Creating a Video From Start to Finish

 

Lesson Info

Add a Title in Adobe Premiere Pro

And we're gonna talk about adding a title. You couldn't add titles in After Effects. After Effects is another Adobe piece of software that you can actually do much more in the way of creating titles, and that kind of stuff. But I think I've thrown a lot at you. I'm gonna show you a simple way of adding a title inside of Premiere. It's really, really easy. I'm gonna find that part where he introduces himself. So we are gonna recreate this title here. To make it easy for me I'm just gonna copy... the font, real quick, so I'm gonna find that font again. So I'm gonna delete that. So I'm gonna move my play head to the beginning of where I want that title to show up. So I'm gonna come up to title on Premiere Pro. I'm gonna add a title. Now default's still roll or crawl. Still, it's just gonna stay there, go up, show down. Roll, it's gonna come bottom to top, Crawl, then go left to right. Or it's gonna go across your screen. I like still, it's just simple. I'm gonna go okay, and I'm gonna cal...

l this Ivan. Alright, so now I get this frame. So if I wanted to, it's really neat, it's really cool, I just grab text. Just make a text box and then paste my text in there. And then I can resize this. Move this down. I can do what I want with it. And then I just kick out of it. And I've got that title right here. It's in my bin. I've gotta take it and drag it across into my timeline. So now I can go ahead and fit it into that space. So if I play it... It's there. What we're gonna do though is, I want it to fade in and fade out. So in order for me to do that, I'm just gonna come into effects. So go to my effects window. I'm gonna find a video transition. I'm gonna go to dissolve and I'm just gonna toss a cross-dissolve at the beginning of it and at the end of it. So here I'll do this. And then I'll just toss a cross-dissolve there, and just pull it down. That way now when I play it, He comes up, comes down. Simple titling. Doesn't require a lot of time, a lot of effort. At this point we want to get out. We're so close to the finish line. We just want to get out. Let's not worry about how pretty the titles look. Let's get them in and get them out. Now it's off to the races, because now I'm gonna go in and lay in a graphic. Let's shrink this down a little bit. We tossed in his logo, we tossed in some information about the place, and then we give our credit to the company that gave us the music. So each one of these things was a still that I dragged in. When it came to Ivan's logo, here's the logo, so let's get rid of that, actually I'll just move these... Out of the way real quick. So again I drag this in. Oh hey, it's too big. It's okay. Just click it. You can do...the same way we did the other one, just drag it down. Scale it down. How are we doing? We good? Yeah, what's up? Can you go into how you got that image file into Premiere? Oh, yeah. Did you just import that in? Or where you got that from? Yeah I just imported it. I'm gonna go into my project. If I just click at import, I'm gonna go to where it is in my project folder and just click import and it puts it right in. Is it an AI? Yeah it's an AI. This AI is black so I ended up having to pull it into Photoshop and flipping it, making it inverse. So here's this one, here's the ping. Just like that. So in the case of... Just so that I show you everything, the Photoshop lo- the logos in AI I decided I can open up in Photoshop, So let's see here... Let's just go ahead and dump this into Photoshop. It's gonna open it up. And then here, just command I. When you save it out, save it as a ping. Because if you save it as a PNG, it will take less space, and it's uncompressed, and it's transparent, so it will show up in the video really nicely. So there is a ping format right here, PNG. Save it. I don't want a compression. Click okay. And then it's popping out right there.

"A tumultuous amount of technique and process info given by Victor in this class. Just wonderful. Well done." - Michael UK

Creating a film or video is a decision-making process from beginning to end. From what type of story you want to create, where to film, how to capture audio, editing your story together - the entire process can be overwhelming and confusing. Victor Ha will make this process attainable by laying out the foundation to set yourself up for success in the planning and pre-production phases. Victor will show you how effective planning can make your shoot and edit faster and easier. Understanding this workflow and adding video to your portfolio can increase your business and expand your creative offerings. In this class, Victor will cover:

  • Pre-production techniques like creating shot lists and shoot schedules 
  • How to use your DSLR to capture video 
  • Capturing the right footage for the edit 
  • How to piece together a rough cut in Adobe Premiere Pro CC 
  • Producing multiple pieces from one shoot 
This class will take you step by step from concept to completion so that you can begin creating films with your clients and friends within 48 hours.


"Love this class! Victor really knows how to break things to simple language so you understand and retain. He also teaches you all the fundamentals before you ever fire up your camera. Victor is Ha-mazing!" - Jerry Suhrstedt

 
 
 
 

Reviews

  • m'k? ok? k? right? As others have said victor has lots of energy and lots of good stuff going on - but there are some really irritating ticks in this one making many sections of these vids almost unwatchable: after just about any explanatory statement - especially where it seems Victor is less sure of the technical rationale - he concludes each observation with an "ok?" and then leaps into the next sentence. On waveforms and scopes (vid 8) for example: we start with a discussion of an Atamos monitor "...it tells me how saturated i am in relation to that center point, ok? These are things that may be so daunting and scary [???] when you look at it, when you talk about it, but again, i didn't know about these three years ago and i was still doing content. I'm only telling you about this now because i think it's important for you to learn about what we call waveforms and scopes, ok? So waveform: confusing. Really really confusing, ok? [!!!?????} But it's a great way to check yourself on set, ok? Because there's things sometimes [hand waving gestures] we just don't know where we're at and we just have to check the overall scene value, as opposed to the exposure of a person, ok? So... And then at the end of the next run through this rather large if unmotivated section he asks "any questions"? here's where John Grengo would run a short exercise to see how folks were processing the information just imparted. It's not inspiring confidence, either, is it, to start by assuming /asserting that a concept is confusing - especially before it's been introduced. It suggests that it's still confusing for the instructor. The rest of this section continues in this way: with the ok's and concept jumps - by the end of the section, somehow the monitor as gear has entirely disappeared and we end up in adobe premier, and da vinci "Bring these values down in production - not in post" though, victor asserts How? with what? Victor doesn't make the connection between how the Atamos makes this "in production" adjustment possible (does it? i'm guessing) - or what the tradeoff is IN doing this adjustment in post - with the tools premier or davinci has with its various scopes. "Did you guys understand the concept there? i see some heads nodding. I love teaching: this is great." Actually, no, it's not clear that people really get this: so how about a scenario to test what to do to see if people get it? But really how about finishing the discussion about the monitor? We then get into vectorscopses (Victor doesn't distinguish between vectorscope as the tool and the chart generated by the scope - or why "vectors" vs any other kind of representation) we're then presented with a chart from the scope -but not the image from which the graph is generated - so we have no visual reference for an image that is "hue shifted, ok?" vs. not hue shifted. "the further the colors are away from center the more SATURATION you have. How cool is this tool" - how about showing an example of such an image? Still looking at this chart we learn: "You can immediately tell that your blues are oversaturated and shifted in hue, right?" - Again, seeing the image to map to this chart would have helped understand what was being asserted. "you show the chart, BOOM, perfect white balance" - YOu show the chart to what? when? "everything is on vector except the green that is slightly shifted" On vector? What is that? "Use this target in post" - Now we're talking post again. What happened to do this in production? So if post can do this and Davinci 12.5 is "free" - why buy the monitor? What we still don't know: the role/value of the monitor that has a vectorscope - where "vectorcsope wil save you" - which one? monitor or post? Kind of a big hole when that's a piece of kit well over a grand. How many students are going to go add a 1300 piece of gear to their camera for doing corporate profiles? how crucial is it? Plainly Victor is excited about it, and it may be fantastic. Intriguingly when talking about the monitors - esp the less expensive of the two Atamos models, he doesn't talk about why else one might want one - what the 4:2:2 ratios they offer mean (perhaps head to Ryan Connolly's Guerilla Filmmaking for that) How does this massive section end? Clean your sensors; have a monopod; bring a white card and light meter. What?? I'm sorry there's only a thumbs up or thumbs down for this rather than some kind of scoring. it sounds like i'm slashing this. I'm not. But there are some basics that would make this material even more effective and accessible. - Mr. Ha could watch himself on video to see all the "ok's" and work to kill them - they seem to be a sign of nervousness lack of clarity /confidence as shown in this section. - When going through v.new (for photographer concepts) use more images - he has lots of example vids in his first course - same thing needed here. - use example scenarios a la grengo (and good teachers everywhere) to test a concept rather than saying "any quesitons?" and feeling validated from head nodding. - complete the circle: if talking about gear - talk about the gear before skipping into a new concept. I still have no sense from this of whether or not these monitors have real value - should be on the list ahead of a new camera body or glass - or are just treats if you have everything else. Again, lots of useful material; the course is worth it for the grounded progressions through the cycle of video crafting, but if you can only afford one vid course in the Victor Ha set, the HDSLR basics is a better organised, illustrated and presented course.
  • Victor is an incredible instructor, clearly passionate about teaching videography to photographers. His teaching style is engaging and energetic, and the content is interesting and useful. I was very fortunate to be part of the audience for this course.
  • Victor is a wonderful, knowledgeable and enthusiastic teacher - I learned so much. Thank you.