Keep it Simple: Video for Photographers

Lesson 39 of 40

Exporting Video in Premiere

 

Keep it Simple: Video for Photographers

Lesson 39 of 40

Exporting Video in Premiere

 

Lesson Info

Exporting Video in Premiere

wanna keep it simple basis with premier um you could go to file export media okay some of you had questions about kodak's some of you had questions about how I shoot and how I export my settings um do you want to do a quick synopsis encoded yeah okay so I'm gonna try to explain this in like photographer lingo um and so basically might hear codex like what codex you export as more or less I think of that kind of like file type what really is is how is that video compress and then displayed to everybody else right now they're pretty wenches a standard that we would all use which is like uh h h two which is just like I don't know why they didn't take more interesting name which for the impact to epic four your hd tvs now recognized the h two six four format and the ios devices still do the same um it's really depending on what you're trying to it's h two six four is twice is uh I was going to be potent and that's totally not ordered to use can you tell him that twice as fast twice as clea...

r as the h two six excuse me as the impact too so it's defending the compression ratio that using all right so I would think of it this way it's basically how is it compressing it so if you have like a tiff you know how you've all those those options you know you might be lost to you were for ibm and there's all those different things more or less it's the way it's compressing and in what form it is compressing it okay but then within that that's like the general codex like how how is it being compressed within that you have like all these different questions and that's what overwhelms us because it's like ok what frame rate and then what resolution but really that's just saying well what for the parameters so maura less so I mean if I had that tiff with all those frame rates are with all those those criteria selected that would just be like then later on going in and changing my image so this is going to go over into almost a little cop out okay I'm going to say that very nicely in premier there are presets used them seriously use them I for me a tented over analyze things and try to overdo things the first time and I've had a lot of bad experience doing bad experiences doing that I've had a lot of good experiences doing that I've had a lot of headaches trying that I've noticed that if I just use the presets instead of trying to be a guy and saying I got this no worries I don't need to read the instructions and just like whatever look at the presets that premier has available to you what do you want a format that if you're formatting at the h two six four if that's what you want to go ahead and format that there's a bunch of presets anything from android phone and tablet for eighty p twenty nine point nine seven frames a second to video twenty three point nine seven six which is twenty four frames a second we discussed that before that's what you feel dslr shoots that's actually not technically twenty four frames a second if you right click and look at your footage this is what you want to go ahead and put this is esteem not hd so if you wanted ht you want to do h d seven twenty twenty three nine seven six there's a plethora what I'm trying to get to is there's a plethora of presets available for you okay these are the things that you want to use thes air editors and dps this is what they're using they did okay so but don't be did their homework tio get things exported for a reason they took the work out of it for you the second you go to start manipulating things that's when things go wrong if it's not broken don't fix it so to summarize and how I see it when you look up top you're picking your codex which is the age to six four that's six standard that's what standard right now lindsay they didn't actually get into kodak at all today do you guys want to just touch on that really quickly photo far had asked about that eh so what I'm gonna treat as like the codex is basically that the file type in this in this way but what it really means is how it's being compressed so it's saying okay the way that this particular video is going to be compressed is in the manner of h two six four that's that's how it's being compressed they're a bunch of different ways I can picture it like there's other ones but that's what standard right now that's what say how are you compressing it but all those other things so you pick your now pick the age to six for all of the other things in the sub many will you bring that up the station the presents yes yes okay in the presets the main considerations you have our what resolution you shot at in there for example if it was uh you know ten eighty I noticed that all these have an annotation for the resolution and the frame rane correct that's what you want to make sure is right your resolution and a frame rate you can downsize but don't up size and I have talked to many many many dps recently that I asked them well I just want something that's good I want I want to export it so that it's good quality that this would be something deliver a ble to a client I think that's what a lot of people wanted yeah tell me something that's good yes and so what I was told is the h two six four and this is not by one person this is by many age two six four the video preset for whatever resolution and frame right here at and that gives you a nice deliverable file time and it's giving you a file that people can open it's not like it's some it's going to give you a standard file type that's what I used to get my creative live video and it's good enough to get me here I wanted for the video one do you think that helps it play it faster on their player that's how you're exporting it no no not really but something that's important is actually as a side note um youtube actually if you create a piece at twenty four frames per second you two actually plays things back at at thirty okay um and so what they do is when you upload a video it actually will convert it for you and so of general recommendation again from everyone I've spoken to it is better that you make that change on your end so exported for the youtube preset versus letting you two make that change so you're actually saving maybe a little bit of conversion that might happen in video or youtube but yeah I was sold video whatever resolution you shot at and with the correct frame rate is and without any other additional compression don't change the size that'll give you a high quality delivery will file that they can open now just quickly very very quickly I told you guys I shoot anamorphic presents if you don't like the black bars that are in there whatever isn't you can crop that right when you're exporting and that's a z z is going to your export settings going to source clicking the crop menu here top you wanted to leave one hundred thirty two pixels the bottom you want to delete one hundred thirty two pixels make sure that your basic video settings and switch the same unlinked the nineteen twenty by ten eighty make sure that your height is sent eight sixteen the reason I'm doing this so fast is actually a video that I did on video if you guys watch anything that doing video that explains this whole same thing but eight sixteen is going to be the ten eighty minus the two sixty for that you had deleted it will export into the file size that we had today where it looked like an anamorphic preset right out of there and you can upload that to sam you and it looks the same way but there's also video widescreen presets that it'll just go on and then you just line it up I was wondering about exporting audio because that's been my biggest problem okay so what are you doing it from thie audio tab right there and I didn't know what anything waas so I just kind of looked at what looked best and then I I just tried to export it and it didn't have any sound I will say that the second you go switch your pre sets right you're starting to get all these switched out depending on what you're trying to do it'll it'll start switching all the presets even in audio what should see notice that the sample rate keeps changing so android and if I switch to something whatever it'll little by little it'll start changing everything presense is going to be your best friend so does any video convert to thirty frames as well video and you too I don't think video does but if you look here it does save ime o and it gives you a video thirty frames a second look at it just quickly say if I was shooting ten aiding and ten eighty here's twenty three point nine seven six which is twenty four frames a second if you really wanted to add analyze the footage and figure out what you're what the presets doing in the output is the information's if you can go ahead and in a focused on men and try to make it as big as possible that's it ok so it's gonna um export at nineteen twenty by ten eighty at twenty three point nine seven six frames per second progressive vehbi are variable but bit rate no good ok to pass so that's gonna be your excuse me premiere's gonna analyze how to best export your your footage it's goingto analyze the footage to begin with figure out where the most bit rates are actually getting used where the most vigorous rates of getting used to say if you have a black file and it's not using many bits it will take the bits that it doesn't need for the black file because you don't need a lot of resolution for that and use it where you do so it will analyze the footage once and it was a kind of code the same way so that's a variable bit rates who passed in a simplistic style that's the easiest way to try to explain that then you have target five megabytes and max five megabytes in the playback depending on what you're trying to export or what source you trying to export like youtube will ask a minimum of eight megabytes per second to use their max is let's say I'm just being facetious here but seventy five which is it isn't the mohr bit rates you have the higher quality you have in regards teo thie distance in regards to shooting things so if I'm shooting a tree in the background and it's something's hanging off of the tree it's clear using the higher bit rate than it is like eight right mohr information there okay so that that's the one thing that premier saving you time from analyzing so and so just give me a photography comparison you know how if you save a j peg the exact same size a j peg that's a black and white and a j peg that is color they're like the same image size and everything the black and white is like a significantly smaller file size because when it went in the conversion it said well we know this is all black we we can just basically program into it that it's all black it's not a lot of information so it's actually a smaller file and so when it's doing that past that's what it's doing like it's it's basically analyzing it like j pegs and say okay we can throw out more information this one keep it more and that one thie other things like just the reason that you don't need to go to much more in death like progressive like things like that don't even really make that much of a difference anymore it used to be about display and how different lines of information were interlaced lee a lot of that doesn't really matter to you when you start manipulating things so if you want to go the animal anamorphic presets and that's something you wanted to do just quickly you khun start saving your own presets for saving as well so if you right click click on save preset right next to the presets anything that you change here will always export the same way you could literally just load the preset you made before so premieres that intuitive where it makes a bunch of actions for everything which is awesome all right that was also I think with that you guys have any final thoughts one thing I know that webb twenty five forty would love to hear if you guys have any suggestions of movies directors places to go for inspiration or just any other final thoughts you might have to for the folks at home I am I watch a lot of movies and david was talking about this last night I can't watch movies the same way anymore because if you start analyzing going back today one just composition and well you know rule of thirds color theory all of that you can't look it moves the same way sometimes you're just so focus are they breaking the one ninety one eighty degree rule are they are they framed up the right way is this wrong is this wrong just look at movies like zack snyder and like manna steele personally I like that it's handheld there like that it was shot like a seventies eighties style where everything's like on your shoulder cameron nothing's locked in motion some people hate that and find out what movies you like find out why you like them analyze why you like them maybe start replicating that's not because you like that so just my two cents okay so I have some very final thoughts one is really quick before you go into it we would love to see I think it would be really cool now that we've gone through the editing process on both of the videos I think it would be really cool to watch them both one more time I'm going to yours so that people can now watch them with different eye to see oh that's what they were doing there that's what they did there so you guys know when she uh when she did this I was asleep when I did mind she was asleep it's true so we don't get to see each other until today and playing them okay see what it says there dash vimeo dot before my video export preset notice it says today at nine twenty six am which is new york six thirty a m do the math there thes people work hard for you folks they skipped their sleep they worked till the wee hours in the morning it's a job way wait tell us the dead silence after it's on to the next one okay I remember like it was yesterday it was a cool october night type of guy you want to spend with the missus I spend most of my nights with mike shula justice phone rings it was russell two tone looking to bend my ear latest buzz turns out my buddy ramos got nailed execution style because found a body late last night don't behind the brave horse tavern it's like a life of stars don't worry about spoiled six year old didn't have much to go off of this time so I start making calls you had a meeting with conrad lacy two nights ago rameau's must have had something he wanted he had a knack for getting ahold of things that were hard to come by a dam or brandy closes file this is a case for admiral hostin associates there was no doubt about it this was personal so much fun thank you for taking us through the entire process from beginning to end uh with those two ships that was really really cool great okay so my final thoughts I'm a nerd too had to like write them down okay um one guy that I just like die for for inspiration yes I you know I watch films and everything like that but I love when people can make high impact shorts and not only that when they could take a commercial and make it I candy that you drool over and then all of a sudden you're crying by the end of the piece like that is just incredible to me s o one of the directors I looked for and I don't you do you know if you know french it looks like bruno avalon do I know if I know friend your french is that it looks like a valiant is open and the question do you know if you know french I don't know do I no friends is the food ahead you say that like of alone okay that uh avila um his agency is qanda uh are so in france he has shot swarovski crystal and that looked like the most gorgeous short fashion film you've ever seen or ads for cars where you don't know to the end you're just on the edge of your seat waiting to see what is advertising so for me and the fashion photographer that my job is I am trying to create beautiful fine art pieces but in the end it is fulfilling thing there is the commercial aspect so that's what appeals to me as an artist so that's why I draw my biggest inspiration from him so I would check him out and you'll see and go huh but then of course like oh there's such a huge difference there he's my where I would like to be some day and then I would give you kind of final thoughts and peace is to think about um the first thing that I would keep in mind is that we talked about a lot of gear you can kind of forget that part of your overwhelms you can keep it simple and so what we talked about is that you can do a lot with a tripod and a mono pod in a fluid head and the camera that you already own and the lens is that you already own and my one tip is if you're going to add one thing onto that kid if you want to take up your cinematography value might be a slider so it's you don't need that much my second tip is that skip the audio if it's overwhelming but take things on piece by piece you know you don't need to go to multi person interviews right off the bat and if you do it's probably not a bad idea um but knowing that when you're making these decisions just like there's a right lens for a job there's a right mike for a job in just like there's personal preference for what lens is the right one for a job it's the same thing with the mike and that's why that's entire field of study as well um if you were going to think that there really is a difference between video and photography most of it's the same and so a lot of people think well I gotta get my camera move probably a misconception starting off that you really just need to stick to your photography the composition the lighting and maybe have your subject move instead of thinking you have to move your camera it leads to more opportunities for a mistake when you feel like you've already gotten it with having your camera locked down on a tripod then little bit by little bit adds emotion and then add the dear piece by piece biggest mistake you can make it as a photographer throwing all your money out there for video and then changing you're fine you don't want to really do it so test it out maybe rent or five piece by piece um the next thing that I would say is the same thing kind of like in still photography that capture is only part of the process and it's even more so true in video for me I like it because since I know what I can do in post that which war video was pretty but I took it to where I wanted it to go and post so I actually find it liberating in some ways and so the more you know about post you know more of what you're capable of doing and it helps you shoot and see differently but kind of the last but not least is really that even though I call myself a photographer in my head I actually consider myself an image maker that's mental people are hiring me to do create images whether it's up their family or whether it's for an advertisement so I embraced video because it's another way for me to create images for my clients and so I've actually been able to grow my business I don't consider myself a cinematographer but I'm a photographer that's fun ways to make more money and bring me where business through offering video and on that note mine there gonna be a little more simple I'm gonna have three of them working with the right people finding somebody to collaborate with maybe somebody that you feel comfortable working with you guys talked about how you wanted to do video before what's stopping you guys from doing it together what stopping you guys from working together on the team to shoot video and making you know other people to work with on that no making sure that you're learning from others people's mistakes because it is cheaper that way so learn from our mistakes we discussed many of the issues that we had starting off it's ah it's less costly that way and the last one is staying creative by working with others and knowing or drawing inspiration from others it helps you grow as a person who helps you grow as an artist and consistently look forward to creating new things for tomorrow for other people to be inspired by

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.

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