okay so wait we've won over editing audio we've got on over how easy it is to edit audio using a program like audition dragging and dropping your clips is relatively easy viewing your footage viewing it within a workspace very very easy to work their dragon drop those you can see a larger format and figure out where your clips need today learning how to work with a lot and figure out where your spikes are but we had before lunch discussed a little bit of color grating and one of the things that we discussed while on set was we wanted to make sure oler cameras were completely in sync so we had the same color balance excusing the white balance we had the same exposure we had the same type of lenses more less we wanted everything to shoot the same picture styles and everything else so if you notice all my footage that I have here which is actually our footage relatively looks the same aside from if you guys remember we were shooting she was shooting at one point wide open it's not the exa...
ct same exposure there are ways to manipulate that I would go ahead and try to find a different shop for time's sake purposes by all means I would say okay I like that shot but it's over exposed I don't feel like trying to make it look like everything else let's shaina find a different shot that looks appropriate so for the typing his hands and if I look at this specific piece his face is aboutthe same coloration right I don't know who shot this at this point I don't remember who shot which specific shot this could've been all lindsey could've been all me I know it wasn't me but it could've been on me whatever it was I pre pre register that we need to make sure we have the same colored radiation excuse me same settings for this reason I'm going and drag and drop that second clip down I'm not gonna worry about clips for right now I'm worried about the color tone out color tone ality between the two there is definitely a simmer similar color tonality between the two so when we first started editing I mentioned that I colored rate at this point is when I want to drag and drop this presets onto a specific until my files and then just work with brightness and contrast let's say you don't have any presets whatsoever you doing everything from scratch I'll teach you how you guys can do your own presets from home design it for every specific shoot because sometimes I have ten precepts that I'll wind abusing and the reason I make more is because depending on the shoot that I'm doing I need a preset specifically for that and it makes it easier for me and post just to drag and drop the specific two clips it is the same way that I work with fashion editorials if it's all supposed to feel like the same story I do presets so that everything looks and feels the same so I'm gonna go to let's see video of facts when you goto let's color correction I can barely see my own screen anymore I couldn't say anything let's see brightness and contrast we know their brightness and contrast on that first file notice if I go to render this specific file I mean it walt let's delete the two top screens if I go to render this it's going to end up to here I wanted to render the complete footage up to here so you want to make sure if before you start anything if you're going to render anything afterwards make sure you work spaces according to where you want rendered so I'm going to render this full file because this would take too long so that say this is to separate files let's cut exactly at that marker it's obviously not to say it's the same file but just for belief purposes it's a totally separate file my work space is now up to those two specific files because they're similar in contrast or similar in tone ality I can drag and drop one preset onto both of them and just change a couple of hints between the two and be okay I'm now with my effects control open highlighting the specific clip that I'm looking for the first thing I'll wind up doing is finding more or less the exposure that I like out of the video I currently have my screen color calibrated your screen's not gonna look exactly the same here in the studio the audience you'll see my screen so you guys are okay and ready to go I'm going I'm going kind of increase the contrast a tiny tiny bit I like things to look a little darker probably not so much and I'm going to drag down my brightness bit I like things to be dark and edgy let's say this is what I wanted to go with for all intensive purposes for the day and I'm gonna go into the let's see it's coto rgb curves okay and you know I don't feel like this is too complicated let's keep it simple three way color corrector I want my shadows to be blue I want two split tone it's the only thing I want to do today I could go to my shadows just drag it out to blue there's a hint the blue now and you can tell the difference if I just undo you start seeing the hint of blue there okay that is what I want my whole footage to look like that's great do I need to drag and drop these onto every specific file you can you can literally just sit here and do this and just okay click or you used to be able to you can't now I can't do that right so what I'm gonna do is hold command highlight the specific um points that I want to create a preset for same way that you would with an action and photoshopped differences I don't have to get it all right the first time with actions you press record and you make a mistake and it like delete here delete this delete that I don't if I make a mistake no one cares as long as I have the final output just highlight everything that I need right click save preset that is the best part about premier not everything can be color corrected the same way so I'm going to do this is sample press ok I scroll up to my presets if I look here I now have sample and this little markers letting me know that somewhere in this specific timeline I'm using that same same mark I'm gonna go ahead and drag and drop that footage onto this second clip and if you notice if I drag and drop that there because they were shot this similar tone because they were shot the similar exposure everything is basically the same on set thes two clips look very very very similar yes you have something similar to batch like that you have like the eclipse and you don't even want to drag the preset onto all of them is there like a batch put this on all of them I personally like it I'm very again I'm very oh city so I'm like click click click I don't mind doing that yeah if you if you click and shift click it'll select everything or you get command and everything that you click on no highlight those and you could drag and drop it um what I find this really useful for is if you are filming with someone else and the settings were a little off you can make the correction toe one and then just dragged it on two every time you introduced that camera so what I would do is that having the other camera on a different time line so I could clearly see it once I've got all set ups like the whole timeline and just apply it to that timelines who now the two cameras looked the same even if you're a little bit off so that's uh you know that's a great point so when you're shooting something else we discussed making sure that you're very very similar to what you're shooting do you see how easy it was for me to just drag and drop a clip and be ok so let's say whatever reason lyndsey was the other second shooter for the day and this is what she got who shot right I'm like that's not various very similar if I drag and drop this I'm gonna take just a quick clip of that specific section and if I look at this it's going to go from a very very dark too pale bright if I would take my same effect that sample okay and drag until my my timeline look at the difference that I have between my original footage and the new footage that's here okay I have the same exact preset the difference is the actual contract she was over exposed I can try if I click this link excuse me click click the clip to go to the effects control I know that she is to overexpose aiken trying to replicate something similar and drag it down with my brightness it will never really be perfect but I can try my best to change maybe increase the contrast of it dark enough put it in order to get something similar and then change change my color corrected to fit accordingly yes on what I would do is just I would not put those two clips side by side break it up and then you won't notice it is my contract so that's your other option if not I mean and you're trying to merge two different clips at once you're gonna have to sit there color editing so it's very important that if you're shooting with two separate people that you guys colored calibrate your your cameras and when you were in there and changing the brightness of contrast even though a preset was applied that doesn't change the preset correct just the effect on the individual clip correct so I'm literally just manipulating what's up here the cool thing is if you find a preset from somebody else that you like let's say and their thing is black and white and you're like I like their black and white but I wish she was more of a blue hue to it you khun click all of their pre sets as long as it's open and unlocked click all of them save your preset and save it until whole different file so let's say you go to the precepts that I've used in the past you go to blue monochrome I love blue monochrome photos like that it's not technically black and white it has a nice like monochrome pew to it I'm just going to take something that ever worked with in the past and drag and drop that on to the center the centre clip here so this is two blue for may I don't like it this is a pre set that I have this is all I have to work with I have to basically figure out where that blue is and I can manipulate that specific person's preset and then change it save it and leave it for the specific project so you have that option available to you on that works with any any pre set any any presents that you make in the past I tend to reuse presets a lot and make manipulations off of those specific presents so just a lot of people throughout the day have been asking about converting to black and white so is this the process that you use them to convert the whole film at once to black and white yes and then also question came in about plug ins so I switch everything in black went the same way if you notice those of you that did sign up for the class I did create a dynamic black and white I dragged my blues there so it's a little more contrast e so I'm gonna show you guys what that looks like quickly black and white out a camera doesn't look like this I'm gonna go ahead and show you the difference between what that looks like two seconds remember we filmed yesterday in black and white at one point and I said it's going to be completely different than everything else if you if you don't film with the right way so let's look at our footage seal footage sorry footage vintage snore and I'm gonna look my clips quickly it was off it's almost like shooting a jeep j peg I no longer have the flexibility teo at the specific clipping color but this is what it comes like black and white so let's say this is the specific clip I want to use it's actually ready a preset pre loaded into premier at this point so if I stroll down I should be able to find it well no I don't do into the specific set so we're going to go ahead and drag and drop that into our project and if you find something let's say you didn't have any a premier project that you found it in a folder it's easiest just referencing that dragon dropping into premiere into that set but I would I would let everyone know it's the same thing as late room where if you then let's say that that was a hard drive that file that he just found was on this hard drive for your projects on the desktop and so I unplugged the hard drive and that you're working on your project and you see it gives you this big red error line across it and you're like well what just happened so what I dio is I set a project folder and everything that I'm working on has to go within that project folder you got to keep the hierarchy the same it's the same thing that'll happen in light room when something gets unlinked that will screw up very quickly so just keep it nice and difference between what the camera sees in monochrome on what I see with visually with my eyes trying to call a grade two ah dynamic quote unquote black this is straight out of camera this is what I just created based off a color calibration that that I like I can I choose my own dynamic and we're going to break down the black white that I currently used to make it a little easier for you guys at home that whatever it wasn't open the preset woman and drag and drop the dynamic black and white onto the black and white file what you gonna notice it's very very contrast ing I like that contrast photo if you look at most my photos a very very dark very contrast if I go into an open the file name if you look it's on the side of the effects it'll say dynamic black white it tells me where I found those files so at no point in my hiding from you what I did you guys at home can see setting by setting how I created that so let's go ahead and maximize those those effects and see how I came up with dynamic black and white okay and okay so the first thing I'm doing is color balance hugh lightness and saturation I'm dragging down the saturation too negative thirty five I just for whatever reason I didn't like the saturation on certain colors I'm trying to pop the blues I'm just trying to figure out more or less where certain color variations fit in regards to my specific black and white um I dragged my drag my reds if I wouldn't delete this by the way just the color balance itself this is a difference between switching just color balance even in black and white I'm dragging reds and blues and I'm dragging greens to find the black and white that fits me you guys could switch all pre sets that you need just know that even even in photo shop red's black excuse me red screens and blue still have a giant impact on your black and white photos so you want to explain more on that by the way does anyone does anyone uh way back and photoshopped with me was like color mixer channel mixer right yeah what I was just going to tell you is how you manipulate those colors just know that red and yellow is a skin tone so if you convert those and drag them I think to hear it's to the right it'll lighten those up so for me when I'm photographing a woman or doing video of a woman in black and white I like who lay in those up or drag the red talons to the right because then it clears up your skin so if there's any like texture of watching it's that lightens it up it's the balance though at what point do her lips become too pale so that's what I'm trying to dio whereas in in photo show fusion it came like lighting up the yellows and rents try to balance it out so this is where the tip is meaning where the black and white comes from because a lot of other premier preset excuse me premier programs before cc didn't have a black and white preset they had pretty harsh black and white they didn't have two dynamic of ah black and white you had to recreate everything from scratch you literally just tent matt black to white amount of ten and that's it so this is what I look at the amount of ten to one hundred if I d saturate that my photos actually blue remember I mentioned before I like a lot of blue my photos notice the second I pull all that information out let's see if I take off on sharpened mask if I take off anything else you'll start seeing you know why because this is black and white let's go back to this one um this one's a little easier to see because it's actually in color I'm going to leave anything that's not that tent and I should start seeing photos in black and white keep clicking so the bad thing about effects on premiere is that you can't hold shift and distract you have to command click command click control collect depending on what you doing so notice the second I go ahead and hide this say it just like that so that's that's it tent black toe white and that's that's how you create a black and white everything else is just something that I like to create a more dynamic black and white so those of you that are sitting at home that want to know how to make a black and white preset fright from scratch you're gonna want us upset everything to tent map black to black map white two white amount to tent one hundred resent if I go ahead and lower that I get back to my original color and from there you can start mixing and matching your reds blues and greens to depending on what black black what present you want yeah um so I'm looking at the time and I know that I have some questions that I still want answered you guys mind if I asking for you to ask questions okay um all right so a couple of things I in my own photo shop I understand glenn votes and so I would use blood modes for like having lens flare and stuff and I know you talked about like you can add green and kind of show that so how would I play with blend mode are the words the same like is it overlay multiply like it's all that stuff the same wasn't totally different let's throw something together for the fun of it so I'm just going to drag quickly I'm going dragsholm visual clips we're not gonna worry about time codes right now her link how long the length is um I have my presets saved at any point on my drives and if I go here krista collection the same way that she used them before you know what should we use the crystal collection show you star wars so I have through ah lightly love they have infinite amount of different not infinite but they have a finite amount of many crystal overlays anything from different colors different variations of lens flare lyndsey loves that he's in regards to putting together a video having somebody else put together video meaning me to design this so they record lens flare in their own studio ida grass have phases right now it's a video lens where face someone a dragon I'm going to drag and drop that I can either just drag and drop it right on to the clip because it's a video file or I can put it into my uh my panel to view later on so if I don't want to put it that exact point just a reference back tio again like lindsey said it's like light room so it's not going to be a permanent storage if that was on the hard drive and I am plug it I'm done I need to find that the storage again I would have to put it in a folder where I need to find it I'm gonna drag same file right over the top excuse me right over the top of my footage and at the present moment if we go ahead and make sure that it's visible all I'm seeing is the lens flare nothing else right so I'm gonna click it go to my effects controls go down to a pass ity on my effects control's still like my blood bodes lindsay and photoshopped did soft life so we can try soft light if you notice it's very very very yellow right I concolor calibrate that specific clip not to be a lot of the same way she did in regards to changing it in photo shop how a tented the black and white before in that way I can just have the flashing back and forth I personally wouldn't leave it at one hundred percent capacity I probably dragged it down a bit too something like sixty one where I can still see some of the movement inside there and it's not so dark if that makes any sense so I want to make sure that you can mess with your specific parameters when you look at the instructions that they send you it will tell you more or less how they want you to overlay things it comes with the little instructions like lethal of and don't tell you to I have to do this all the way in I cannot read this screen so they want you to make it screen I personal leave it at thea either softly overlay they're probably smarter than I am so they know their own product right this is their screen it's a nice little effect um that's it sixty one percent capacity if I would've switched that one hundred percent capacity and I'm outside let's say it's a nice little lens flare fact it looks like something that's replicated the one the one downside then I'm seeing from there's the speed because it doesn't match the clip that I have itself so what I can do is click on that specific overlay go ahead and write click speed in duration I can go ahead and lower the duration let's say down to sixty five percent and if you notice my my actual clip extended so I can go ahead and press play it's a little slower if fitz to my specific cut say that I'm now time remapping there's different speeds in my video things are moving along not at the speed of that specific clip I'll go back and just show that quickly and we have a specific example of this that we're experimenting with once we're shooting the high school senior portrait shoot right at the athlete and so he's running back and forth and we did some slow motion and then we want to add lens flare and the two didn't match and so he had to match them together so he's going to show you how to change time and it doesn't just mean that whole clip needs to be se half speed you can go full speed slow motion three times the speed and so you can ramp things and you see that a lot um in like sports videos you know we'll have it speed up and then it will be really slow in your face it looks really good with thanks sixty frames protect so we have time re mapping and speed okay so I no longer am clicking on capacity this is selective to a passage I want time remit time remapping speed at the present moments at one hundred percent which means that it's currently and it's shot ratio if I use the command option and click I khun change aspects of that specific clips speed just the same way switch the opacity that I did before in the other video to overlay integrates to movement what I mean I'm selecting two different points on my line and anything that I move in the middle it'll start dragging out that specific point in time so if I want to slow down just a specific section I can start slowing down just the middle it'll extend my video clip out to accommodate for that middle section being completely slow I can shorten the clip on the end if I need to I can go ahead and revamp time if you notice if I move up a bit my timeline here starts getting shorter and shorter shorter it really depends how you want to remap time so let's say if I want to speed speed up time it's currently at almost two hundred percent and I want one second section to be at thirty percent if I go out and play that video did you notice the slo mo the fast motions of slow motion you can do the same thing with movement with people so let's say like she mentioned this the person's running across the screen and whatever reason they jump over a boulder or over a ledge of some sort and you want that jump to be super slow motion the fact the second they touch the floor you want me just to completely run that's time revamping you can literally just sit down and do that right from your timeline extremely easy so if you um if you slow the clip down and there's another clip uh next to it and so it's going to make it extends into the other clifford is it shifted so that it also if I move this clip right onto here and let's say I want to slow this one down what you notice okay so it kept to the size but it'll just cut off correct like in photo shop if I would have let's say if I would've dragged this down all the way it's nothing it's just completely going to cut off but on the opposite side if I speed it all the way up now I'm creating a gap between my two videos so I need to make sure that there is a gap filled there's something something needs to be manipulated so let's say I'm done for editing yes that's a question I ask my question I was gonna say exporting thinking maybe you could ask one more question okay will be nice okay I have these questions that I wrote down I want to know how you reverse the clip because I cannot do that in photo shop without a huge pain in the butt and I wanted to I like I was like oh great you know this is gonna be perfect we can shoot it in focus goto out of focus and have it come into the boat and then I couldn't do it okay I I mean reverse not flip but river right reverse not flip the frame reversed the way that right wait I was just trying to figure this out no thank you yeah and by the way I did for you how to do it but it's a pain let's find a clip that would be fine kind of funny play reverse and so instead of him picking up the phone he's going to slam it drop it down it's just gonna wiggle something something silly I'm gonna drag my clip down this is my original clip if I press play it's gonna be him picking up that phone okay and I want to play in reverse because I like it in reverse whatever isn't all I have to do is write click and go to speed in duration speed in duration have an option called reverse speed ok just press okay and guess what I just played this in reverse done so you don't have to report you for putting it down I don't have to worry about and with time revamping there is additional way where you can revamp time specific to you um you khun go in reverse you could move forward you could go back there's a bunch of things that you can do in time revamping I don't have enough time to sit there and teach you guys like making like the matrix allover again so um I had a question about if I don't know if you have this footage but if I recorded something at sixty frames per second and I put it under that timeline which is twenty four when it ends up on that timeline is it played out longer or is it the same time it just looks choppier so it's like a tte the footage we shot yesterday somebody grabs in the footage that we shot minted store I keep doing that let's see footage intention or scrolled me down I'm gonna laugh my dad is one of the last things that we did for the day so this is what we shot a really high family right here right there yeah oh that was my sixty frames and ah high shutter speed so my shutter speed in that one was no higher one five hundred right there what one five hundreds of the second so that's why I'm getting the clean blades and a sixteenth of a second and there's one I shouted a sixtieth that last one was a sixtieth but still the correct shatters you shot it on and we'll see you guys now you can right click or double click information and just analyze the footage she committed properties and I can tell what the sizes what shot at noticed that seven twenty so the second I drag us down you guys going to see the difference between seven twenty and ten eighty and it's also a fifty nine point nine four the actual frame right so let me go ahead and just drag that down into my file so click this clip does not match the sequence settings chain sequins to match the the clip settings now I want to keep the existing settings I want to keep what the clip has I'm not gonna manipulate it and I read that for a reason so you guys know that I'm not touching anything what do you have noticed the second I go ahead and put that ten eighty box threat and those of you that air trying tio to switch different formats and kind of put it together I know you had mentioned that before it is easy in photoshopping you know dilute a lot of the the er what's it called the actual resolution but if I wanted to just write click scale to frame size I'm done it's now frame to the size that I need and that we're sitting opposite and so let's say I was shooting ten eighty and I need to crop for seven twenty right click scaled a frame size and I'm good but you can't tell the difference in the quality right unless you're doing it the opposite way right yeah so let's look at that what that looks like in twenty four frames a second that's that's a twenty four frames a second that sixty second footage I didn't convert the sixty seconds to play at sixty a twenty for I wanted to make sure that you guys were able to see that that's the difference between laying a sixty second frame shot down and putting it on your footage on a twenty for second frame and that's how I remember that how fast that fan was yesterday right yeah and so if you uh slow it down then so go ahead and let's see let's time revamp instead of slowing it down that way I'm gonna go ahead and go to time revamping speed I'm gonna drag this down so we can have some extra footage to show sell play so as I'm slowing it down what do you guys say it feels like it's going faster it because what you guys are seeing is a choppiness it's actually played so where it looks like it's going slow motion is really not the slower I go the more blades you actually see and focus and it's not really that chopping it's messing with your mind so if I were to speed that up let's see what's gonna happen now I'm gonna speed it up and I speeded up steps like twenty five hundred before on your behind the scene sets uh if you want to see makeup I don't want to make up for three hours so I went just click thirty seconds notice the faster I play it the choppier it is so it looks like it's playing slower notice how old is little nuances in recording make a big difference
Fashion photographer Lindsay Adler has risen to the top of her industry as both a photographer, educator, and Canon Explorer of Light. Based in New York City, her fashion editorials have appeared in numerous fashion and photography publications including Marie Claire, Elle, InStyle, Noise, Essence, Zink Magazine, Rangefinder, Professional Photographer and dozens more. As a photographic educator, she is one of the most sought after speakers internationally, teaching on the industry's largest platforms and most prestigious events.
Jeff Rojas is a Photographer, Director and Small Business Owner, based in New York City. After a stint working in Corporate America, Jeff decided to trade in his suit and pursue photography as a viable career choice. Since then, photography
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
Fantastic class! Watching it in 2019 - and still finding relevant. Excellent way to ease photographers into the scary waters of video footage and production... and perfect for somebody who already has some basics to take it up a notch and challenge themselves quite a bit! Loved this class, very helpful.
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!