Video Exposure Adjustments
We're getting a little ahead of ourselves with color correcting, but I just kinda wanna see everything a little brighter. So what I'm gonna do is I'm gonna take over here new item, and go to Adjustment Layer, and then just put an adjustment layer over the whole thing. And then I'm gonna, yeah here we go. I'm just gonna put an adjustment layer over the whole thing. And then I'm gonna just do an exposure tweak to that. Here we go. Right, okay. Basic correction. This is over in the Lumetri Panel. I clicked on the color work space, and I'm just gonna do like, I don't know, let's try a third of the style. I'll do point six. I didn't see any change, did you? Oh, wait, I've got it turned off, here we go. Yeah, I just, everything was looking dark to me so I'm, I'm just gonna keep it at a, about a third, two thirds of a stop, for just everything while we're editing. Alright, back to the editing workspace. And I'm gonna lock that layer, so that every time I make an edit, it's not gonna cut the a...
djustment layer. Um. Cool, alright. (light music plays) So that...yeah, cool, cool, cool. Cool, that's a good ride. Yeah, keep most of that. Ah yes, you see that? I got, this is when I got really nervous. I was like, does that seagull like, have it out for me? But that's a pretty, that's a pretty sweet shot. Keep that in there. But I, I was there and I had my goggles on, you know and I was, and I'm like, waiting for- these guys are waiting for the wave, I'm waiting for them, to, you know, to get the wave, and I'm like, pchoo, and I was like, ah! And I was looking out there, and I was like, is he circling back around for me, what's? So, yeah. Yeah. (easy music plays) Yeah, I'll keep that in there for a few counts, or however many counts we just had, in here. Yeah, cool. Alright, what's next? Oh yeah, there's out exit shot. Alright. So. I am going to, oh. I was, I didn't need to hit shift delete. That's what my problem was. Okay, so now I'm just selecting the all this, I'm sorry, I'm about done. Constantly like, going through, lets see. If I go to the beginning and just toggle through, should try to get rid of any dead space here. A new thing, being filmed while editing. Usually you film, then you edit, but now I'm being filmed while I'm editing. Then you have to edit that. Sorry, it's a very meta... Sorry. Alright. The production teams like, yeah well, that's kinda what we do, that's like, you know. Alright cool, so how are, where we at now? Think we're at two, we're at three minutes, these are some of the shots we were thinking about maybe keeping. Or maybe that's my ending shot. So, that's our ending shot. And then this other shots for like stuff we were maybe thinking about keeping. So it's just a process of being more and more ruthless with stuff. So I'm just gonna go ahead and delete this stuff, and now we're gonna start to make it happen. Oh, right. Here we go. So right off from the beginning I know I'm gonna do, wanna do like a fade from black, and actually one of my favorite, uh, where's my effects, there we are. Dip to black is an effect, so if you dip to black here, you can do that. Oftentimes I'll use film dissolve, cause I feel like it kinda dissolves a little bit smoother than the dip to black, so I'll do film dissolve in the very beginning. Kinda like, it's almost like the suns rising, you know, do kind of a longer one. (easy music plays) I kind of want to cut right there. So, I got to find a way to make that kinda all happen quicker, and so I think what I want to do, yeah, I really like this whole move, sorry about the scrubbing there. This whole move. Lets just try. Sorry, sometimes I just need to feel it again here, so. (easy music plays) Kinda ready for a new shot at that point. Lets just actually try the rate stretch tool. So just type R, and then go right to that edit point. And we're still not at full speed. (easy music plays) I mean, needless to say, if I had eight hours or four hours to edit, I would scrutinize this you know, a little bit further. But, that gets us that entire kind of shot in there. So. Hm, okay. Okay. So, I'm not a big fan- I don't usually use cross dissolves a whole lot. But, last night when i was looking at this, I kind of like how the waves play with things, and so I'm gonna play around with some cross dissolves. And actually we could try actually using the film dissolve effect and just kind of see what that's like. Because there's one line of foam where the waves kind of goes it kind of acts as like this little transition, (easy music plays) I just, I'll leave it there for now. And then, I think we had a wave crashing shot. I might leave that for later. Ah, we'll put it there for right now. This is kind of one that I thought was kind of cool to yeah. I'm, so I'm gonna be a little heavy handed on the on the cross dissolves where as normally I wouldn't. I just I kinda like that look, you know. You know the critique of using cross dissolves too much, is instead of like you introduce one image and then the next, what you're introducing is you're starting to introduce like basically three or more, because you've got your initial image, then you've got the second one, but if you add a cross dissolve then you're like, okay, what am I looking at? You know, so it can kind of confuse things. But, artistic license. So, you know, we'll try it. Okay, so from there, try that again. I don't know, I might decide I hate it later but. How about uh, a cinematographer friend of mine, he was we were, he was lighting a scene we were working on, and he was like, you gotta hate it 'til you love it. So, you just, you know, he was talking about setting up the lighting, so that's sometimes the way it is with editing, right, you're just like, hate it til you love it, you know. So just, you just keep working with it. So, alright. Alright, so how much do I want of that? And right now I'm not, I'm not strictly editing to the music, and I may choose to do that later or not. Sometimes if you edit to the music too much, like if it's like very obvious it becomes so obvious, and if it's kind of slow moving and whatever, maybe you just want to sneak those edits in. You don't necessarily attract attention to the edit, so. See how long we want to watch that. Couple paddles, that's good for me. Cut that, that was easy. Alright. I'm gonna save that shot for later, if I use it at all. Go back to this. Right, and here's, here's a shot that I wanted to speed ramp a little bit, okay, cool. So right here, just like we did before. Okay, might actually back that shot up a little bit, so we can start it out in in real time, or close to real time. So again, to do that, scroll down to here, show put key frames, time remapping speed, we'll zoom in on that. And then we wanted to catch that spot where the waves hit, right there. Right there. Control click, or command click I should say, and bring this up to, say, 200%. Cool. Maybe right there, click, bring it back up, okay. And right there, we'll ramp it again. Alright, we'll ramp that back down to 100%. And maybe we'll fade out of that, call it good right there. Yeah, maybe that? That actually might be kind of an interesting dissolve right there. I know Phil back home is like, don't use the dissolves! Like, we don't usually use them very much, I don't know. Not usually big fans of them, but, I don't know, I kind of like that, it's kind of cool. Maybe the dissolves coming back, I don't know. Alright, so. Maybe, alright. So then we've got a transition shot. Any questions on this?
As far as color balance goes, like I've noticed most of your shots are warm and it feels nice, and then there's like this where it's a little bit cooler,
Definitely, like something that we would get into with Lumetri, and something that I prepared for if we need to. Yeah, it's cooler. Yeah, so I'll show you a quick way, how you can just uh, and we'll jump over there later. But it wouldn't hurt, that's the nice thing, you know, sometimes I typically leave that, you kind of leave that to the end, just for workflow reasons. But, just to do something a little different for a sec... Lets do that. Yeah, so right there, first of all, like if you look at the, we're in the color, where's our scopes? Color, window, workspaces, color, lets go and reset this to save layout. Yeah, for some reason our scopes are gone but, there we go. Okay, so here we are. And you can see the shot is actually fairly near, I mean, that actually shot right there is the fairly narrow dynamic range, we could typically, you could potentially just add contrast and stretch things out a bit, bring your black levels down, maybe down to five. And then, let me, we may actually take off this adjustment layer, just because as we start to grade. So I'm gonna take off that adjustment layer, probably should have actually, let me set that back to zero. Actually want to raise the overall temp just on that clip. So, lets add that, lets see what, one stop does. Oh, what did I just do? Oh, I just adjusted the temp, sorry, the exposure. Yeah, there we go, that seems more reasonable. Yeah, and then just real quick if we're talking about, and actually we'll boost the contrast a little bit. Because I actually had the contrast turned down on camera, so now you can see that stretching out. I rarely go all the way to zero on my black levels, I like maybe about five, something like that. You can see over on the right hand side you have zero to 100, and zero would be straight up, you know, black, in your black levels, and that'd be pure black, and then 100 would be pure white. And so, I tend to, like if you were to bring the black levels down- I'll have to show you what that looks like, right? You're bringing that down all the way to zero, plus your shadows are getting really crushed, so you would have to then stretch them back out. So that's what the shadows level is. Without getting too deep into that just yet, I'm just gonna warm it up. So yeah. So obviously that's too much, but you can see, you can quickly just, it's almost like a, similar to the way a light room works. So we might just bump it up by five, add a little bit of warmth to it. So, but back into the edit. We've gone through ramping, we've gone through selecting our clips, where I have the sequence that I worked on, that worked on before this, is where things are pretty much at. Because I would love to spend some time with color grading.
Yeah, that's good.
And I think that that would help make sure that we cover everything.
Sounds great, perfect.
Yeah, okay, perfect. So, any questions on just assembling clips, yeah? Um, here, I'll show you where I've got things at on this other sequence, yeah? <v Man #2>Do you think it would be easier to create sub clips in Prelude?
Um, well you can create sub clips in Premier, oh, in Premier you mean? <v Man #2>Well, no, in Prelude.
Yeah, <v Man #2>Make sub clips, and then...
You can do that in Premier.
You're long, well then you just import them into Premier.
Yeah, I mean you could do that, I mean there's various ways you could work with this, you, there's various types of workflows, right? But um, I've tried using sub clips, where you're just dealing with the clips, and then you can have all the sub clips say, on a secondary monitor, and then you could see them very easily, this is just happens to be the way that I like to work. What I like to do is just work with a, um, sequence of my selects, and then I just narrow them down 'til they get short. Or, sometimes what I'll do is I'll just go through and I'll go, yep, like that, like that, like that, and then I'll copy them over to a new sequence. So, I've worked back and fourth with sub clips, but this just happens to be my way. But yeah, absolutely, totally, yeah. So, lets see, okay, so we go back to this sequence, lets take a look at this one. (easy music plays) I kept this together in the, yeah. Yeah, it works. Its funny how you make different choices, like depending upon the time of day, this was at like 10 o'clock last night in my hotel room, (laughs) so, that was the, that version of my mind's eye. So, so yeah, that's a nice little 60 second clip, it's just amazing how quickly like, you can, you think, oh, did I get any shots? And then typically you have more than what you need. Do we have any questions from the internet, in terms of like editing questions, because I know sometimes I'm going quick, through some of these short cuts.
You know, we're in great shape over here, folks who just love watching you uh, yeah PG was just loving you, watching you do the process, so.
Sweet, okay, sounds good. yeah, I know, I'm thinking about my father too, like whenever I'm working at the computer I'm like, and then you can do this and then you can do this, and he's like wait what? What did you, what's the shortcut? What's the...? So, the good thing is that you don't need to know all the shortcuts in the beginning, the one thing I would say, as far as keyboard shortcuts go, is command alt K, if you can remember that one shortcut, that opens up your shortcut window, right. So, that's a good one to like, always have on the ready. So, I can't remember how to ripple delete, so, you know, come over here, ripple delete. And then you can see it's option delete. That was what my problem was. Because normally, normally I, yeah, I'll sometimes set custom settings, but I haven't edited on this, I normally edit on my iMac, and so that's probably what was going on with that, so. So, yeah, command option K gets you to your shortcuts, and the more you can do that, the better. If you have the time, as you get further along with your video editing, take the time to be like, today for the next hour, or for the next half hour, I am not going to point and click, I am going to only use shortcuts, you know? It's amazing how that can speed up your efficiency. Maybe not in those 30 minutes, as you're trying to figure that all out, maybe you're googling how to do this, maybe you're looking at the shortcuts, but the next time you sit down to edit, it'll make you that much faster.