Filters and Transitions: Applying Filters
filters are very much the same as transitions, except you don't have to worry about handles. Okay, so Aiken style eyes, a clip, a lot of different ways. Let's go back to the beginning of our show. I'm going to hit Ah, function left Arum on a laptop. If you're on a desktop, you can go ahead and hit the home button and I'm a little zoomed out here. Someone hit command Plus to zoom. And just so we can kind of get a little perspective, here we go. Just want to put a transit filter in here. So I select the clip and she's dancing. That's good. Actually, it may select this clip, right? That's good. And now I'm gonna go right to the left. You like that right to the left, right to the left of my transitions. That is your effects browser. And I see little icons representing the different effects Aiken dio, and there are a lot of them. And as we see, just like we discussed at the beginning of the class, some of them could be for color correction. OK, some could be to fix problems, maybe playing w...
ith things some could give you stylists dot style. Also things like King. We're gonna have ah lesson on on green screen, and that's ah, filter are in effect that you put on a clip. How do we do it? And what does it look like? Him? Whatever options. So I'm gonna grab the end here. I like working with the end because I'm right next to it. So we have this shot here, make sure them on my selection tool, select the clip, and then I can go ahead and choose what filter I want. So I have the clip selected. And then I want to see what this would look like if I used the bad TV filter or black and white or aged film or one of my favorite aged paper. Do you notice that as soon as I hover my mouse over the effect for the clip selected, I can actually see what the default look of that effect is like So I don't have to remember is like Do I like that? No, I don't have to commit to it. Let's go. It's, you know, something like broadcast safe that second, maybe I'll throw Ah, you know, high contrast. But I could easily zoom into an area. Maybe I want to do something nostalgic. Okay, so there's newsprint, their security stylized age film. I go ahead and I could even play with some some light on top of this. Focus on things, but let's go ahead and apply one and see how our modifications can happen. So we'll go to style eyes and we'll goto aged film. There it is. And to put it on again, I could just double click and it puts it on, or I could drag and drop it on. Now look at all the choices we have to manipulate this filter to make it look exactly the way I want so I can do how age do I wanted. How Maney scratches do I want. Maybe I don't want it to look so so bad. Maybe I want to make a jitter a little bit. So I have all these controls to customize the way that it looks. And then I play it and life is good. Now here's an interesting thing. There's a lot of math going on under the hood. Okay, when you put a filter on, I'm on a five year old machine I mentioned that, uh, earlier in the lesson and most of these will still play back in real time without dropping any frames. Okay, there are some and one of the ones that I do love is this aged paper that are so computer intensive that I do have to render. Now if I dragged that on, something has interesting has happened and that is I have two effects on here. It's give me both the aged film and the aged paper. So if you have both and sometimes you do want to maybe you're doing you like the combination, but I don't want both of them here. I can either toggle them on and off with the check marks. If maybe I want to put both on and I want to compare them, show them to my producer or if I just needed to get rid of it. I can select it and hit the delete key. And it takes that effect off of the clip. OK, but remember, unlike a transition, where if you drop a transition on another transition, it replaces it. You are always adding effects when you drop Ah, filter on something. So this is pretty complex, and it even has, you know, a ridiculous amount of two sliders to modify it. But if I tried to play this, that's crazy. I mean, they've tweaked this software so much that it should stagger and die, But it doesn't so without even rendering, I can play that. I'm pretty impressed by that. Um, so it's very easy. No. What's a situation where you might want to combine? Maybe two filters? Well, let's go back to the beginning of our show shift. Sorry. Function left arrow and zoom back just a little bit. So maybe I want to stylized the beginning. And I want to do these as a group. I want to put a filter on all of them. Well, right now, I can't apply a filter across all three as a single filter across the cuts would have to put a filter on each one. And what I really want to do is I want to have the same filter and all of them. Okay, So what I'm gonna have to do is create a new clip or a new container and put them in a compound clip. OK. Compound could Basically you are taking these three clips and you put them inside of a box and then you can apply the filter to that box. OK, think of it that way. To do that, I simply select my clips. Right. Click The very top It says New compound clip, give it a name. Should be appear Gonna call this open. Gonna hit. Okay, so now it looks like a single click. It acts like a single clip. Okay, If I needed to get inside and change something, I can double click, and I can step inside of that. If I needed to tweak maybe the timing. I'm going to go back one. And now I want to go ahead and I want to apply a filter across all of these. So I'm gonna ply Ah, style izing filter. Maybe I'm going to try something such as? Well go from aged. Teoh is going to do it. The aged one. Okay, so there is aged and have all three of these. But what I really want to do is I want a key frame this cause I want to go from aged to present. And just like we learned in audio, I can add key frames to different parameters of my filter and have things happen over time. So I moved my play head to the point where I want the change to start. And then if I go over to the interface, this is gonna be easy. I could keep frame all of these elements. I'm just gonna go here key frame at 100% of the filter. I'll move down here to later on, and then I'm gonna go to zero. And if I remember to have hit that first button, I think I did. When I play, it's gonna very gradually go from aged to present. And that's the cool thing about being able to combine Clifton also even key frame almost every parameter off a filter. As long as you see this diamond right here, you can keep Frank. And just like we learned in the audio, if I wanted to, I could go to this right click and I could say show video animation. And now I can actually see the key frames above the clip. And if I wanted to, I could change the timing by grabbing it. I could also add new key frames as well as all my transform key frames. So it's very nice. So I could go from aged two, um, full. And just to show you stacking, maybe I'll throw in starting it off a little bit blurred. So I'm gonna go ahead in the bottom and type in Blur, and I don't see it. I don't find my blur, but I know there is a blur, and the reason I don't see it is because I'm in stylized. Okay, so if you're in a subgroup and there's nothing in that subgroup, you won't see it. Okay? I'll just do a quick zoom in for those who are watching CNN Stylized. If I switch over to all under video and I have Blur typed away fascinating as Mr Spark would say, Try that again. You know what blur is? The group blur is not the effect. They are specific blurs like a Gaussian blur. Silly. Silly me. Gosh in There we go, Goshen, Blur. All the photographers know about that. It's a nice blur. It's very fast. I'm gonna throw it on this grouping again, puts on a default blur. Gonna go ahead, move my play had here. I want to start off blurry and we go here. We have a Gaussian blur. I can go up here and close this out. If, uh if I don't want to see it, I can click hide. So now I've given myself a little more real estate. I want to start here with it very blurry. Okay, Have that key frame gonna go down here, drag my play head. At that point, I wanted to be nice and sharp. Bring that down to zero. And now I have both effects, both e aged film and the Gaussian Blur happening at the same time. Okay, so you can start stocking these to get the exact effect that you want. And it's really cool. If I really liked that, I want to put it another part of my show. All I have to do is select the clip. Let me close this so you don't have to deal with the real estates. A challenging thing when you're presenting, Here we go. I'm gonna copy command, see Standard Copy Command. And I want that to be applied to this grouping to so I'm going to paste the attributes, OK? And normally, what's the keyboard shortcut? Suggested General Paste in almost every application Command v. So command the wood paste. The clip which is what? Your respective You copied and pasted a clip. You would get the clip, but I don't want the clip. Just what I did to the clip so I can paste any effects that I wanted to. Okay, that's option Command V. Ok, so I have options here for what I want to paste. So I go Option command V. And there we go. And I could go ahead and read. Tweak it. Yes. Question. Let's get you the mic. Could you make that a pre sent great questions? The question was, can I make this a preset? Yes. Any time you create any kind of an effect, you can save them as a preset that is your own and use them over and over again. And this is great for things such as color correction. So if I have that and I want to say this as a preset So I just typed in the word preset because this way, you don't have to remember how to find it. And there we go save video effects preset, and that is located underneath file. So would go file, say video affects preset. I got a dialogue box, and it actually allows me a lot of control. It's like, You know what? I can save everything. Or maybe I don't want to save the Blur part, but I like the other part. Okay, I can also choose to save the key frames because maybe I always wanna have something where it's going to transition and when you're saving something, it will let you check a box down here which says, Maintain timing or stretch to fit. And so let's say I create Ah, blur. That takes five seconds. If I choose, maintain timing and I apply it to another clip. It's gonna come from blurry to clear in five seconds, no matter how long that clip is. If I choose stretch to fit, then if I apply it, it's That clip is lot longer than the 1st 1 It may take 20 seconds, so there's times you want to be able to maintain the timing. There's other times that you do something where you want it to scale. Maybe you have something fly in and land and you don't care whether it's a two second clip or 22nd clip you wanted to fly and lamp if you made it 10 seconds long. It works great in the 22nd clip on the two second clip of you said, Maintain timing, it stills flying when you're cutting away, okay, and that's something that you can play with, so that's very useful. So, yes, you can do that, and you can also choose where you want to save it so you can create your own category of your foot favorites. And this is great. So that was a great question. You can do that very easily and is one of the things that you like about it, because why reinvent the wheel when you don't have to? My question often times like like if I was to come combine a bunch of clips like You did, I always want to know. How do I get out of that? If what I was doing just wasn't good, how I undo combining clips. If I want to go ahead and there's a couple ways that I could do it, I could step into it, and if I stepped into it, I could just double click, and I could modify the contents of the container. But if I actually want to remove the container and go back to the original clips, I can do that. Now you will lose the filters that you put on the container cause the container is gone so I can select that. And I know that it's something I want to either due to a clip are a modification so I can see that the drop down window under clip gives me something that's break apart. Clip items Now G is like for grouping things, so shift command G is how I would break that apart. So if I click break apart clip items, they're back to their original three elements, and I can work with them that way.