enhanced color enhanced video inside of light room, but to I also showed you how to do a screen grab from your video, right, Because this what happens if you're shooting with our little copters here? Especially with that GoPro that shoots four k video for um, lines of resolution on the side. That's not bad, especially if you're trying to, you know, it's for promotion. Certainly anything that you would do. We're sharing on the Internet really darn cool. And at frames a second at four K, even the the, um, hero three will shoot 15 from second at four K resolution. So think of that as being able to shoot every single thing in the world. You know, you've got the proverbial motorcross with the guy up in the end, you know, doing a little tail flip kick or something like that. That's a great shot. And at four K, that's gonna be a useful shot, something that you wouldn't probably do with some sort of burst mode or something else like that Again. Remember, though, that the the one of the benefits of the GoPro is it does have a burst mode 30 frames a second. So if you are watching with the copter and you are doing first person and that person's coming up for, you know, some sort of extreme sports, click burn and you can set it to be 123 seconds. Whatever you want, it to be, You know, it'll it'll spread that 30 frames over something. So anyway, so I've showed you how to do a frame grab. How did we do? A frame grab. We went up here in our mode here. Think that probably is the nicest, um, clip if we wanted to get the house. Okay, there's the house. Click here, capture, frame, and then you can export. That is a tiff. Whatever you want, OK? Or DMG even would be a real raw file. I can see that's a little heavy handed. Okay, You can use whatever settings for the library module. You can come over here and I can set my, you know, contrast down. So just as an example, you do have these settings, but you'll notice you don't have, um, some of the sliders that you do. You don't have hs l at the, uh, at your disposal. You don't have a few different settings that you would in the develop module. That's why I like doing that. Okay. So again, there is our, um, frame grabs inside of light room on our video track. What about, um, looking at this video clip that we just did here. We've got a bit of an issue, all right? And that is it is not a stabilized clip. Is this the clip? Would that clip go? There's that clip. So if we play it, um, it's jumping around. This was not with the gimbal based set up. This is with the vision to So we're getting some a jiggle going on here. So what happens if you are using an older, non gimble based one or you're even using a gimbal based one? That's just not doing a great job. Well, you could stabilize that video use, um, or magic jiggery pokery to get that done a couple ways, you can do it, um, premiere pro part of the creative suite again. This is where the possibility of you getting the entire creative suite rather than what most photographers were doing. Getting put a shop in light room as a $10 a month thing, which includes the creative cloud, which includes cloud storage, which includes all your mobile APS. When we get into the mobile class in a few days, we're going to talk about mobile light room on both the IPhone and the IPad, which is hugely cool allows you to work on raw images in the field, take hundreds thousands with you and still use them. Very, very cool. Um, but you may want to do an entire subscription to the cloud, which would mean every piece of software that Adobe makes pretty much including things like premier or after effects. It's another one that does it. Also, if you're on a little bit more of a budget and you didn't want to get the entire sweet the, um, premier elements, there's a photo shop elements, a truncated version for the hobbyist. And but there's also a premier elements, and that now has added video stabilization to it. Very cool. Dobie didn't need to do that, you know, as a step kid, they could have not. They did it. It works nice. It works basically the same way. It's actually simpler. I'm going to come over here to um uh, let's close these and closed this because I started knowing that I would be running up to the clock. Um, here in this class is premiere pro and prepare Pro is a little bit scary and intimidating, as you can see here. And I'm tempted to start off from scratch. Um, see what else we want to do. We're actually doing pretty good. Let's do it from scratch, because this is something that you may want to do. So I'm gonna come over here and I'm quit out of premier pro, and we'll start it up from scratch and we'll come over here to Premier Pro and we will find during that, um, you can say Andrews Flight and will take That is R J. Peg will take Just are quick time video and will say new project in print in here. And okay, so we have an empty project. Go back to the bridge. Let's see, that is our footers that we want. The nice thing is, is you can actually simply drag and drop into. This is our media browser over here in the lower left hand corner. And there's nothing stopping you from just dragging and dropping from the bridge, he says. Once we make sure that we're in the media browser, we can drag and drop our clip. He says Info. Six, project entitled Import Media. Okay. Project entitled Media Browser. That would be where I could ask it to where to find it. But if I want a drag and drop, thank you very much. And, um, this is where you would store all your media down here in the lower left hand corner. If you want to actually bring it into the program here, this kind of this new layer icon If you're familiar with Photoshopped, this basically turns it into an active layer as part of our project. So now this is how you could bring in. I could have dragged 50 clips over into this little area in the lower left hand corner, dragged all of them out into the timeline and then arrange them in terms of where I want them in the clip. But what I'm gonna do is I've got this little clip now currently active, and I'm gonna go up into affects control. Excuse me, and we're gonna come up here into effects and we're gonna go into a video effects and we're going to go into Distort. And there's this nebulous little thing called warp stabilizer warp stabilizer. And that's basically what it's trying to tell you is to stabilize. I'm gonna need to warp this image because each one of these frames is slightly a different movement, either rotation. That's what's causing it, or it's moving in and out. You know, there's just all sorts of things going on, so I'm going to need permission to distort these images frame by frame to make them in sync. And in this case, they're not in sync like an alignment like we're doing with the Panorama. Because in this case, remember, this clip is painting around, so it it's not aligning it to itself. It's got to go okay between this shot and this shot anyway, it's really elaborate, but what you do is you drag that over the clip and it's going to start analyzing exactly what we were talking about. There's 500 frames in this clip. If we look over here and that's what it's doing, it's going through. It is gonna take about four minutes, and that's why I can did before. But we'll wait. We can start doing questions as we get toward the end here, but it's going through in this 1st 3 or four minutes that it's gonna take to do. It's analyzing once it does it and it knows each pixel you can actually do some variations on it actually works quite quickly, But it's, um, doing a heck of a lot of work. And with that questions from you all, or TV land? Yes, question based off the d warp stabilizing that's going on right now. I'm assuming you could apply that to several clips and walk away, grabbed a coffee and come back, and it would have done rendered all of those. That's right. There's a queue set up can set up and exactly what it's doing. This analyzing, which it knows, fits a long clip that you can see that this is 500 frames and it's taking, you know, four minutes, right? Done. A Mac book. This is where the tower. You know, where people come up with huge, you know, multi quad core set of computers. And why video. But stabilizing is the most computational intensive thing that you could do because it is a pixel by pixel and its having to do it over time. So it has to do several pixels. It's actually looking frames ahead, you know, trying to go up. Uh, so, yeah, you can't do it in the same thing when you say that you can save. It is part of a Q and save, you know, multiple situations here. So, yes, safari Mama would like to know. Did you encounter any bald eagles while you were flying over Green Lake? I did not remember. I'm starting to rain. And so no bald eagles. But are there some around about birds and General? Yeah, right at the lake where you shot There's there's a beautiful spot. We should we would've shot here on previous classes. How about birds in general birds and general, be cautious because you may have seen if you, you know, like me. I am always searching Zeit. If you don't use ICT, that magazine, which is awesome. You just put in what you want to know about inside is a free app mobile app, and it makes a magazine based upon whatever you want. So you can put in, you know, drone or photo shop for antiques or whatever. And it makes a full magazine with up stripping out all the ads, you know. So it's just the content, the pictures Zeit even better than today's classes. You're going to get site anyway. There is. There is, especially with popularity of drones nowadays, shots. And of course, the drone is video recording. So if it gets attacked by a bird, it makes for a really dramatic YouTube clips. So you do have to be cautious. Obviously, you're going into somebody else's territory and be be cautious. One. You've got a splitting blade of death, you know, scenario here and during mating season. If you know when what time of year? Spring. Uh, you know, just be really, really cautious. If you see, certainly don't try and chase down birds. You know, I've seen some people that try and do that, get them to fly up. But, man, that's a scary thing. So, no. While life in general again, as these are more and more used, their potential for annoyance just goes up exponentially. As you know, D J has made an amazing If you dio Kickstarter. There's probably 50 drones right now on Kickstarter. Some of them are amazing devices. You know, D j is gonna have a lot of competition in the next few years from really cool, groovy, affordable, indestructible, great cameras based drones. And with that, you're just going to get so many more idiots behind the controls and in terms of property and pets and people and all this stuff, you know, just everybody gets the reputation. Baseball one idiot. You know, Like I said, I was cautious yesterday when I was in the park. I happen to start flying. We'll the game. The Seahawks game was on. And so nobody around that field, you know, I'm going. This is great. Nobody is great. And all of a sudden, the second the game, you know, soccer game started. Everything go on. So I flew only just for a little bit. I was very cautious as trying to flight. So to annoy people. So anyway, that's just up to you. And but just know that our opportunities and options for aerial photography is just going to go down the mawr. You know, people go outside of the norm of what's polite. Great. Thank you. Okay. Okay. Well, that did it. A couple more things here. If we come over here and hit play, it's actually done a great job. Especially considering that this is doing a pan. I'll show you the final rendered one because I rendered it beforehand. Um but it actually did a great and considering how fast this is going and what it's needing to dio. It did a great stabilization on that, and that is on a non Gimble based windy day. A drone shot. But one thing coming over here under the warp stabilizer, you're gonna find some options and coming over here in terms of stabilization, you've got a few options, smooth motion or no motion. If the drone is moving or you're moving through a scene, you're wanting it to compensate for that. If the drone is not moving and it's just shake, if it's minimal like this and it's not needing to look multiple frames ahead, then you can choose no motion, and it's just sinking there. You just want a rock solid. The car's air moving, but the camera's not right, so you can use that. It's really nice that that's an option. Subspace warp is allowing it to actually do not only position scale in rotation, but actually warp the individual frames to meet each other. Kind of like that image warp that I used to do things with it actually is doing quite a bit there. In this case, we can actually come over here and choose a different one. So let's say position scale in rotation, which won't do this as much. When we come over here, it's going to stabilize it, but you'll notice that it's not needing to calculate its just doing it. So here it is, doing it now. This is using that option and looks pretty good. It looks like it may. Let's start this one again from the very beginning. It's looking pretty good, so I'm getting a flash there. I don't know if that is just part of the fact that this has been previously compressed, but, um, that one. If you can get away with position scaling rotation so it's not actually warping the image that probably is would be a safer bet. Um, but warp is what the default subspace warp is, its default setting. In other words, you're giving it permission. Whatever you need to do, you can do. And certainly you're probably when it comes to this sort of drone photography, you're gonna need to at least do position scaling rotate. It needs to do quite a bit. There's the movement is in all the axes. It's not just a simple one, and the the question is here the way that it's doing this. It is rotating each one of the frames, and obviously every single time it rotates. That is going to show just like we did when we had the Panorama stitch. It's gonna have a little gap in the corners. So what it has to do when it's doing this area, and actually you're be seeing the edge of the square as it moves, it needs to be able to crop. An auto scale is part of the stabilizing process. And because it if you're shooting at 10 80 p, it wants to stay 10. 80 p rather than crop in. It's going to expand that out. It will scale up. So you end up with the same footage that you're using for the rest of your shots. So stabilize crop and auto scale is the default setting. That's probably what you want. If for some reason, if you're shooting and four K, some people are shooting in four K, even though the project is 10 80 that lets them pan around inside of a video clip, I don't know if you've seen if you're from one's concept, it's really, really cool you shoot four K. Here's your frame. Your 10. 80 p is your frame that you're actually gonna be displaying. You've gotta lock down shot. This is really useful for special effects. You gotta lock down shot, maybe green screen where you want to do the special effects and hand wrote a scope and do all sorts of things. And that clip is done at the four k size and then what you do, even though there's no motion in the scene, you basically take it. And within that clip that you're looking at you pan or even Pan and zoom into that 10 80 p. And it looks like you've actually took a dolly and went into this environment when in really in reality, all you're doing is what would be kind of a Ken Burns effect zooming into this super high res video clip. Very, very cool. That may be the case. If you knew that was the situation where you would stabilize only and don't have it scale or whatever, because you're already gonna be cropping into the scene and you don't need to have it do any of that jiggery pokery. So anyway, that is the option. Let me come back over here into the bridge. And I think I've got these two clips. Um, that is Andrews and stabilized. So here is the clip. Pre stabilisation. Uh, up, Down. Okay. Pretty significant, actually. Let's just go ahead and open up both of these in full frame so you can see it. This is the unstable ized. That's just what we had without a gimbal. That's why we're only doing photography. Still images for the most part. But you can see that obviously, the gimbals gonna help with still photography as well as video. And here is our clip stabilized, and this is using that warp. And this is probably where I should have used just that rotate and scale option because you're getting a little bit of a Boeing going on here and probably not necessary. But all things considered, that is for such an incredibly shaky clip that is mind bogglingly useful. Think of how cool it is for the slightly shaky things that you were going to get with the gimbal. You're gonna be able to get that into a rock solid environment. And so, if you need Teoh Premier premiere elements or after effects were always to stabilize video