Keep it Simple: Video for Photographers

Lesson 37 of 40

Transitions

 

Keep it Simple: Video for Photographers

Lesson 37 of 40

Transitions

 

Lesson Info

Transitions

so you had questions in regards to what thes lines were in regard to the eclipse themselves we're gonna go over pretty depth what they do how to manipulate other other uh clicks with them and personally me I was like okay that line across the top I know that I see it go up and down yeah so we're looking at a lot of the clips every single clip audio or video has a little f x files associated with it the effects file if you go ahead and click that opens up three different options motion which moves position scale uniform rotation anchor points in anti flickering filters opacity time re mapping and audio let's walk into audio as well audio go over volume channel volume and panic so if you were just going teo work with the levels of this befit specific audio and you don't want to manipulate the decibels or if you don't wantto have to author things this is kind of the way that you would manipulate that each specific file themselves has a way to transition into excuse me every clip that you ...

want to transition you can either do what we talked about before which is cut to the beat but whatever reason you want to do like lindsay did and cut with with cuts in between like little transitions in between premier has a bunch of built in transitions that you can wind abusing or you and you can kind of manipulate those yourself so money I'm just going to select two random clips very very short in length and we're going to kind of work through different transitions for that specific piece let's try not to do something so similar so I'm just going to select two random files okay so if we look at this piece here too the next very jarring from one to the other I'm not gonna color great anything we're just going to focus on the transitions right now I'm going to my fax panel my workspace let's go ahead and minimize presets I'm gonna go ahead and video go to video transitions I notice I have all these different options three demotion dissolve iris page peeled slide and wipe a lot of what you guys are looking for which is like fade to black fatal white it's all in the self you can do cross dissolve which is what she had to mention before getting two different videos to merge together so they kind of go into one piece dipped to black that's white film dissolve right now let's replicate what you did in photo shop I'm going to take the cross himself go ahead and select that dragon drop that between my two clips so if my two clips are conjoined it's going to go ahead and give me an option teo filter between those two clips I can actually extend out how long my a my cross fade is it's somewhere in our insufficient media this transition will contain repeated frames why because this some of the media is exactly very very short it's not very long in space we're going ahead and note that you know what have the audio track running let's go out and believe that makes it a little easier for everybody at home to listen to yeah and there's not going to mention because I know that in previous times I've taught a class like this I get asked about other programmes online so do you guys use any any programs for editing online because ever used anything there are a couple programs out there like an emoto for example where you can upload photos and video so if you wanted to specialize and say your specialty would be fusion mixing photo and video it might be a good place to start because what lets you do is drop your photos is an online platform this isn't a program it's online so basically you get your subscription you dropped the photos you also drop video in ten second clips so you could you know maybe change the length and photo shopped for example you upload those and then you can adjust the order and it does all the transitions and movements and it kind of randomize is and um personally for the type of work I do it's definitely snuffling I'd ever delivered to my client but that's because fashion and commercial but that might be like a nice easy way to get started on dh there's some adjustments that you can do and there's free trials if you wanted teo test it out but you really don't have of that much customization the idea is that you don't have that much customization which means you don't have that much hassle like it's just like I dropped the files I change the order done which is an extremely simple approach I mean it's really depending on what your designers of your first shooting off like she mentioned that maybe a good idea but from what I've seen definite looks a little archaic and it's it's right because you're getting like fade out here and maybe like paige up page down you know wiping transitions and this and then the other it looks a little nineteen eighties unless you like shooting something nineteen eighties maybe that's not something you want to go with or if you just want to start off and that's the way that you want to go so be it if you're going to do everything from scratch from your own standpoint and you want to manipulate everything in every single aspect then you're very I wouldn't say anal because if you're o c d like me I like having my hands in every single aspect of my work so for me this is the way that I would go and it can be tedious we're just going to teach you the easy transitions to go through did two black tipped a white cross dissolve what you should be starting off with and then we talked before about don't not being afraid to mess with other options if it's not your client's file and it's just a random file that you picked up like this I know it's already exported so I'm just taking clips making a new project it's not it's not permanent damage to any of the specific files that I'm currently working with so by no means is it completely permanent and just one thing I want to say I know that I'm not really a person to say like follow these rules but pretty much most of the other options for transitions you don't stay away from most of them agree thanks it could get complicated I like though that you guys were talking about the full range of whether you're whether you're a total beginner and you just want to get into video like using an emoto versus all the way to putting your hands and everything we were talking about my movie earlier people I can question will do zay movie the problem in iran to my movie there's actually a lot of editing you can do with it thie issues I ran into is I didn't know what you could actually do with it so half the time I was trying to figure out what capabilities it did have to figure out how to do them and then we'll see how I found out it couldn't do that so I wasted my time researching like no that premiere could do everything you just got to figure out how it was corny of effects is you guys just on the background which is but like a film noir looks like maybe a video looks like it might nobody time yeah not so good I'm gonna go ahead and delete that specifically again we're going to stick two three main basic transitions which is susan you mentioned that you like the dipped a white or that you had like the detroit that she had done before because my film is a little darker it may not be the best of places but I'm gonna put film to white at first and then we'll go ahead and get two black suit zipping toe white maybe it's a memory sequence maybe it's tryingto remember something maybe that's aesthetically what what's going on in regards to transition but it's really high key and I come when I call aerated calibrated very dark so it's very jarring to see very contrast the white transition so I don't go with that for that reason she's like no I mean I'm actually only used it to block that's the on ly transition I've ever used and I I I used it to weigh on the one that that's true because it was all white I mean and at the end I think that that would look weird if you step back we talked about that absolutely so the cool thing about transitions you can actually extend out how long you want that transition to base so if I want dip to black I can actually if I wanted to be two seconds longer the transition I can do that I all I have to do is click on the edge of the transition that I just dropped in you'll notice this little flag and red parentheses at the bottom all you have to literally drag across the timeline until where you want that specific clip okay so if you don't want it s o predominant and you don't want it so long this is what that looks like by the way if you notice it's like the finale of a movie on to the next scene that's great that's fine if that's what you want it looks great for well just seen transition yes insulation exactly gonna go ahead and minimize that um there's also little uh little ways that you can go ahead and create effects on your own in the same replicant without having to do just a quick transition if you want to get a little more advanced than do it by yourself thes little timelines are this little line here's your rapacity I can mess with my capacity to replicate that same style and do my own speed and to do that what I do is I'm gonna go ahead and zoom in I'm gonna go ahead and make sure that my fx is currently on let's say opacity so it's currently marked I have the dot there that's for its on opacity as they drag this down let's mark the point that we're looking as I drag this down you're seeing the black point thea the other side of screen that hundred to fifty five the same way that you'd have ah layer mask and excuse me a layer inside photoshopped it swishing opacity suit remember we said any time that you're making a film in premier any type of cut the backgrounds always going to be black unless you change it otherwise unless there's something underneath that's a different color for all intensive purposes I currently have only black in the background so if this is the on ly video is the base of my video and I want to fade to black between the two of them but I want my fayed to start off sooner than I wanted to come back in order to do that I look at the center point of the two clips and let's screw there I'm going to hold my command key I'm gonna click on my white opacity line and I'm gonna create two points so just by clicking you make two different points on that specific timeline and the point the second point that you wind up grabbing it's now manipulating that specific section to the video itself so at this point everything before let's say about thirty seconds ish is completely clear and anything after it's fading to black I can manipulate the speed of my transition just like that I don't have to just have dipped to black and it be on both ends yes okay so in the video that you edit of the mountain man that we saw before when it was cutting between a lot of different clips you actually cutting the clips or were you just ducking out capacity of the top one I'm actually cutting between the clips so I'm gonna I'm gonna head in and say that for that one I permanently deleted it a lot of data on the beets themselves so when I cut that specific video I laid a track of video down and I'm mark where my beats were I would go ahead and put my second track down delete beats excuse me delete video in between meat so what you're seeing is the flicker of beats so I'm gonna go ahead and say these in my markers I go ahead and replicate that just do you know why delete he means like if you're moving in from the timeline if any point you want to be able to access that from the source footage that would still be back in the bottom last and it's just kind of like in light room if you remove something from the catalogue it's not like you deleted the original unless you told it to julie original so you don't have to worry about having that mistakes I was removing it from the timeline cracks I'm gonna show you how that works I made separate markers this's to know beats whatsoever there's obviously no music on this track I'm just making fake meats okay I'm going to take the second video clip I'm going to drag it right over to my video I have these little markers to indicate where I want to go ahead and cut my beat so you saw that flickering back and forth between the video that was a little drawing back and forth I'm gonna go ahead and use my cut tool it's called a razor told but minute hold on my marker and as I notice if I dragged across here I'm not clicking anything I'm just dragging across it'll automatically attach itself to specific marker that I left it makes it easier to cut things s o I want to go in and snap to the specific cuts that I'm using so let's say we're going to work there as you notice it's making small individual files now if I would've dragged these files out they'll replicate it's almost duplicating layers duplicating video clips I can safe I deleted this I should be able to just dragon extend that so it's actually cutting into individual pieces of that clip so it's not damaging the original source file over here it's just cutting that the preview on the track that amusing and I tried to do the same thing in photo shop because there were times that I wanted it to like go back and forth between the same clip and it was a huge pain this would've been much easier so let's say what you just saw me do was delete the inbetween clips between what I was cutting in between two beats right so I'm gonna go ahead and press play and it would help if I actually want to come do another figure in the background or no do you need one what's happening heels that's what I was there I got I'm gonna throw another video the background just for the fun of it not that I'm going to take this take these files I'm going to drag it I can also drag my follows above just to make sure I have all the same transition so notice they were so similar I couldn't see the difference but now you can see the difference between I do drag the same file over and did it realize so let's uh let's go ahead and give you that same footage and I'm gonna go ahead and press play small computer have awakened tablets sitting at home and I'm trying to do this with my little finger I'm six foot three this is a tiny computer so notice a difference in cuts so I have two different tracks overlaying one over the other okay and I use this affect a lot to go on between clips we talked about the smearing effect that I wanted to do before which is uh it's like a duplicate of a of a person in order to do that it's almost the same similar idea I'm going to take the same clip from below go ahead and select give me a good idea like if they said that he down his wasn't whiskey or brandy and then like afterwards it could have a look over lady let's go let's go let's go grab a whiskey for so we're gonna we're gonna make them look drunk okay okay so here goes the whiskey file right this is what I'm listening to in regards to whiskey apple juice not really whisky happens I'm gonna take this file I'm gonna make two copies of that file gonna go ahead and bragg anymore by the way any time that you paste the file down it's going to paste it where your marker is so I need to move my marker over and paste elsewhere okay do you find if that would be where that would be the best way to do is you have like an interview in the back and your launching back and forth between other eclipses to keep that full interview so not cutting out pieces of the interview you're not messing with the audio are like say your audio is perfect reverted adjusted to leave that full video clip in behind and just put your like going to the waterfall coming back and then goods that's one option premier also has a built in plug in and I'm not gonna explain that because we're very limited on time but it does have a plug in where it's almost like a studio environment here where you have nine different screens or two different screens you can literally just sit there home play both videos and if the kodak is or excuse me at the time codes exactly the same press one into okay I want one to be one cut from somebody's face to to be on the other so it's the same way that you're seeing different cameras on our faces if I'm speaking the camera's gonna be on may the second she starts speaking the person is going to go ahead and move the camera over to what she's saying so it's going to be perfect but at least you get to kind of aligned those things so if you're shooting an event like a wedding and you're trying to track the bride from all means and you have three different cameras you khun repress record and literally just let them all sit there and just follow the bride and editing so yeah um and what I would do the same thing with what you're saying is have one main um interview track lock that in place that matches with the audio if I have another maybe it's the camera was over here a different angle than I put that on the track and I would on lee unlock that when I was making a cut and I lock it after some have to worry about like overlaying are shifting and then everything else on top of that I would keep cutting in so we discussed this smearing a factor for the to alley of things right want to make a drunk effect the same way that we shot him putting on his glasses it's so easy is to put two copies of the same track down on track one into and let's zoom in we're only going to use the top one and move it over a couple key frames nothing nothing more than a point zero three and what that's going to be the beginning of the clip you're gonna see a quick jump I could probably drink a little more so you can see a bit more of a jump but do you notice that slight variation that nuance of a jump there that just means that I'm starting the video and it's going back and starting the video over because it's it's retracing I'm going to go ahead and lower the capacity is any movement no but the point is you can actually see you should be able to see the uh the shadow so you can still see to things moving inside there so it's a little wonky will show the difference between us I could also do you know quickly let's make it a little easier he's drunk typing same thing that's not like modern drunk texting modern drunk texting you do that way back when we used to drunk type that's actually how they wrote a bunch of novels that way just easier j k rolling a charred up two seconds and okay I'm gonna go ahead and zoom in so that I was going to move it over just this tad bit so it's a bit over from the line let's zoom in and you'll notice if I move it over just a tad more there's a cut in between there you notice that he just moves over his fingers a slight bit I'm going ahead and lower the opacity to let's say sixty nine sixty six and what's happening is as he's typing if you notice I'm getting a nice fast speed between the two of them what's happening is you're seeing everything shifted over and they'll pass me change so you're getting duplicate of everything over laid over each other it's a really cool effect and it's really simple do it like superman punting right you know it's different punches and we can't even see it so fat they should know if you can have three or four layers of that to make it even faster yes this sounds like I've never actually trying gadgets for the fun of it can we do that right now so this is what you want so while you're so you're uh taking a look at that so just keep in mind that line that he's lowering right now it has to be selected on opacity you can turn it into different things so it can have different purposes you can have it changing the speed you can have a changing the opacity so just make sure you're checking that because that's one of the mistakes that I had when I was working early on in a project like this okay so now that you see this wrong way took your idea and we took three different ones this is what it looks like with three different points now if you notice as I'm doing this there's a yellow line above my my footage right so the more footage I put down the slower my footage is goingto render when we discuss rendering before at the present moment my rendering is currently yellow which means just currently un rendered or rattle indicate the un rendered as well I've previewed it but it's not perfectly in sync I'm just kind of viewing a preview of what it would look like if I was cutting an hour of footage it would take forever to play you would just see a bunch of lagging because it's constantly trying to put all these files together and it's not pre pre registering everything together as it's playing to render my my workspace here the end of my workspace is literally at eight seconds approximately eight seconds got a sequence render effects in town if I don't have any music it should be fine I'm going to rent there completely in town because I don't really have any audio tracks and the second I go ahead and go travelling under in town now turning around town it's updating the previews if you notice my green bar right it's top that means I'm completely rendered that means that all the effects that I've placed into that specific those files have been sink and it's playing seamlessly why that's important so let's see if I have color grated I've added effects I've added transitions I got it clips I've added music I've added editing it's all trying to play from different sources all at once to preview what you're seeing it's not creating almost a mix of the play period that you're trying if you want explain that a little bit I'm trying to like out of my out of aa I mean basically what I would say it was the same thing that was running into and photo shop is that there's just so much information is just giving you a preview and it's like when you make a change in light room and you sink it with other things and it will have to update before a display so it's just it's just a good way to make sure that you're not dropping frames what happens is sometimes it's not rendered and sort of keep up with the way that it's thinking it'll actually drop information so that's why you see that the jumps and then it's really a pain but the more effects and more transitions you have the more time it would take to render which sometimes that's why people they wait until it's like naff time to do run during because honestly for these programs if you don't have a a computer outfitted for this rendering time can take awhile especially if you do a whole lot of effects and jeff just so you know we have roswell who says nice effect rgb they made my day and j's photo that one little trick was pretty cool really easy to do and I would've thought it would've been harder I thought it was her too I like that well the other thing that you can do to save your time rendering was rendering specific areas so what I'm going to do is go into my work work workspace which is this top timeline and say if I was working on an hour and a half long wedding video for whatever reason every time I press render into out render effects out it's going to take overnight right there's actually way that you can render specific workspace and I mentioned that before by right clicking your timeline and clicking mark out one more time I keep clicking out of their mark out or dragging your workspace right over to the point that you want it and dragging the in space to the point that you wanted casey how it's highlighted the yellow marks there and then also that looked out there and I'm trying to hear this election here means mark in this selection here means mark out if I go to sequence now I goto render into out it's on ly rendering or should only render the green section here so if there was any notice the green section above the two work periods this is this is what I wanted to render I'm selecting the area that I wanted to run their suit if I'm working on if I'm in a wedding and I'm shooting the bride's kiss in the bride and groom's first kiss I only want that surrender because that's the most important part color grating that I want to make sure it's nice and perfect I'm only going to select that rendered into out there and then continue working on what I need to work on I don't have to fixate on it too much and it's a really good time saving ten because rendering is what twiddling our thumbs for I cut you off earlier about howto didn't quite see how you made those points you like for the past can you show everyone again how you make the point that I didn't get a human and you can literally just click ah hold command or control and click on your timeline there for your specific effect and then if you want to get rid of it was quick and hit delete well you have two options to say if that's the last thing that I did commands you command z if that's not the case okay so we're gonna go ahead and redo ay khun click that specific marker right click I'm not liking the right thing right click and you compress delete okay diseases that and you can also use the little little diamond shaped things but they're just like any adobe software there's you know our ten ways to do any one thing which is cool if if you want to go ahead I mean adobe platforms they kind of dirt silly proof that's a nice way of saying it because they have all these different ways to do the same thing thea other thing that I like about creating these is if you notice a very jagged effect right this is just a straight line and that's it um you can actually create arcs within that specific kind of a great gatien of overlay so let's let's go ahead and hide some of these I'm gonna play this again you're just going to see typing I don't have any of the other visual effects those air hidden I'm going zoom and say this is the the introduction to my video and I noticed that the closest going get that's why um I'm gonna go ahead and click a point here and we talked about opacity and I just want the passing the beginning tio be completely at zero and work its way up so if I dragged that second point down to zero it's going to go ahead and start my opacity more or less here say that's a little jarring for may say I decided I'm gonna drag that over a bit more by holding shift and dragging on wasting with that you will hold a photo and try toe make sure it's the same exact size by holding shift you could do the same thing along the timeline so you're not going ninety three percent I'm sure one percent or ninety three percent eighty seven percent just making sure that you're exactly what I need today by holding or clicking the command option and clicking things that you already have any markers you can actually start manipulating the ark to that specific if you zoom in now it's no longer straight I can start manipulating the line itself I'm gonna go ahead and sorry pressing the wrong button I can start moving everything at an ark and here we go so here's this little blue line I can search shifting my patterns for opacity bad memories a pencil you have to you have to make another point to do that right or you just get well actually this little blue line on the side so let's say I'm goingto just move over just for the fun of it every time I make a new point I have this blue line if I want to go ahead and drag that blue line I'm actually marking everything so you could do this with any transition so let's say you're transitions too harsh and you're going from zero over two hundred within a period of time and it's not it's not lining up the way that you want it you're giving some that is depend tool that look a thing like this is ridiculous you khun start great aiding your you're uh not to call the speeds at your at your uh what's it called it the way you want them so I'm gonna go ahead and undo a lot of the little destruction we just did

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 CreativeLive 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.

Reviews

a Creativelive Student
 

This great workshop helps me to start a new experience with video, Lindsay and Jeff are so clever with a teaching very easy to follow, now I know the basics to work with movement, I got a new vision on how to take advantage of many years of photography experience, this is a new medium but image itself is the same, I recommend this to any newbie interested on getting a solid base to start.

a Creativelive Student
 

I bought this class because, I recently bought my first DSLR with filming capabilities. But when I start looking at it and after watching a couple of instructionvideos on YouTube I kinda got overwhelmed. This class broke it all down into clear pieces for me. Lindsay and Jeff have nice and clear teaching style. They covered everything but didn't get to far into the nitty gritty details. They always told how important something was and if you have to do it in a certain way or that is your artistic choice. I certainly can start off with making video with a lot more confidence now. The course is packed with information. It took me much longer then 3 days to watch and take 37 pages of notes!