Building the Sequence in Premiere


Keep it Simple: Video for Photographers


Lesson Info

Building the Sequence in Premiere

more or less I want to show you guys the final edit for the day that we've we we cut yesterday and then we're gonna replicate all of that today in the last two segments okay did you have to clean up audio I'm gonna teach you how to color great I'm gonna teach out everything that that I did last night in a hurry to get it done for today okay so let's let's just review some of the clips that we have in the workspace that is premiere it won't make sense at first once we start adding new information it'll start kind of piecing itself together for you guess cannon click premier it's actually open so we were discussing timelines before by using the plus and minus will you can actually zoom in and zoom out on your project I have different layers with different effects some of you asked about overlays and regards to overlaying new new footage on top of another I love thirty five millimeter grain I use thirty five millimeter grain that's pre recorded on top of my footage I love anamorphic style...

s those air over laid over my footage what does that mean uh basically using layers and p and g's and other videos merged with my current content to make a certain effect and I'm going to show you guys more or less what that looks like in my timeline and how to replicate that same style lindsay did show you guys how to do that in photo shop which was a quick kind of you know multiplier soft light file right over the second layer it's as simple as that is doing it in premiere so I'm gonna go ahead and zoom into my timeline one and if you notice I have on track two are my video clips things that I've edited things I've selected things I've put together on track three I have my it says if you can read I know it's very difficult to read online but thirty five millimetre fine clean if I would hide that first excuse me that first track or second track if you wanna call it that you'll notice when I press play you get all this grainy funny fuzzy ness that's actually thirty five million major grain pre record I'm using that on top of my over laid video footage on a soft light pattern played in loop over and over and over again over my footage to make it look like his extremely grainy that has a lot to do with personal taste it's not something you guys may do at home but it goes back to being artistic I'll show you what the footage looks like without that thirty five millimeter grand you may not even see a big difference unless it's blowing up screen I did upload the final video to vim you already and posted that on my twitter account so creative lives should be re tweeting that within the next ten minutes or fifteen minutes or so it's that sage or fetch twenty twitter dot com slash stager fed remind my name backwards which is jeff ross let's go ahead and look at that again without that thirty five millimeter grain I'm also going to take out the the animal trick presets which is just changing the aspect ratio of my video it's just to to png files if you look there there's two black bars I didn't shoot in that that aspect ratio obviously out of a dslr I'm cropping teo ah two point three nine aspect ratio which means it's two point three nine times wider than it is in height ok so the aspect ratio that's the actual size that you're seeing on the screen here like making it wide screen it's like that's exactly so that has a lot to do with the way that I shoot video I like to look for it to look at hollywood cinematic you don't see hollywood movies in the sixteen by nine aspect ratio you always see it wide screen right well here's the trick I make that invisible it's sixteen by nine underneath I'm just overlaying an image of two anamorphic presets above good yeah it's basically just to black bars and you could do that in photoshopped the same way that I was showing you you put an image so it's just a black bar on top on the bottom but what's good and he may show this is since you have that space the top and bottom that you're not using you can actually shift your video clip up and down to decide how it's cutting so if the top of your scripture frame there was at the top of his head it doesn't mean now it's going to be in the middle of his eyes you can actually shifting and what she's saying now if you look at this clip I took the animal hurt presets off if you notice my clip has a black bar across the top I recomposed my shot I wasn't happy where it was cropped so I made sure to wreak compose my shot that he's perfectly dead center in my anamorphic presets because now I have more wiggle room to play with when I'm just shooting sixteen by nine if I'm not cropping into let's say seven twenty and I don't have any play in regards to my footage I want to keep it a ten eighty I'm not in a crop and I plan on having a full set at ten eighty I leave it just like that I leave it sixteen by nine I don't mess I don't transform anything I don't move anything but if I want some wiggle room in her gardens tio recompose ing things I'll go ahead and do the animal for pre set so I have some wiggle room in regards to moving up and down that's what I do the animal as well did you make those or did you download those online you have two options you can either overly images yourself by just going into images overlaying those I personally use let's go to my downloads I did download these they're free based off of I do have actually a tutorial video they don't want doing that on my video accounts so you know what I'm gonna direct anybody there if you go to my video account there is a website that you can actually download those for free so it's video dot com slash saja fez sage or fetch at can you see my name backwards e j o r I f f e j so those animals presets come up with letter boxing there just called letter boxing either for two k for k five k or ten eighty we're using ten eighty today they come with three different standards for by three two point seven five and two point three nine depending on what you're trying to shoot so two point three nine again is two point three nine times wider than it is high you'll hear that anamorphic presets it's just you know wide screen it's just a different aspect ratio than you normally normally sis saying when we spoke yesterday about camera settings my camera automatically crops from a four by three ratio to sixteen point nine some are already losing some information above and below now even adding mohr information that I'm losing above and below but I look more white so when I'm playing a video and I've played the final piece that you guys had seen it looks like it had been shot so if I play this notice it's not sixteen by nine but this looks a little more cinematic if I were to play this on a wide screen tv I take the wide screen we're used to seeing those two black bars above and below you think it makes it look more epic epic is good in my book he if you shot at sixteen my nights if you guys remember this specific shot here it you lose the dynamic of him being dead in the center he's kind of lost in translation I didn't pre planned that it's not something that a pre planned beforehand and said you know what I'm going to shoot this so I can judge for for anamorphic presets I just sort of fit the final cut it's just going back to the whole creativity approach I thought it looked this way so I decided to use this I use this a lot to save myself in regards to re composing if I have lindsay on set and let's say lindsey's not getting perfectly exactly center which isn't always a case she she's perfectly fine all the time I want to make sure that I have some again we're going to move and transform that we'll go into transforming momentarily they just want to show you guys some of the other layers that we're working with and then build into those as I'm looking at my layers I noticed I have audio audio tracks one into and if I keep scrolling down I have three and four okay your audio tracks when they're first dragged into two premier if you guys remember a little earlier the second I drag a video track it's already automatically associated with an audio track on track one I will always if I decide to cut to music I lay my music down first lock it so that way I'm not overlaying the music if you guys remember with her she if she lay something down in photoshopped it kind of it doesn't overlay with premier the second I go drop down footage over footage that's already there it's such overriding things I'll show you guys an example so let's if I take this and I literally go I don't like it there I want to hear where the other clip go it's gone unless I used some of the tools that we have here which half the time if you try to do things quickly you get confused and you clicked the wrong thing and you're going to get frustrated there are tools to make that easier for you teo slide your hold movement over I'm so person like rolling at it right now rolling and it'll let you edit and moved the entire frame over so let's go over rolling at it so if I were to extend any uh any clip out it's the end of the club so if I should extend any clip out it shouldn't start automatically accommodating for that in the other aspect let's be bold it's not working today apparently worked so let's go back and I'm going to undo some of the changes I'm going continue going on more or less the file structure themselves so we talked about the animal fixed we talk about the overlays that lindsay discussed in cuts you'll notice there isn't any clips and certain in certain points that's because I'm fading to black complete black for dramatic effect it's just because I didn't want any any specific material there you don't always have to have a shot to make a video you can go to black for dynamic effect yes oh so default is if you have nothing on screen is black cracked at all time so if you guys remember the top portion there it's completely black if I were to go ahead and uh hide all my footage from track two that's what you're seeing that is the video in the background that doesn't mean that you have there's no information at the top portion but your video is going to play with that black screen so what I did was and we'll discuss this again a little later but I was transforming or contorting where my video position is along the line I literally have wiggle room with controls with video we used the what's called a transform tool if I look at the effects panel just quickly look at the effects of goto let's see video fax scroll down go to the store once you go to this story you'll notice you have a transform option I'm gonna go ahead and delete this specific transform and just redo it now take the transform dragon draft that onto the footage of the clip that you're looking at and you'll notice you have transform here your anchor point is where it's going to move in relationship to the center of the video clip the ten eighty is I drag the five forty up or down that's actually was moving the video up or down I could do the same thing and move it left to right with a left or right I'm apparently backwards today too so let's undo those so let's say I wanted to make sure that this whole video's flipped over I didn't like it this way it was supposed to be shot where it's completely the opposite way I can do that as well and go to scale with and completely go the opposite direction until I get negative one hundred well let's see if I recomposed it the wrong way he is now on the opposite side which is kind of cool so I can save myself a couple shots safe I broke the one hundred eighty degree rule and whatever is needed to replicate he's on the proper side we discussed that this is the way that I would go ahead and correct that in post so already we see some differences already between photoshopped and premier for example doing that is a huge pain could actually try to do it yesterday and gave up because it was messing things up um I also I could slow it down to fifty percent he I don't know if he does anything slowing down I could slow it down fifty percent I could slow it down to twenty five percent but usually if you actually want to clip to play backwards remember how it in one shot I started in focus and went out of focus and I was going to do it the other way photo shop you can't do that you'd have to actually imported is frames reverse the frame save it out and then imported back in so it's a kind of a pain now from this one you just switch to speed to negative one hundred old play backwards same thing for flipping that another one the space in between that you see there where there's there's no slugs and other that's it's empty photoshopped won't let you do that it wants to fill in space so in order to do that I have to actually place the file there that's empty to fill up space so like it's their work arounds but it's they're workarounds it's not like built in intuitively so you also mentioned thie other day winding up kind of sorry that you have questions oh there was a question in the no problem there's a question in the chat room from a photo board asking if you can if you can change the dead space in the empty space to white instead of having the people you can overlay a photo over if that's what you want you can change it directly to white aesthetically if that's what you would like to do that's fine suggestion specifically like with the boudoir shoot it would make more sense for it to be white crack black and then you can you dipped a white doesn't have these has effects if you go down teo video transitions you have effects that you could want abusing like keep scrolling down more than I need to you can have dissolve dipped a white or dipped in black that's that's your choice aesthetically the other thing that you could wind up doing is if you have a white title background that's what you like I can go into just quickly title new title I could go default still I'm now creating a brand new still image this is a little more difficult that it wasn't photo shopped before you could just create a new layer and just paste it white so this is where it becomes a little more intuitive that way um I have my with nineteen twenty ten eighty is my video I go ahead and press ok I now have a clear screen this is a clear over overlay for the whole video say I don't want clear I want a white background I can easily just drag a white box I can change the color depending on what I decide here work only want you to do is working today so I can change the color ratio safe I wanted red I think switch to red I can switch to any clothes I want over laid over the footage so if your your brand colors and you're going to get out to something is x y z used this specific present so similarly you could put a bottom video there or aboutem image file that's white so for the fate to white parts replace that and you could do the same thing in photo shop that was doing well the's air called title pages right so you don't see on the file on the the actual timeline right now it even with me just exiting the title page it automatically saves it for me like if I wanted to use it later on so right now it's in my footage for reference to use in the specific file I could literally just dragged that overto my timeline remember I told you it's going to start eating away at my other timeline if I do that but I can start minimizing thie amount of length that I want to shoot this lindsay taught that in photo shop where she she made it for x y z length of time teo play her her logo if you wanted to do that and she she used it with the png overland the text so this doesn't only work for solid backgrounds it's worse for attacks the fact this works for over laid over limit of logos if I would overlay my logo across the whole video you have an option to do it within premiere which is create a new layer say pretend this is my site on my set title page and here goes my layer here goes my play head I'm gonna go ahead and play here you'll notice everything's completely red pretend that's a png I just drag that specific png straight across my timeline I now have something that lays across the whole video that works for the small png logo's a swell so is it essentially like layers on fate on facebook on a photo shop and you drag it to you dragging underneath if you want it in those gaps where it goes to black you wanted red you dragging underneath like a layer thie anamorphic preset if I had moved that up okay and I'm gonna take my title page this is my my sequence you know let's make it a little easier for you guys to visually see title new and I'm going to make a new brand new company it's going to be create many creative live that city seem to call many creative live okay the font looks horrible so that's why it's a brand new company it's not actually creative live there just trying to rip creative live off for right now okay so pretend this is my logo I drag and drop this under the animal preset you asked about different sizes if I drag and drop that under my analytic anamorphic preset right which is that over limit above I can't see anything whatsoever a lot of seats the second I go drag up it starts moving its way above my my specific so just layers that's all this is it's really really simple you'll notice as well the any overlay mints that you have when they play on black they'll like the uh the thirty five millimeter film grant since I have it on soft light if I played on black you're going to see thie actual overlay mint so let's go ahead and again minimize excuse me hide my footage I'm going to go and press play and well I'm actually hiding both of my thirty five millimeter green grain anything that's black will show through so if I'm doing a transition I want to make sure that it's also what's called kind of lowering and opacity with my transition because I don't want my transitions to look ray I want them to look black so you'll notice and I'm going to do all this and replicate this momentarily I'm just showing you guys more less the final product of everything on dh howto break that down if I look at my footage here when we first started this video there is a fade from black right I have right above it if you notice the opacity this white line here you can know you know that it's a passing by clicking this little yellow effects icon this you can change the motion or speed of the video if you need to capacity and you could do time wrapping the time remap english means within that specific clip you khun ramp time go slower go faster depending on what you decide to do for a really cool yeah I'll show you guys that momentarily as well for right now the capacity on this I have starting from basically zero working its way up with my transition if I didn't do that this is the effect that you're going to want to get I'm going to switch it up to sixty three so this is it's no longer fading from black it's not fading from a gray color I have to make sure that all my transitions make sure that they're completely match with the videos that I'm overlaying so just know that if you're gonna do anything creative wise you have to you have to kind of account for all those little details supposed like photoshopped it's a little bit easier with her transitions and the way that she she organizes things okay you also notice the different tracks that I have the first track here is going to be let's actually just minimize everything else I assume that audio upstairs is working on the upstairs you want your files might be okay these first couple clips see when you lock tracks you can't actually do anything with them same with locking something in a photo so you can't touch it so I'm gonna go ahead and unlock that click the m which mutes it and that first track is going to be my ticking that's what I'm listening to ok the second track if I mute the first track impress that second track give me the first track uh I know two seconds so small of a screen right now I'm just gonna have to click here scroll up that helps the second overnight is his voice but I don't want to spend with the missus the third track is the music so I'm gonna go ahead and meet that again sorry about that guess we're night there's audio mute mute doctor extracts from with the missus is his accident in the third track is his voice the second track is the audio there's different layers for depending on what I decided to put down on the first layer itself I did all the sound effects the second layer I'd wind up doing the music and the third layer I wind up doing the audio the way that I started this project we're going to start it now is going to my reference footage for audio I didn't know what I was working with we weigh all recorded everything off the gt two's and the love mike's expecting complete clear audio we discussed getting crisp clean audio and getting everything in camera sometimes that's not always the case but I'm gonna show you guys more or less the footage that we wanted getting

Class Description

Videography just got easy. Lindsay Adler and Jeff Rojas are going to show how to apply your existing rockstar photography skills to capturing video — without investing in fancy equipment or learning complicated technical jargon.

This Creative Live course will focus on simple, easy-to-implement videography techniques. You’ll learn how the photography gear you already own can be repurposed for video. You’ll also explore the lighting basics essential to capturing motion. You’ll build concrete strategies for integrating filming and editing video into your existing photography workflow. Lindsay and Jeff will share their unique techniques for using video as a way to tell stories and for integrating your one-of-a-kind style into your video work.

Whether you’re looking to add a lucrative new dimension to your photography business or ready to capture compelling home movies, this course will demystify videography and give you the tools you need to film and edit like a pro.