So I guess we're going to give you a a preview of our senior shoot that I did on day one just a short just so that you can see what we did and as a final product and then we'll go into the different steps who actually make this from the wedding video wait wait, I'm just really short I mean, it was so simple yeah, just just a quick minute just you can kind of see how it came together with video clips and such onda moto just built that with no time on that thirty minutes, maybe something an emoto was down the other day that side wait for him to come up, but they're up and running for those you guys you want to start doing that so we're going to talk about the edit today and don't worry it's not that bad we're going to be using the photos and video clips from yesterday, which I have not even look through these photos yet at all really, so we're just going straight from scratch here to break it down. This is the edit workflow part one and I kind of break it out into part one, which is what...
you're going to have to do no matter what end product that you're giving to your clients so we'll start with that first in the edit being part one so my workflow we did this yesterday we shoot the video, shoot the video clips and that's all done saved to the computer and sort out our favorites I'm going to show you once they get through the sledge how I started out on everything at the favorite photos in light room and photoshopped I'll probably just seems photoshopped I'm going to using my actions and I'll explain some of those to you as well my personal actions, but once that I've developed, then we're going tio you use the same, I'm going to show you how to edit video clips and photoshopped a few different ways because just like photoshopped there's like six ways it's gonna get right so I'm going to show you howto do it using our program called fusion effects it's a script that just runs it through and that triggers it out quickly on dh then I'm going to show you what that looks like if you don't do with fusion effects a little bit longer obviously because scripts make things aaron faster um and I'm just going to teach you the fundamentals of how photoshopped works with with video clips because once you kind of understand that you'll be able to take more creative freedom with it and, you know, moving on into your own thing you just mentioned rendering a couple times when you just give a definition about what it is for those people who would rendering rendering is videos version of saving, but it has to be rendered out because you're not seething over a file like, you know, would you have to render and recreate it into a new file? So rendering can sometimes be a painful process, because it is a little bit slow, especially for us, who were used to like batch saving j pegs like that. It takes about a minute of render time for each second video, depending on what you've done, how much you've done to the cliff to change or enhancing. You know, every time you add filters and actions, that's going to enhance their it's, going to increase their under time, exactly so, and rendering comes in many different forms will kind of explain the difference between those forms. Just give you an idea. We're going to be a real simple work lawn on actually, how to do that to take them. The mystery out of the whole process, right and rendering, is not quite as easy as jay pig saving, because when you say it was a j peg, your only option that comes up is like, you know what number size you want it to be one through twelve when it comes to rendering there's like a gazillion things that you have to know and that, I think, can be one of the the hardest part, I think liz, you had said it's, you know, you've made it, and now I have to save it out, and I have no idea what all these numbers mean you'll see a list it's like, okay, render settings, and you click a drop down menu, opens up that fills the screen and goes beyond the borders of the screen it's like, which one of these do I use? And what kind of walking? Which one which one's to worry about? So, like I said, rendering takes a really long time, so I suggest having a martini while you're waiting for your video clips to render, because if you have, I don't know what twenty seconds worth of video clips, I'm pretty sure it could have a martini in twenty minutes. All right, so I'm going to start with that, and we're going to go to the desktop here, get out of there. So organization organization. So what I've done is I have my file here. I just named it wedding, and I've downloaded all of my pictures, all of my video clips and all of the audio files. Now, just to remember, we have the audio files that are separate here. However, there are parts in the video clips that I can pull on you from, so just keep that in mind the first thing I'm going to do is what I already know how to do as a photographer and that is my pictures so start with something that's really second nature to you probably I'm just going to just dump it for one second what we did with that wedding audio folder with the external audio I've already copied them from my devices and if you remember I showed you yesterday they were just individual recorder units that I put on the people you just plug them in usb in your computer and just direct it a little pop up in the amount as a drive and then just drag the file over you can see right here that I just rename them they're always files they're just wave files that came out of the recorder I named them mother speech deficient in the vows yeah, so if I would play them, I don't know if you guys at home can hear this we need thio raise volume or something but it's there, ok? Yeah, we can hear it is that so? I guess for some reason we can't hear I will need to hear that later, but you get the idea you could listen to it and go through it from there so we'll start with pictures I like to use a program called photo mechanic and you can see it right there it's a really easy way to the through sort and pickle your favorites from your pictures so photo mechanic I believe the website is called camera bits dot com it's just really fast you can see all these pictures flowed like that so really, really quickly I think there's three hundred little bit more in three hundred pictures in here and you can change the thumbnail size I usually like to have it kind of like us three on a page so that they're pretty big but I can see if I've done like a siri's of them like I've got three shots of the shoes and I know I'm not good news three of these and you take one and I just used my numbers and depending on what number you hit that's going to change the color and that's how I'll end up sorting it later so if you want to see them closer you just press space bar actually let me make this a little larger you just press space bar and then you can see all hear you consume it in you can look at the history ram you can see if I'm in focus anywhere and I am her raise so that's a good way to do it and you can go through this way after them just all large as it is so I'm just going to go through these and once I'd like I'm just pressing the number one and I do like she pictures so yes, I did just pick three and when I'm editing again, I know I mentioned that's yesterday I'm also thinking not only about the album but I'm thinking about the publication processes while lots of details and things impression is there a reason that you use photo mechanic over like light room bridge for cataloguing and that kind of stuff it's faster? Yep, it just loads faster and does a better overall job I just if you want to see what I did just there on the screen I have to dress pictures I got to this dress picture and like the better because I like the book on the top and you know the negative space more towards the right where the bayliss so I know I can use this as an album background they just went back to here press zero and that discolor xeni colorations that it did before way have our bride very cute pictures. It was like little details like this I think look great in the album and help tell the story of her in the mirror she's so cute she was really I'm going to do the make up artist and me and that you were in this day looking seriously wrong it's actually kind of funny when robin I wre sitting at home, we'll do this, I'll be going through right pictures and be like you're in this picture and he'll do the same thing. Vanessa, you're in my video file, I love these. I know that's a better flower shot later best is like going through my footage and safe during the ceremony and for cinema, you know, we have multiple cameras, you know, some one here, one here in the ceremony and then one of the aisle, and then we might have won high upon a gym sort of like we do here in the studio, and all of a sudden you'll see a second shooter or a third shooter just go wandering into my shot, and they're just chipping slave so you're you're whipping on these, you do as you do that talk a little bit about why you're picking certain ones and then why you're not yeah, let's, go back there, here, yeah, I tend to do this very quickly, which I apologize, but don't apologize for because I I have to do these things quickly. Which photo mechanic again, really helpful for that? S so I really just looking to tell a story here, just like when we shoot, when rob shoots, you're looking to tell a story, so I think this picture because I know I'm going to put it on black away and it's the story of forgetting the dress on and kind of funny because mom and the makeup artist for, like, can we get this ross on? Oh, my gosh, and that you know it be a memory that that would probably end up in her album, obviously something with the mom on the bride here, something with her putting the veil on her face is a little bit dark, but I know I can fix that and turn into black and white and look awesome. I did like this picture, but I did not pick it because of all the people going on it's just a little bit distracting, uh, the makeup artist there, but this one was really cute. Um, I really like that one just with mom there, and then that kind of finishes the story because here you can't really tell who is holding your face there, but when I'm going to put it next to that on the album, we'll know I'm also thinking this is a good album, background picture, so I'm picking them and I won't necessarily use all days this is almost like picking for your proofs, and he might not use it all in the final product, but keeping these things in mind, and I'm also keeping in mind what I know rob has shot as walks. We haven't yet pulled down the video clips and done that, so I'm trying to keep that mind this picture pick because I know mama like it. You like to have a better sense of you if you've done the photo and video yourself engaging possession, you'll know what you shot, and that really helps too, in the editing process know what? Abuse yeah, it sounds simple, but it's sure, I'm big on details, so I chose that picture of the okay, I like that one, the best, these three, I couldn't help it choose three of these, and it'll make a good siri's in the album there, and I know one of the shots that rob has of a silhouette in the veil falling might be a good video background to something I'm going to do, so I'd have these three I just I love the lighting on her face and just going to bring up her eyes probably a little bit, just very dramatic, and the knees always have a hard time picking because I love the way these look she looks so like just she had amazing expressions love the happy ones. I think that one might have to be my favorite yeah to be agree I also asked for consensus often when I'm deciding between pickle thing this one and that one year again looking for a serious okay with thieves for earrings this I really like because this is going to tell the story we'll do this one along with video clips that rob took of her and some of the audio that we have of her reading her bows and then we're into the reception for the reception pictures and usually just looking for like one of each thing that is in the reception s so this is the centerpiece chose a close up and vertical on a horizontal like this place setting one and then, you know, I've got the water in the champagne glass I think I'll do this one with the negative space and stud and then we've got our cake, so I'm just going to take a good cake one did you know you have the slider of cake, which is shot if you do say, all right, so just grabbing these again thinking of getting all the different things in their magazine publications you're going to want all these different details even our cookies that's, cute that's, a good album background so really just kind of going through and and thinking what's going to work both for you in your final product as well as for your client and for magazines as well. First dance have you just done this for only a fusion product of you know you could be much more selective because you know you're not going to use nearly lose money photographs so first stance I love that take a look at these pictures, the lighting is a little bit dark and you're not a ton, but you can just see how here the light from from rob's light that was over a little bit behind me into the right just fills in the face here and then the flair that you're getting from here, we've got all the nice rim lighting, I just love that kind of lighting and I'm really just looking for expressions here and I had a few good ones some some of him, some of her like the first one's the best yes, like that one, I'm also really conscious of the bride as well. For example, I do like the light better in this one, but her chin is a little bit too far down in this picture and I know she won't like herself in that picture, so I'm not going to even show it to her probably because she'll just remember that one bad picture she like herself routed in the seven hundred million good ones so you come to the mother of the bride speech and I'll just take a couple of these think that one's probably my favorite I like a little bit of flair having there I'm just looking for a good smiling one partner now however you're using all available like what were your shutter be that way mechanical show us that yeah so my shutter was at one hundred so sixteen hundred actors at two point two you know the great thing about working with a videographer cinematographer that's lights like that she was able to shoot at a pretty high shutter speed eliminate any possible motion and something I think you have to see the food so you didn't see some of the photos really for what we're doing today I'm not gonna throw in a need dancing stuff but it is fun to look at we can see everybody normally like I said I would have used a flash here but I just took some quick snapshots anyway way have our handsome groom here wait did things a little out of sequence here obviously we know yet these two pictures I just think that in this one that light behind him is a little too distracting so I'll choose this one yeah just kind of like him with him buttoning up this fun that works too and then I'm going to cut right when I know she's in the shots I think I like that one almost like a science expression like that expression is waiting and then some with her coming out ball it was a little harsh hear his reaction is great and then remember how we reenacted this this's going to be great for the reenactments because I know I really like the shot of him by himself they're having them walk up it's like having two or three shooters with yeah that's what I get when I worked with a lot of photographers other than vanessa and we reenacted first look they're like, you know, it was a little scared going into it but what you're gonna do but like this was amazing because you gave me some great time to get different angles and I got different exposures to remember saying this yesterday I can expose for hammer and still wet which do ideo wearin nothing I could do about it so again I love this one of him and then her coming out I love when she actually lands there this one's very with all the negative space just go look at these two they look more connected in that one. Um you know, I'm gonna like this one where you got that exposed on them and then this is where we started our bridal session and I know I moved them there he goes the light would hit her face is well it's always something about being in natural light shooter that is just so impressive to see, you know before and after, especially when you see, you know the images as they are now on what she's gonna do to them, and just knowing that it's all natural light and that there wasn't a whole lot of flash taking place and modeling lights in the pictures like this. I'm leaving this on here. This was totally a mistake. I pressed the shutter before I head back, but focused and it's totally blurry. I don't know why, but sometimes I really like pictures like this, so I'm going to give that I felt the need to justify that one there. But then here is the properly focused and exposed ones think she playlist best there notice I'm usually favoring her if he looks a little goofy. Well, she's the bride is the center of attention on it comes to this. Yeah, exactly. It'll take a few power that's, right? And I just love these. The video shots of this came out really and again, I'm thinking of that as well, because I know probably yeah, it's all blown out on the left hand side. But I'm putting this in an album and that is going to serve is a perfect album background so it's hard to pick which one, so we're gonna chain go fall from here. And then we came to our ceremony gotta have one of the bride walking up the aisle was a little bit dark there so I'll skip that one and use this instead when he first saw her I love the kind of look there again I know rob has the same shot so it's gonna be one that matches and looks good same thing with her of detailed hands and these are the safe shot so I'll just grab a safe shot from that angle on a safe shadow the kiss and then who and then their recon reenactments which we got a really cute shot here they said it was after they said if they actually get married you're gonna save a ton on photo on video and just use these I love that I really feel like I'm in you know like rob was saying when it comes to video in the conversation with that one coming off and then I got a few shots of our little flower girl that was adorable and then a couple of details and just going to grab so that's basically the process and then when it comes to foot a mechanic I'm just going to escape out of here and on the bottom right corner all I do is click the polka dotted one here and that takes away all of the pictures that do not pick on dh I'm left with all the pictures I do I do want at this point I usually select all and rename my selected folders uh files you just do something like married and then sequence because I want to do married years there one married series or two and then I read it and it does it quickly wish video is that I know like in terms of just saving out like bread and that would be rendering is to video wow one day so that I mean it's very, very quickly and now I don't really have to sort these into different folder because every number them on all of the ones I'm going to use are right here. Um, so I'm just going teo edit some of these for you guys, I'm not gonna do a whole ton but let's grab just a few details of poland, a photo shop, edit those some I know I'll use his background photos and why why are you selecting the ones that you like me now? I just know that I'm going to use these either in the fusion slide show they're the ones that tell the story or later in the fusion album the ones that I know will match, so I love the ones again interacting with mom really cute ones I was going to just anybody, so you shot in rob, but those air all three make j pigs caesar I usually shooting rocks good question these air all j pick so that we can work faster here today they asked me to shoot j pegs so that so that we can tether them quicker so they would show up on the screen and during the day so the doesn't your straight at a gamma ji so these are straight out of camera normally I would have out of photo mechanics selected all and drive them right into light room but we're skipping the light one part today I'm just going to drag him into photoshopping stuff we need for speed. Yeah. Do you have any other questions? Well, these air just one question is photo mechanic like I have a windows computer and stuff it works about fabulist so that's great if you could point out sort of what your workflow would be. Yeah, you know we're not going into light room right now because folks left left in over what the workflow yeah, I usually just pull it in light room and I can pull up and just show you what I normally d'oh it's it's mostly teo just normalize the color balance on the photos I do shoot flat so if there are some that need a little bit more contrast tv the time that I add in the contrast it would also be the time that I fixed skin tones because we get a lot of orange skin tones that are very unflattering uh in the hand of someone else's pictures in here so those are from last workshop with don unity yes, so I would normally just go in here. I'm not going to pull them in for you right now but just it just here I do I do like to pull down the clarity in a face head shots because it smoothes out the skin a little bit and you should just pull it down teo get a sixteen but I don't really do a lot it's mostly for converting and color balancing in like um that's pretty much it but because today the focus is getting to the future part yeah, you get a little less time editing photographs from st moritz getting them paired for the fusion president so here you can see I'll go back into butter but mode here so you can see these are my actions and my actions the word maya's used loosely these air actually actions that I have collected you can see some of kevin cambodia's actions in here I think the mocha black and white is hiss you can see totally rad actions this clarifies there's I believe where's my awesome sauces in here awesome sauce is ready set actions so there's a lot of different one I really just an action person and I have collected them and then modified them sometimes yes sometimes I combined them like you see clarify and share clarity and shade or awesome fuji this is like awesome sauce from ready set actions and fuji snap it from I think of otas so these air definitely what I have just saying that I like for the most part um the most popular ones that I use would definitely be my clarify action which where's my clarify this just pops up your mid tones in your exposure and a really nice guy I use this fairly often on dh then my black and white is the mocha black and white and I just loved the mocha shadows in there I think it looks really pretty black and white as a great life saver for non um you know, for skin tones and you know if you're working in a hotel with really bad light things like that for this one I'm gonna use my clarity and shade and you can see all the different ones that I use in here this's clarify I use this color of shade it's just like a blue overlay and you can see just the kind of hint of extra color tone that against that really is like your signature sort of that's probably your one yeah yeah for her I would have to use it sparingly because she has black hair and it has changed the blacks to a little bit word like a blue so I'd have tio beware of that and then this oh snap one here this one boost the saturation on dh the contrast so I'm just going to go through these here I used to do pretty quickly if I'm kind of back and forth and I don't know about black and white or what don't do that to my suggestion is you go this kind of feeling anything you seeing what looks good yeah so hurry and shade and I've adjusted these you can see I've adjusted the opacity on all these layers tio what I know works with my style of shooting so just going through all these that way and then sometimes you have to make little adjustments but it's pretty quick for the most part and pretty much using this clarity and shade it works well so how does this affect your editing and video with her doing all the different effects and actions and step doesn't make your the fusion portion harder for the good of video clips too. Okay, so he's gonna make video clips look like this is gonna match it tio what she so they fit together you know there's many different ways to skin a cat like you keep saying and programs I generally used for video I could do this sort of thing but the workflow here is for fusion that photographer should be able to do it not me my cinema workshops I really go over color grading for the film in color matching different video clips together this this sort of thing that's beautiful doing vote black and wait or color used twice yes, let's have a question I'm not sure I'm in a verbal ass it correctly. Okay, when you're getting your image is ready for different processor typically you know how you know if they print dark or order what their profiles are, but when you're doing fusion and you're thinking about it in terms of how is it going to look in the display? Does that affect how you are correcting color correcting me? That is a great thing here's the thing though, and it's one with no fun answer here's the thing with video and television right now, this broadcast is going out about how many people ladies thousand roughly many thousands, tens of thousands, tens of thousands pretty much guarantee it looks different on most of their monitors it's just the way that they may have their their monitor set. It may be the brand of the monitor that this looks different from another brand with tv. There are color history grams and there are color vector scopes and way for monitors that will kind of make it uniform across calibrated monitors, but in the world of tv it looks different, every display, so we just try to get it is true to form for our style on our monitors and she knows that her labs going a certain way so she colored rains the video clips a similar way will match when they're put next to each other no matter what display their on the look similar but we're not really trying to think about everybody's display it's possible I mean, you probably could but it's I mean we're not getting that far into it I'm not too worried about that if somebody's monitor for example, I did a scene that it a few weeks ago at a wedding and the deejay was responsible for screening it for me so you get these, you know, fifty inch displays up and when we showed the same they edit I wanted to go into a cave and hide because they had the saturation pumped up because they showed these abstract designs during the reception and all the colors were bleeding and I was like, I'm gonna kill this guy because there's no way of just you know, we didn't have a chance to you know we're showing it like at the last as soon as it's done, we put it on so it was no way to kind of calibrate the monitors and it's just part of it yeah, an unfortunate part we can take another question while this is bat surrendering because once I am done editing these pictures here I'll go to automate and batch to flatten and saving close all of them so you just gonna file automate batch and I know there's my flat and copy this is just all of it's doing is going to flatten all of them and I'm just clicking you created that action flatten and that just flattens all the later yes or somebody else created I remember but it's just it's going flat out all the letters that I have out there I'm using my sources the open filed and I just want to save and clothes and, um this one yes. Ok, I think keep that don't think that matters with his overriding the original files just over a year. So would you normally do that or is that something needs for this case? I normally do that because I said I separate the pictures I'm gonna work on from like the originals that I have so they're all theoretically saved here for questioning do you sharpen it all to get them ready to go into video? You can go into your fusion you can depend on you leaving the sharp sharp this is probably something I would take out more than ad in video is very easy to over sharpened no but for your photos that are going to go teo sharp men I don't sharpen too much I add contrast uh clarify right brightens the mid tones again any more contrast full appeared to be a little bit sharper but I don't usually but you're sharpening edges not usually okay, so we're going to go into selecting the video clips portion here and to do this if there's not a music program like a mechanic to do this so it can be a little bit more difficult but you can just use your browser window just get a sense of what you have you know and then you can kind of see what the process here is that we're just going to go through and select the video post you know what you want to use and then the next step will be to bring them into a programme so we can actually trim off the the fat so to speak so what it's going to take off the beginning in the end parts that we know we're not going to use remember we talked about shooting in eight to ten seconds or eight fifteen seconds we know we're only use four to six maybe seven so we have to trip either the beginning or the end or both to get it to that sweet spot that we want just at that short clip we want so first step is to select the ones we know where news is ten overshoot video yeah and what I'm going to do is just create a new folder in here that's gonna be faves no, actually opened it up in a different windows, so I could just easily copy and paste my phase into the other window, so I'm just gonna look, serve, ease, and now, since I've already seen the pictures that I've selected, I'm gonna look for things that will match, so you can just press play and look at them here if you want to to preview, and I know that she shot that rob took, so I'm going to copy and paste that into here. You know, I like that one, or you compressed space bar and view it a little bit larger and see that this is what he means by chewing the fat first part right there. This is the part where youse right there never won the golden, so just that little for second piece right there, so that one's good, that one and video clips are larger, so it is going to take a little bit of time, too. You copy them things like that, I will send it would look a little underexposed this's, mainly because I was shooting through this monitor, is that which I don't really don't do, and it's not calibrated the same, so the explosion might be a little off, but we're going can always corrected tweet and that's, actually, because you'll see how we king correct video that may have been shot a little under right and again depending on what kind of monitor everyone there in the world is watching this on it might look writer might look darker red star but that's the beautiful thing about the math premium is that we can just kind of go through and just play them or I don't know if we know seven does that I really don't ever gonna have done you good looking you are perfectly so love this shot I know there's a rack focus there you go rack focus once you pull that trigger and you can see that this is a good example of iraq focus that we were talking about yesterday we focus on the bride here you'll see rob switches the focus to the mom who is in the back just loving every moment of this and that I mean that's just a gorgeous moment and then I switched the focus back to the foreground again and that just comes with practice it just comes from knowing my that was my fifty millimeter lens and I didn't know the local ring so well on that we could do that but forget practice practice yeah this one here this was on the glide tracking seaver rob kind of went to one side and then slides on the other and nice foreground of the breast and the heart needs to be brightened up this monitors darker than that I know this is a shot that I loved you just a really pretty video shot that human grab so let's just do those notice all the cameras is staying put it's not gonna hold me unless it was on the slider but all the mod cons lots of shots just locked down and just letting the action happen in front of the camera yeah so I'm gonna show you guys a few different ways the first thing I'm just going to do is drag the video clip in the photo shop so you can see what what happens on dh how photoshopped reads and looks at all these video clips let's just clarify it will be photo topsy essex will handle your video clips without having to use the extended version but if you're on photo shop cs four satisfy or absurd sees three cs forces by you would need the extended version of photo shop in order to get to work on video so when you pull this in right now it looks like a pick the way that you get this just start what we call scrubbing through your video and that's just moving the play had along seeking your video move you go here tha window and down to timeline if you were using photoshopped cs three four five extended you will not find timeline instead there will be a button here called animation animation in timeline thinking all right, so pulls out this time line window here and can I just explain what a timeline is real quick? Because I think this is something that needs to be kind of spoon fed a time seen remember, with video we're thinking now in three dimensions when we shoot and four dimensions when we add it with the fourth dimension is time okay, so the timeline is just a representation of that time period, so you see, concede down the bottom of the screen there's increments of time one second two seconds, three seconds the little f that's next to the zeros stands for frames and anybody how many frames per second over shooting twenty four so in between those that one into second markers there's twenty four frames within that, so if you were to put the play head here between the one and the two and I just hover my mouse over the play head it's going to bring up a number one eleven, so that means I'm that one second and eleven frames out of twenty four okay, just good to know that you know what you're looking at in the timeline is the most common component of any video editing program, so if you were to open up my movie or final cut, you would see a timeline that has those increments of time really important the nice thing about photo shop see essex is there is a play about and then you can actually play in a real diamond photoshopped previous versions of photo shop don't let you play it or at least not a smooth way it will be nearly smooth this is a sixty four bit render engine so it's a little bit faster right so that's the timeline if you look at the layers here you see you've got this video group and things happening as faras the video is concerned in a nutshell you can't really edit you can you can edit the actual a layer of the video but what happens is your only editing that one frame that you're on so wherever your way needs to do is have adjustment layer that is on top of all of these video groups so for example let me just do my little blue shade here and say I have the blue shade is on top of it all right so can I think I put it up here so you can see actually I don't think it's really doing anything anyway you'll notice it's really difficult to do this is what we've been provided right so you can only use adjustment layers that are on top and it should be sure that's why oh it's not over it that's why so so here's your first exposure in tow layers with video okay so right now you see the difference what? That clip and that's, a very common component video editing programs as well, is that your layers on your timeline looks just like your layers in your layers panel in photo shop and it's very similar, except the only difference is what time, right? It's long and then you can you can shorten it, you could make it a committee or something, you can make it so where we just on ly have it here. So when I get to this point in time and that's the basis of video editing, I mean, if you were going to video clubs together that's, you would have a different video clip here, then here, and when he got to this point in time, it would cut for that right now, you definitely don't want to do that, because then you'll see a contrast iq change. So if you have actions that you are already using a photo shop like, for example, this kind of blue thing is one of my signature looks like dew on a lot of my photographs, I'm probably gonna want to do this to my video clips, same thing with the clarify again putting that in the end, now that one showed up where it was supposed to, it's just a little forties and video editing program has video capabilities built into it. So you can just just like you wouldn't your layer is adjust the intensity here in the capacity of each one and then you go through and you can see it on the whole thing so in a nutshell you can edit video and photo shop using all of these layers and do you using your own actions so long as they're based on adjustment layers and they're not at any point like copying your base later like let me show you this export objects right no so if you press my awesome sauce one which is a great action I absolutely love it this won't work because the layer background isn't available because it's a video group and if I continue and it still will do the rest of the action for me you'll notice when I scroll here it's gonna be applying some of it not all of it so it's not the full factory and if you look in the layers here you can see there's all these different components and things of going on that's a little bit different so it just depends on how your action was built and it's going to vary for each individual action we're showing the more complicated stuff now so you can see the ease of use when we get to the actual workflow and it's important to do this because I mean you might open up a vehicle to go oh it's just like a document but it is and it isn't there there's kind of another difference why right? So for this one I'm just going to put my clarity and shade and again certain things like this huh de saturate one is not gonna work double click there I'm going to put these above and again my shares donnelly over there so this is what I'm going to use now the tricky part comes in the rendering and again robson I'm sure you all this first cause then I'm going to show you the easy way alright but I want you to see the backbone of all of what's going on here so whenever you need to save something out you can't just go to save as you can but it's not going to give you a new video clip it's just going to give you this psd document what you need to do is good export and render video this is where it gets crazy this is where you'll see this is going to pop up and you're gonna be like oh what so there's all these different things that happened here and you know there's all these different codes if you want to take a screenshot of this this is what works for this video clip but it might not work for another one for example here this is in ten eighty if you were a shooting in seven twenty we need to change that to second money all right so what I do that is much, much easier is I have an action that renders my videos for me so I would go to here automaton patch this is I would do this to more than one video clip at a time good um I actually where we hear I have fusion album actions and in there is a render video and the fusion album will show you guys that in a leader segment today but fusion album and render video and this can go to none and what that's going to do is when I click okay it's going to pop that up but it's already put in my settings for me and then it will render my video clip out done though done the work for you this particular action that we have available will just let you surrender I don't read the default of the cliff and just and do that so if it's a ten eighty clip it'll go ten eighty seven twenty seven twenty so you don't have to sit there and fuck with the set things going okay, why no ten eighty but what's this age to sixty for and why why is that different? It just takes all the guesswork out of it and don't say the hours of going on google were trying to research what what you know the correct way to do it is it's already done for you and the settings that we've built into these actions are optimized for an emoto video youtube they're already ready for web upload so they're optimized they're not too large not too small they're high quality but they're not super high quality and they're out super low quality so when you go to put these in the animal animal room not freak out and go who's too big you know we're there they won't look like crap once they're rendered into your fusion slide out so it's a nice medium it's right there right where you needed to pay so you can see this is my original folder wass and I go into my rendered video clip and there is my new ones with my actions on just thinking like this is a good time to ask for questions because I'm sure actually let me go one last thing the other last thing that you're going to need to do is trim so before you had even render is to trim on the way to do that photo shop would be too it's like this little dragger here you would just drag it over this is in your timeline your timeline and drag this section over and you would just look and see where you kind of ended up and scrub through that's a good play I'll probably want end up maybe around there soldier ragged over and that's where it ends and then and I liked right there where it starts it's important to make sure that whatever layers you have stacked on top of each other in the timeline all here cover that range that she setting right now because if one of them ends early it's gonna change the image before it's done render and then you just come here and go to can't see when you're out there is our move and trim worker here yet work area that's it excuse me for a second while I find which one this is because here you go trim start at play head and trim and so my end play head play it is the one that's at the end, so I control to the end you can see it turned it over and then I'll come to the front here and same thing, but now I go to trim start play head, so that was a lot of steps to do that yes, right? And I'm gonna show you a much easier way and again showing the hard way so you'll appreciate the easy way because without that reference point, you kind of like, well, why wouldn't I just do fragile? So what we have in here is a script, so we just go to file scripts and, you know, actually let me just close this out so you can see it from the very beginning file scripts fusion effects on this program here is going teo streamline all of what we just did which will be so the first thing we do is select the files that you wanted you want to use and I have them in my wedding video clips let's just use that same video clip I believe it was the first one there and you can decide what he wanted to go out in seven twenty ten eighty as your final resolution I'm going to use ten eighty and then you tell it where you want it to go on dh let's just put it in the mess and rob wetting your clips phased rendered and so that's why I wanted to go so we'll stick it right there um and you know what before we do that let's uh leave that one that's in there so it doesn't ask the overrated that's basically what's nice about the fusion effects dialogue. The first thing that we just showed you is when you slept seven twenty or ten eighty let's say you have you shot ten eighty but you want to make it seven twenty because when you uploaded to an emoto max resolution is going to use in seven twenty so let's say you want downscale if you would just select seven twenty and it would do that for you upon rendering the new video out which is very helpful all right, so this brings up a dialog box, and the first thing we're gonna do is edit the video. This is how you trim starting in points, just like we did before, much about as much. So I'm going to start it right around. They're all hits. This is like your timeline, your little scrubber so set start and then I'll go to the end where I wanted to be end on dh, lest I think that's probably good set, end and then go trim video and you can see where it says original duration eight thirteen that the original clip before we did anything to it was eight seconds and thirteen frames. And then when she reset her start an end point she now made what is the new clip duration, which is three seconds and fourteen frames, so it gives you a guidelines. So you know where your final this is? The time of your final clip is because that's important, we want it to be about thirty seconds. I'm sorry about three, four, maybe five seconds eat animal won't work with any clip less than two seconds, so you don't want it to be too short. So you know three to five somewhere around there usually pretty good depending on the speed you also want to keep in mind how fast your slides I was going to be your house slow it's going to be if you wanted to be a slower pace use video clips carol maybe like six seconds, seven seconds yes, it is can you tell us a little bit more about fusion effects of what people are winning isn't a part of see essex or what is it exactly? Fusion effects is a script that we actually developed ourselves actually it was because I wanted to do this on I didn't know how so he made a script so I could do it easier because it is a little bit complicated to do without it we do have it for sale in our store are we running a promotion? Yeah if you look on the creative life log, you actually have thirty percent off anything in our store at all so you can take a look at there it's just a script that runs in photo shop lit and it's almost compiling like any other actions that use you know it does what photoshopped does, but it makes it faster yeah can I can I give him a quick demo? I'm going to finish the job all right so that's what it does, it does trimming their for you, you've got an option to extract frame and what that is is you can put your play head to any part of the frame and say, hey, that looks like every picture, and they can take out a tiff merge a peg from that exact spot. Just just a note on grabbing stills from video. This is, ah hotly debated topic in the forums online and things like that about what you can and can't do with, um, generally for print purposes, you're not going to get a very high quality eight by ten certainly out of the video grab the highest you're going to get a decent quality is probably ninety nine by five or something like nine inches in a horizontal direction private the largest going to get a decent quality out of it four by six is more realistic, verified by seven might be more realistic. It really depends upon the clarity of the image itself. It was it was shot in the higher shutter speed it's, more crisp. You're going to get a better quality from it. What they're really good for for print is using an album's lines and scaling them down with smaller sides, so if you have a ten by ten album and you scale it down to a three or four inch image or even like a two or three inch image it's gonna look good it's gonna look really nice printed and you probably won't be able to tell the difference between that and a still photograph, but for screen purposes for showing them on screen. Infusion fly jos, they're great because you can't tell the difference between a screen resolution, image and high resolution still image when they're on monitor so and all playing at ten, eighty, right? So, you know, that's, just something to keep in line when grabbing stills. But this program makes it really simple to do that. And then these are all of your control. So this is a little dark. It can bump up the exposure. And so that did it too much. She can just drag down the intensity here, it's just a little wag again. But you, khun, stack different, uh, different effects on here. So you've got your pump it up, which is a contrast, one de saturate and it does exactly what we were doing before words adjustment layer and applies to all of the entire clip. So that's good for me. And then all I do is add two q. And if I had another video clip, it would bring up the next one and I would continue doing that. And every single one that I had you could do twenty at the time if you want to and then the all list here and the best part about this is it's a batch render so you hit render and you walk away and it's going to render all told you you could do more, but this is just one mostly, but you can kind of see it would do more than one and those preset actions that we haven't know the glower the sharpe was a sharpened filter in there if you want to sharpen their all stackable, so if you wantto be sat the image and then put a sharpened filter on it that charming up maybe a glory to kind of give it that dream the effect is that basket tone since you can't retire yet and then the intensity slider allows you to dial down the amount that you want and there's a full revert feature, so if you just didn't like what you did and you want to start from scratch, it revert brings you back to the beginning, right? So that's pretty much fusion effects it's a pretty simple program from video working with video and that was fast in terms of orender yeah, you have a pretty fast from here, so this is what you would definitely want to do some questions you've seen how we edit the photographs and then the video clips in the next segment we will be talking about how to put them all together so I know this private lot of questions about this and photoshopped functionality and all that fun so we can definitely do that. Okay, great. So um photo and in north wales asks what program did you use before? C s sick ex cia five extended okay at thie extended versions of four, five and six also handled video so I'm wondering because that was a kind of information yeah not not redoing it but maybe just going through the work flow again from I import them I put them into this program I do this yeah let me go back to fix keynote actually picked out for that is all that life all right? So there it is in a nutshell just leave it up there so you can look at it all so we shoot photos and videos save it and sort out the favorites. I sort out my favorite video clips just using the finder in the mac and I start out my favorite photos using the program photo mechanic I edit my favorite photos using light room photo shop we just showed you photoshopped today because they were j pay so I didn't really need to run them through light room and then we use our fusion effects script that runs into dough we photoshopped to edit our favorite video clips we trim the start and end point, so we have a good three to five second clip for the most part and then we put effects on them grab still pictures from them if we want to and render them out, and if we had had twenty clips there to render out, it would have taken a long time and we were the better drink waited well say this if you're if you're really curious to get detailed more detail about how fusion effects work, we have a full tutorial online that people can go and look at and really kind of studying program were walking very slowly. We are limited by our time here, so we just want to make sure we're covering all of our bases. I'm not going to detail about the one script, but if you go to vanessa and rob dot com, click on the store, you'll find fusion effects in there and you can watch the whole tutorial on her break. Nobody even prompted to have questions in the ukraine with great thank you so yeah that's the workflow in a nutshell, we do want to keep it simple and that was pretty simple what we just did and we spent more time showing you the complicated way right then the actual simple way which took seconds as opposed to minutes you have any other questions in there? There are j t v asks how much storage from source rented video final edits is used on a typical fusion oh the average video clip three two seconds three, two six second video clip will be anywhere between twenty and fifty megs per clip smaller sometimes don't I just pull up that one that just what we've designed the render video action to be optimize because we want to keep the file sizes down for quick upload teo an emoto and jimmy or whatever whatever you're using whatever program using, we'll handle much smaller file so whatever thirty two megabytes for that was a for that clip that's thirty two minutes this seven second clip because I didn't turn that one enough so let's say you had twenty of those twenty times thirty to fifty so it would be somewhere in the neighborhood of, you know, four hundred five hundred megabytes for your video clips and then your photos will probably the they're small thing this still video grabs yeah, right. So what about one of your photographs? Are you you're editing photographs there about a megabyte uh usually around fought? It just depends on how have their shooting, but for video estimate, probably about thirty megabyte so file question from the photo in panama s o that you're in this example you're proving you were going through for the picking out for the fusion piece do you just proof for the fusion or do you at the same time for the album for the prince yeah, I was perfect everything at the same time thing with photo mechanic is I have lots of front colors that I can choose from so I can go through all the same time and the number one for one said I'm proofing hit the number two for ones that I know we're going in the fusion slideshow and hit number three for I don't know ones that are going in both sir my favorites or something along those lines yeah definitely do it all in little steps as possible. Um jimmy shefer from north st paul minnesota asks when you insert photos into video do you de interlaced the photo to get it ready for video should not well what we're shooting is a progressive scan there is no inter lace if you're shooting an interlaced scan using on interlaced method like sixty I thirty I were a standard definition formats tend to be more interlaced yes you want to release them you can do this in photo shop it is a whole other process that we're really not going into because pretty much diesel every dslr if you're shooting twenty four pay or thirty p the p stands for progressive which means it's no inner lease remember we give you that example about the interlaced that's generally not very commonly used anymore so just for the just the terminology what is? Yeah, I kind of explain this on day one, the interlacing back in the day when video frames for broadcast only before web video on home video and all this stuff they used to fields made up a frame of video. So for a broadcast standard it was thirty frames per second and each frame of that thirty francs per second had two fields and they were interlaced scan lines on the tv screen. So your tv screen alternating odd and even lines that when they came together like this made up the image if you separated them, you had like stripes of data. You had stripes of the broadcast signal and that kind of carried over into video because, you know, when video cameras first made available to the news and to home video, they were meant for that standard to be shown on television screwed so they were meant to have that done early skin with the web. You don't need that anymore because everything's progressive everything's framed the refresh rates are so fast that it can be done in progressive frames. And so now with today's high tech, high quality video, they've kind of done away with that interlaced and the progressive is actually what gives it that film? Look that's why, when we shoot sixty I it looks more like home video when we shoot, you know, thirty, I looks like home video, but the progressive gives it that more of a film like type look, alright, cool in the last question, but for before we go to our first break of the day is from lewis uh, it says, I was up till five am yesterday to now is watching again. It's also good, why not so good? Wait don't sleep like you, you know, honestly, it's, because we've been doing this a long time. We've studied this. I mean, I've been a study, a student of film and tv broadcast techniques for a long time, and just in a lot of child means you saw just now, like when randomly the layer moved over on the timeline, it's just stuff like that and doing it over and over and over again, it's no different process than what everybody else is going to have to go through. We're just trying to give you shortcut so you can skip over the stuff that we've already learned failed that burning the learning curve for thiss whole entire things, all that.