Lessons

Lesson Info

Finalizing the Film

What we're gonna do is line up all the audio right now because it's gonna really change the way we tweak this film. I'm not even gonna watch it back and waste time doing that. I just want to get the audio situated, so a quick way to do this is because I've already lined it up with Pluralize on here I can just use that as a source file, so first click 7397, bang! So I'm gonna go to And we're gonna go and find that. And this is very tedious work here. So, there we go. And I know this is the part I need. (footsteps) Sorry, I'm 47 seconds late. Traffic. That a cell phone? I'm going to grab this, grab this. I'm going to copy it. Actually a better way to do this would be to hit the source screen button, so what I would do is just an easier way would be to right click, and any clip, any audio clip, anything in the bin on your timeline, if you wanna find it in your project, you just go right click, reveal in project, it'll automatically bring it up there. So let's get our audio bin there.

No, this is a heart rate monitor. No, no, this is a heart rate monitor. Traffic? I thought you only traveled by boat. Okay, so, we go here (white noise) Oh, you guys are gonna have a problem now, 'cuz I'm gonna do that over and over again, so ride that audio mixer. (footsteps) Sorry, I'm 42 seconds late, there was a traffic, is that a cell phone? No, it's a heart rate monitor. So actually, what we really need the audio for, for that line, would be 7384. But you can do this for now, right? Do what for now? You can Yeah, but I don't want the steps from that, just yet. 'Cuz it's gonna be significantly harder to line up. What number did I say, 7384? 84, yeah. 7384. You can see why Pluralize is so useful, because now we don't have to worry about which clip is it, we just reveal it in the project. Sorry I was late, 45 seconds late, traffic. That a cell phone? Uh, no, it's a heart rate monitor. Traffic? I thought you traveled by boat. K, so, bring this down. Question. Yes. If you hadn't taken out the Pluralize part, because none of us had it, would this have already been done? Would that have been part of your cropping? No, I actually wouldn't have done it, because it's a narrative like this, a conversation, so I like to edit just the clips and not let the audio slow me down, and I would just do this manually, just like this right now. Okay. On this specific type of film. But another way to go about doing this, which you normally wouldn't do, but you can also just start with the synced timeline, And edit off of that timeline Pull clips over from that, right? Over on to the main timeline. Yes. He chose not to do it that way 'cuz he wanted specifically for all of you to see how he's using the bin and interacting with the bin, but if you didn't wanna mess with lining up audio at all, you could just go to the synced timeline, and pull over the individual pieces that way, and then the audio would come with it. Yeah. And you'll see, it doesn't really take that long, I mean it's kinda tedious, but the best way to do it, for me, is find the spot where it ends, so. Heart rate monitor. Traffic? I thought you traveled by boat. So I thought you traveled by boat. Traffic. Is that a cell phone? No. It's a heart rate monitor. Traffic? I thought you traveled by boat? Boom. And I just bring this clip down. Right there. And here's how you know if something's lined up. First you can look at the audio wave and tell. And see where the peaks are. So I zoom all the way in here. And I can see that it's slightly off a little bit, I'm just gonna shorten it, at the end here. And I'm gonna zoom all the way in, I'm gonna move it over two frames, and we should be good. And how you know it's off is if there's an echo. You'll hear an echo. Heart rate monitor. Traffic? I thought you traveled by boat. So, that's solid. So let's right click. I'm gonna unlink this audio, I'm gonna get rid of it. So this is the audio that was linked automatically because it was recorded on camera. Yes. And you have to go through a manual process to get that audio unlinked and then deleted. Two separate processes. No. It's a heart rate monitor. Traffic? I thought you traveled by boat. So you can see how much cleaner that microphone is than our other microphone, our onboard microphone. Now, if we, in a pinch, of course the onboard microphone would work, but it's obviously not ideal for the situation. So, let's keep going here and we'll see how fast we can get this audio lined up. If we start to run out of time, I won't do the whole thing, and I'll get into some other aspects of editing, as far as the tweak of the film is concerned, but we wanna try to get this lined up, at least the beginning part of it. So what we want is 7386, 7386 right here. I'm gonna reveal in project. I'm gonna go over here. Whatever. Why don't you tell me why I'm here. (clicking) (reverse whirring) It's a heart monitor. Traffic? Don't you travel by boat? (reverse whirring) And action. Sorry I'm 42 seconds late. There was traffic. Is that a cell phone. K, so, we need to find is that a cell phone. 42 seconds late, there was traffic. Is that a cell phone? And you see that lining up audio really isn't that difficult. I know this is already low, so I'm gonna right click, I'm gonna auto gain it, and I'm gonna put it up to six, bring those waves out a little bit. I'm gonna zoom in. Very deep here. Is that a cell phone? Is there an echo? I can't hear. Looks like they're off by a couple of frames. One frame. Boom. Okay. So that's lined up perfectly now. So we can get rid of the onboard mic here. You don't even have to delete it, you can just make it the same length. I just move it up. And you see the time, the time stamp underneath? That zero zero zero means I haven't moved it to the right or the left. If I move it over left, see I've moved it six frames to the left. I've moved it over about three seconds and eight frames, so, you always want it to be zero and that'll remind you of that. Sorry I'm 42 seconds late, there was traffic. Is that a cell phone? So that is obviously way too low, so we're gonna go up again, six more. Sorry, I'm 42 seconds late, there was a traffic. Is that a cell phone? No, it's a heart rate monitor. Traffic? I thought you traveled by boat. (scratchy vocalizing) Wow. Yeah. This should really show you the contrast between audio, audio clips. Which is why you should buy a shotgun mic, yes. 7392. 7392, track 16, reveal in project, and we need the (scratchy vocalizing) That's gonna be tough to line up. (scratchy vocalizing) (scratchy vocalizing) Very funny. That's what we need. Well you explain that. 42 seconds late but there was traffic and, ya know (scratchy vocalizing) Is that a cell phone? No, it's a heart rate monitor. Don't you travel by boat. (scratchy vocalizing) Very funny. K, so we already know that's gonna be really low. I'm actually gonna move this over, just a tad, and now, here, and I'm gonna need to bring this up a lot. So I'm gonna put this up to about 13. (scratchy vocalizing) Very funny. And I actually think that worked. Yeah, let's see it one more time. I'm gonna just get rid of it, and see if it lines up. (scratchy vocalizing) Very funny. Close enough. And we can just rough this in and if we have problems with it later we can fix it. 7394. Possibly, what we could do, since this a tedious task, hosts, we could take some questions while I'm doing this, because it's gonna be very repetitive, that might make things seem a lot less repetitive, so. Okay. Throw some questions, maybe Jeff can answer some. I'll answer what I can, so that he can concentrate on that, and if he is doing anything interesting, or something new, he'll just interrupt. Alright, sounds good. Perfect. I have a question from Carlo D. How do you interact quickly on the different video and audio channels, which shortcuts are you using for this? How do you interact? Interact between the audio and video channels, is there a short key that you're using to go back and forth? Just click into the, on the timeline, between audio and video. Okay. Just clicking with a mouse. On to which one you want. Let's see. EMP photography asked, does Premiere Pro have it's own built in sound sync other than using singular software? No. Not that I'm aware of. Okay. (laughing) Good Answer. If you guys have questions, please chime in and let us know. It may. I don't know if it does or not. I don't wanna say that. (laughing) Lance? The comment that I would like to make, and maybe the audience out there on the internet didn't see, but you could really tell that Ross was really living his script. I mean, he would kinda lip sync as it went, and Jeff, being the producer was over his shoulder, ya know, kinda doing this type of thing, and Jeff was kinda eyeing it a different, ya know, viewpoint, but you could see where Ross was going, ya know, just lip syncing everything. Jeff was being a little more critical, thinking, I would change that, I don't know about that. It was really well to see how well they work together. Just maybe folks out there didn't see that, but we were able to see that. Yeah, it definitely has kind of been a testament, to the power of two. (laughing) Having an alternative eye. I definitely, if you're serious about doing this, would recommend, I mean I don't know how serendipitous it is, or how, ya know, if you could actually go out and look for somebody, but recommend finding a partner to handle one aspect or the other, 'cuz it will make it more successful. Which is why, we definitely wanna recommend going on the chat room and sharing your, connecting with the other people in the chat room, which a few people have done already, and have been doing. Yeah, and I also would love to know if you have any suggestions of resources, or places online where people can go, to look for people in their local area, are there any common websites that people go to, or. To look for people in their local area, every employee I've ever hired, I've hired off of Craigslist, and lemme just give ya an example, when Clay and I decided we were gonna hire the video editor, the videographer, for our How to Photograph Everyone DVD, the one that Ross responded to, we had a hundred submissions in one day. And the salary wasn't very high. It was, ya know, 30's. And we had a hundred submissions. Wow. And when Ross and I have put ads out for similar, ya know, helpers, assistants and whatnot, we've had the same kind of responses. So, really, you're kind of, if you're the creative spirit behind this, and you're looking to organize something and make it happen, you're at an advantage, because, besides maybe being an airline pilot, like everybody wants to be a pilot, right? So, the airlines have no trouble filling spots. I think next in line, after that is, there's so many people that would love to be able to pay their bills, and use their artistic, creative energy, in the process of filmmaking. So if you're the kinda person to organize that venture, you'll have lots of people interested. Excuse me (laughing) Excuse me Just sayin'. Nice timing there, nice timing. Here ya go, Ross. (laughing) We have a question from Joe, in Denver. Hello Joe. If budget allows, are multi-cam shoots the way to go to speed up syncing and shoot times? Okay, so you're gonna get two opinions on this, and since he's busy now. I didn't even hear the question. That's great. (laughing) Can you just be quiet for one second, so I can hear what's going on? Okay, nevermind. We done? Yeah, we're done. Okay. Yes. Now because Ross came up through the school of hard knocks, he loves to shoot with one camera. And, as you can see, he does so successfully. Wait, wow, what is this question? (laughing) So. However, when we did the How to Photoshop Everyone DVD, the movie, the two and a half hour movie, we had three cameras rolling. And it definitely made the final production better. So, can it be done effectively with one person? Yes, it can. Ross does it all the time. But if you have the resources, yes it's gonna. When we had, in How to Photoshop Everyone, when we had Allison and Kevin there together, we had a two shot goin', we'd have a camera on her, we'd have a camera on him, and that gave us a lot more flexibility later on, and we had to do fewer takes, obviously, because we could get the dialogue goin' simultaneously, and the facial expressions going simultaneously, instead of having to do one at a time. If you wanna hear my opinion, just call me later. (laughing) Or Facebook him. 'Cuz we know you're his friend. Just to kinda give you guys a brief overview here of what's happening, just take a look at how much smoother things are when the audio's lined up. I'm 42 seconds late, there was a traffic. Is that a cell phone? No. It's a heart rate monitor. Traffic? I thought you traveled by boat. (scratchy vocalizing) Very funny. Anyway, do you mind telling me what this meeting's about? Do you mind telling me what that's all about? Aw, my movie How to Photoshop Everyone. Excuse me, my movie. You can see the difference in how harsh the audio is, when it's not lined up, so that's how much, how big a difference a shotgun mic will make for you. Even if it's a, ya know, not a good shotgun mic, it'll still make a huge difference. With video, there's almost always an opportunity to cut to some sort of B roll, or, maybe a different take, there's all kinds of tricks you can play with video to cover up bad video. But if you have somebody saying something, and that's the only chance you have, or the only take you have, of audio, there's no way to correct bad audio. That's why we say, audio's more important. Like, whoever's in charge of your audio, on all of our productions I'm always the audio guy, you can see Ross is focusing on the filmmaking, I take the same perspective and passion and singular dedication to making sure we get great audio. Because, if that's screwed up, then all his work is for naught. How would you recommend as a producer, for those people that are on Craigslist looking for filmmaking gigs, how would you recommend they filter the producers for ones that are beneficial, good matches, what would be interview questions for the creative side, and the creative role to interview the producer. The most important thing that you can look for, not just for a producer but for any employee or for any person that you work with, is a good communicator. When I referenced earlier I used to be an IT guy, I had a staff of 20. It wasn't the most technically proficient people on my team, the ones who had the best technical skills, who were the most valuable to the team. It was the ones who were the best communicators. And so, if you find somebody who writes well, who speaks well, who has confidence and a good rapport with people, and an organizational mind to go along with that, that's gonna make a great producer. Because a producer, really, he has to work with so many different people. So many different venues, and you name it. It's all about communication. Producing is about communication and organization. So, those two things. Awesome, thank you. Now I do wanna get this question from Jeff HD, because he had asked it at the beginning of the day, and it hadn't been quite right for it, but the question was, can you ask do you mainly shoot using a flat picture style on the DSLR? Or do the adjustments in post production? I've been hearing lately that shooting flat allows me more dynamic range, and better in post production. Perhaps we were gonna get to that next. Yes. You wanna shoot flat, if you're on a DSLR, put your picture shadow to neutral, turn the contrast all the way down and the sharpness all the way down and it'll give you the most latitude for color correction later on. Do not shoot saturated because the DSLR over contrasts anyway, so you wanna shoot as flat as possible. Sorry for the interruption. (laughing) It's alright. That's what I was gonna say so, he's good. Another, kind of, editing question, was Late, from India, is asking is shot selection sometimes based on background score? Do you ever start with the music? On a music video or if I'm like cutting somebody to the beat with no narrative, then yes, but something like this, or like the wedding, for example, we showed on day one, I edited the narrative, and then I picked the music. And on Making Magic, actually, you see the process in which I pick music, because on the birth announcement, it's a different part, whereas in the wedding, it's a totally different part. If you're not doing a music video, if you're not doing a music video, and you're choosing the music first, because that's where you wanna start, you're letting the music dictate your story, and it really should be the other way around. There are times when that'll be important. Maybe a client has a favorite piece of music, or a specific piece of music and you have to do something with that in that project, but, aside from that, don't let the music dictate your story, unless it's a music centric production. Let the story happen, and then find music that matches. And a question related to funding. If the filmmaker is going solo and doesn't have a producer, how would you recommend a person starting out in film find either grants or donors, private donors? Play poker. I think if I had an answer to that question, If you didn't hear that, really, really quick, he didn't say it very loud, he said play poker. (laughing) Ross funded some things with poker for sure. Have you seen him play poker well? With your qualifications there. Trust me, most of the world has not. (laughing) These noise canceling headphones apparently don't work very well. I think if I had an answer to that question, that was like universally applicable, I'd be in a much higher pay grade. So, my advice to people starting out is exactly what Ross and I did. You're gonna find yourself with certain opportunities to do things that won't necessarily pay you money at first. And, I think, ya know, obviously, we've gotta work, and save and invest in equipment, in ourselves, to get ourselves a minimal amount of gear necessary to do something. But, as we've shown, with the microbudget package, ya know, you have one camera and one lens, as our friends at Everynone have shown us. A very simple camera and a very simple lens can tell a very powerful story. So what we did, back in the days when I got the Skype photography job, but they wouldn't give us any money for video, dug into frequent flyer miles and asked friends to help. And we went, and we made it, and we didn't charge. But because we did that, and we had it, it led to paying jobs. And, ya know, this is a good, really good question, because, I'm here today because I have taken that approach in my own life, when I met Monty, I had quit my corporate job, where I had golden handcuffs and was making a good salary, but was not fulfilled artistically, and lived off of savings to the point of nothing. Went back to college, to LSU, and when I met Monty, I literally said I'll just work for free and live on your couch. Just give me enough money to buy food, I don't even care. Like, that was my mentality. Well he ended up buying a condo for me to live in, and, ya know, all this other stuff worked out with it. But that's how I got the job, because I wasn't tryin' to make money, I was trying to learn, and I was trying to develop myself and give to another person at the same time. And, if you take that approach in life, I cannot tell you how many opportunities will come your way. If you pursue your passion instead of pursuing money, the money will come because the passion will lead to opportunities for income. So, that's what I suggest. Thank you for sharing that, I know a lot of people out there in our audience, kind of, facing the same life challenges, if you will. Okay, a question from Michael Jordan, who is Michael Jordan from Arizona. Sweet, Michael. Who was with you in Italy. Yes. And Michael asks, if you did not take wide, medium and close up shots, can you use the key frames and zoom in on the clips to simulate them? So, the footage starts to fall apart at around 125%. So, you start to go over that and it starts to get grainy and artifacts start to appear. You can push it to about 130. But 130, you can't go any more. So, I would not use that as a method for re-enacting not having the proper shots. 'Cuz it won't hold up. Unless, unless, you're doing something that's literally supposed to be so small, it's going to be shown on a very, very small Youtube video at 300 p or something like that, but, even then, I think you're better off just having the mentality to begin with, go out there and get 'em. Alright. We have another question. Do you ever find the need to export the audio to other Adobe software like Soundbooth, for repair or enhancements? Yes. I personally don't have experience doing it, Ross does. But we will frequently go in there, and Soundbooth has a ton of features that will allow you to fix audio. I believe there's a feature where you can take room tone, or background noise, and you can kind of map it, and then ask it to throughout an entire audio clip, and try to remove it. And it can visibly reduce background noise, if that background noise is consistent. And so, yeah, it's pretty powerful. We have a question in the audience. Do you ever use sharpen, or unsharp masks, drop those on top of the clips to try to sharpen them a little extra? That would be a Ross question. I have a question. Yes. I don't know, know that we've been talking about shooting twice the frame rate, so like you'd shoot at 50th of a second, but what if, like you were mentioning before, or you both were mentioning before, you have to shoot something a little bit faster, so that you get the action a little bit more still, and, specifically I'm thinking of doing babies or something like that, that are moving, and being able to pull out little frames here or there and you'd want them clear when you pull them out. Absolutely. So the statement I like to come up with, 'cuz I remember the days when I first started photography, and this was before I understood that I was pursuing art, not a perfectly scientific representation of what it was that was before my camera. Like, guys, especially, a lot of guys go through that phase, it's about the gear, it's about the histogram, it's about perfect capture, instead of about art. Let's just disabuse that notion right now. Nobody cares how scientifically perfect, or, ya know, statistically accurate your stuff is, they just care if it's good, so, with that in mind, if, in the pursuit of art, if that makes for a better situation for you, then do it. That's why rules are there. They're there to be followed, and then to be broken, when it's in the pursuit of art, so, absolutely. Does it have a visible effect on how it plays? Like I'm not schooled enough to notice, really, the frame rate, like I don't think I'd be able to tell 25 from 30 at this point, but It does not have a visible effect, for the majority of people who would ever watch it. And this is like a good example for audio, okay. Those zooms will record mp3, and they'll record wav. So, on a 2 gigabyte card, you'll get 32 hours of mp or 2 hours of wav, right? If you're making a movie that's gonna go in theaters on a THX surround sound system, you should be recording on wav, because that'll make a difference. But what is the purpose of your film? Who will see it? If it's going on YouTube, it's already gonna be compressed. If it's going on a DVD, in a person's normal house, they're not gonna have a super awesome surround sound theater, and to notice the difference, you would have to compare it to something else anyway. So, I'm kind of coming full circle here, most people, who are your intended audience, would never be able to notice a difference at all and it would not interfere. A trained expert maybe, like oh, that's shot not the same. Do you think has a psychological effect though? To have more staccato shutter speed at the same frame rate? No, it's about motion blur. So, just the movement of, like, the way people move. Let me just be clear, I was not talking about frame rate. Because, frame rate everybody has been kinda conditioned, by a lifetime of going to movies, that 24 frames a second looks cinematic. I was talking about shutter speed. Let's, I can, I wanna teach a couple more things. 'Cuz I see the time is running down. Odds of me getting all the audio lined up before we're done, very slim, but ya never know. But I wanna show a little bit of color correction, really quick, and then I wanna show how to export. Because I'm sure a lot of people wanna know that. Are we gonna be done with this then? Well, I'm gonna come back to it, so. Okay. We don't need audio for this, so let's do a little bit of color correction. The first thing I wanna do, I don't know how compressed the image is, out there in the universe of the internet, but I'm gonna assume it's not that compressed and you can see color. I wanna find, yeah, this shot's perfect. So, this shot, in my opinion, in fact every single shot, in my opinion, is just a tad underexposed by the shadow side. So, one, actually I don't think I have it here. I wanted to show DFX. No, I do have it, actually. Okay, so. I use a lot of color correction programs. You can do color correction inside of Premiere, very basic. You can use Speedgrade, which is Adobe's high end color correction program. It's a stand alone color correction program, you would send the entire project to Speedgrade. If you're doing something really high end, you wanna use Speedgrade, that's like where you wanna go. But, I like, there's a program, a little plugin, called DFX, made by Tiffen. And I really, really like this color correction. Because A, it has a bunch of filters that you can put on, all kinds of crazy stuff that you can do, ya know, sky's the limit. I would say, be tasteful with your color correction. But this can teach you, how to understand color. So that way when they do come out with a Speedgrade, or something like Color, Final Cuts Color, you understand what you're trying to do, and then all you gotta do is figure out the controls, basically, 'cuz they are very complex. Color is probably the hardest thing to do in film. So where is my cursor here? This is the clip I want to color. So what I would do is I would go to image, color correct, Now you've previously loaded Tiffen DFX on to your computer, and that's why this is here, correct? Yes. And you can go download a trial on Tiffen, and if you can do it as fast as I'm doing this, and get it and follow along, great. If not, download the trial and check it out 'cuz there's a lot of cool stuff you can do. I'm gonna drag, just like every other effect, and drop it on to the color, or on to the clip. Now notice how the top of my timeline turned red. So think of it like this, and this is actually a whole scene in the out of order movie. Green means go, yellow means slow down, and red means stop. I don't know if anyone ever, if that's ringing any bells with anybody, traffic lights, I get a lot of, ya know, pictures of my license plate in the mail, and then I came back with a really cool response, I just send them a picture of $75. And I say, take that. So, (laughing) I've done it, I promise you. So, once it turns red, that means I should probably start to render some things. It doesn't mean I, unlike any other color correction program, I can play it still, but I want to, I'm gonna wanna render this. But the first thing I'm gonna do is actually color it. And here's why the effects is so useful. If I click this setup button here, click this, and it'll launch. And I get a new interface. Now, why this is so cool, is because if I click this part, this split screen, see Jeff made a really good point about Photoshop, and you can edit an image, and you can overedit an image. And then you think it looks great, and then you compare it to the old one, like your original, and you're like my original looks better, what have I done? This will kinda stop you from doing that. So, ya know, you think Kevin looks cool green, but he actually doesn't look cool green, so. (laughing) Ya know, think about that, for a second, but you might not know that, if you're not looking at the original situation. So, just like Photoshop, which a lot of you Photoshop users out there might even understand color better than I do, I just know the limitations of film. So, everything has a master, everything has shadows, everything has highlights, and everything has mid-tones. A lot of times you can get what you need out of the master shot. But the first thing I see about this clip is that the shadows are just a little bit too dark. So I would go to the shadows and I would turn the brightness up, just a little bit. Everything is in very small increments, you don't wanna do anything crazy. So, if this is at zero, I might turn it up to, I don't know, very little here. It's not actually happening, I'm not sure why. Hold on a second, let me figure this out here. There we go. Alright. So, I would turn the brightness up, oh, I gotta turn this on, oh, all these boxes here, if you do screw up, by chance, hit the box, it'll go back to zero automatically, so one thing, a couple things, the shadows are a little bit dark, the whole image probably needs to be brightened up, just a little bit. And because I shot it flat, I'll put a little bit of contrast in it. Really little bit. That might be enough. And I think, in my opinion, it looks a little green. So there's two things you can do. RGB, is something you really need to understand about color. So you can do a couple things. If you wanna make your image look more, have a little more warm tone to it, you can either add red by turning this up a little bit, or, you can subtract the green and subtract the blue. And you see, as you subtract a color, more color comes in from the other two colors. If that makes sense. So, I'll say that again, slowly. The more, when you subtract a color, the other two colors start to take over more. So as you can see, when I subtracted this green, the red started to take over, the wall starts to turn pink. Alright, now whenever you have a white wall, it's very easy, because you wanna turn that wall white. And a good way to do that is to just put the blue up, just a little bit. You can see how the wall is now, ya know, white. And, almost, what's the color? Topaz or taupa or whatever, what's the? It's like a stale color of a wall. Off white? [Host One Eggshell? (laughing) Very classy. But look at the, you can see the very big difference in our wall, and that just makes the image look a lot crispier, alright. This looks dirty, down at the bottom. But ya didn't know that until I showed you the compare and contrast. So you see, color is all about everything. In my opinion, color is all about making things look as correct as possible. If you wanna add some style to your scene. Like, I made the justify the light thing, where, hey, we had the red light, shoot it that way. That would be my advice. Don't try to make Kevin look evil, by adding red in the scene, because everything's gonna turn red, as opposed to your light turning red. So just be really careful with that. Alright, so I'm just gonna save this here. And here's what I'm gonna do. Check this out. So, what the problem is, with this, is when it goes from there to there, you see how yellow the wall is behind him? I'm gonna copy I'm gonna scrunch down here, I'm gonna select everything, hello, I'm gonna select everything, and I'm gonna paste the attribute of that color, and you're gonna see this entire yellow line turn red, in theory. Boom. K. So now all the walls are white. Except for this one, which is, has, what I just did, is I pasted that effect on this one twice. So I have to get rid of this one, because I had it selected, and now, everything is the same color. And because our white balance, was not on automatic, this is very important something, I don't know if we talked about white balance. Never put your camera on auto white balance. Or on auto anything. In fact, yeah, the word automatic, you should be looking up what that means 'cuz you don't know what it means anymore. That's a word you wanna remove from your vocabulary. Nothing is auto. You don't auto iso, you don't auto exposure, you don't auto anything, you don't auto white balance. That's a really good point. I'm surprised we forgot to tell 'em. If you have it on auto white balance, every single shot will have a different white balance and you will be screwed. No, you won't be screwed, you'll be color correcting for days. And you probably won't get anything right either. And if you have two cameras, and they're both or one is on auto white balance, then you'll have no hope of taking the footage and lining it up, so. What we normally do is we choose a kelvin setting. If you have T3I or T2I, they disable your ability to do that 'cuz they want you to buy a more expensive camera. So, choose one of the presets, because the presets are just a specific kelvin setting anyway. And even, if you do a custom white balance, and you're using two cameras, that custom white balance can be different between both of 'em, so, specific kelvin setting is a better option for two cameras. Yeah, and learn what the settings, like learn the temperature area of lights. Of the presets. Wanna be able to walk into a room and recognize, 3200 tungsten, like we know what lights we need, we know what gels we need. And with DSLR, you wanna stay away from complex fluorescent light. All the time. Just get rid of it. If you walk into a room and there's complex florescent lights in the building, turn 'em off, or change the bulbs. Because it's gonna Because it's inconsistent. There's no two CFL's that have the exact same color temperature. So if you plug this in and this one and this one into three different lights, there's three different temperatures, they're bouncin' all over the place. And it makes your image look like crap. Whereas a tungsten will be consistent, across all bulbs. So when we have this beautiful red line, as pretty as it is, we wanna make it turn green, all we go to do is sequence, render entire work area. Remember I talked about the work area before? Click this. And then that's it. It's like watching paint dry, in a lotta ways. If you enjoy watching paint dry, you can sit here and watch this or you can go and make yourself a sandwich, come back, and this'll be done. I'm not gonna let this finish, obviously, 'cuz I don't want the internet watching paint dry, as much as I would love to make that happen. But you can see the red line starting to turn green, across our timeline, and, like I said, green means go. So we can watch that and smoothly watch that. Now, I wanna get to the part of exporting since we only have 15 minutes left. And then I'll take questions. If I don't finish, Do we wanna see the final thing right now, before you export? Well, I'm actually not gonna finish exporting, 'cuz it would take well over 15 minutes. Then you wanna show the, where you are? Well some of it has audio and some of it doesn't. Okay, alright. Yeah, let's watch it, start to finish, so we can at least see where are, where we got to. Okay. Have to remove all the effects, actually. Well, no I don't. Let's watch it at half power. See if the old computer can handle it. (footsteps) Sorry, I'm 42 seconds late, there was a traffic, Is that a cell phone? No. It's a heart rate monitor. Traffic? I thought you traveled by boat. (scratchy vocalizing) Very funny. Anyway, you mind telling me what this meeting's about? Mind telling me what that's all about? Aw, my movie. How to Photoshop everyone. Excuse me, my movie. No. That's clearly me. See, Kevin, with a K, Kibodo, with a K. That's where you're confused, because that's me on the cover, Action Man, with an A. No, I think you're the one that's confused, because that is clearly me, see? Are you kidding me? That doesn't even look like you. The bone structure, see, that's me. What's the point of this meeting? I'm glad you asked. I only leave my cabin if it's really important. I got a visit, from a girl. Her name's Allison. Know who I'm talkin' about? I do. She wanted me to teach her, about actions. I'm aware. So, I show her actions. The next thing I know, it's on this DVD! How do you explain that? There's good stuff on there! We had to make a movie and share it with the world. It's cool, right? No. It's not cool. I spent 360, 60 years in the woods in isolation, and the first person I let into my cabin, the next thing you know, I'm staring in a movie! Co-starring. I'm the star! Technically, you're a supporting role. It's not really important. That's why I came here, okay. I blew up my cabin in the woods, blew up all the land around it, escaped in my boat, and frankly, I think it's time for me to make a reappearance to the world. And, how are you gonna do that? Sequel Hmmm, part two. How to Photoshop Everyone Else? No. Action Man. So you basically want to make your own spin-off movie. Spin-off! Listen, Kevin with a K, automation is the wave of the future. Action Man is like a freakin' super hero. Come on, what do ya think? I think you don't need my approval, because, I am you, and you are me. I am you, and you are me. So, I don't even exist. Wait, you don't even exist. Action Man's back, baby. Action Man is back baby! (maniacal laughing) Alright, one more change. Hold on. One more, I got one more change. (laughing) Something that we need to add here. Hold up, hold on a second, it's here. Boom. Right there. Alright. Alright, so. Am you, and you are me. So, I don't even exist. Wait, you don't exist. Action Man's back, baby. Action Man is back baby! (maniacal laughing) Action Man is back baby! (crazed laughing) (energetic music) Where are they? (applause) Kevin, if you're out there, you da man. And I think we made a credit sequence, as well. Well, we didn't make it. Our AfterEffects guru. Paprika, Paprika Paprika Design Studio. What's the web address for that? The web address is DesignPaprika.com. Wait, don't give it out yet, we don't know if it's good. You guys haven't seen it yet, so. (laughing) So. Oh, man. Hello. Okay, so we gotta take the coming soon off. And we'll put that at the end. And we just need some sound effects. That's what I would, that's where I would go with this. I'm sure you have a sound effect archive here. If you can do AfterEffects, there's some stuff you can do that's cool here, check it out. And if you can't, just pay someone to do it like we would. (blasting noise) I'm into it, that's great. And the fact that you did that during lunch is even greater. Yeah, he did that during lunch. Your website address is? DesignPaprika.com DesignPaprika.com and if you're in need of any kind of AfterEffects work, graphics work, to add title sequences to your movies, go there, his, we've seen his reel at lunch, he's super, super, super good. That's awesome. And for people who, may be outside of the country, or don't know how to spell, could you spell out Oh, I'm a horrible speller. Design Paprika. D-E-S-I-G-N-P-A-P-R-I-K-A? Perfect. Thank you. Alright, last, last little lesson here. Alright, we got eight minutes to go guys. I can teach it in four. That's perfect. And then we've got time for four questions. Okay. Exporting. Probably, just take my years of sneaking into University of, I'll leave unnamed, library, using their state of the art editing equipment with a fake ID, yes, I know, I've done this a lot. And sitting there until countless nights at four o'clock in the morning, trying to figure out, how to compress things correctly. So, I'm gonna give you the recipe right now. Because compression is one of the hardest things that happens in film. I'm not gonna give you all the recipes, because we wouldn't have time to do that, I'm gonna show you how to make a full resolution file. Because here is what you wanna do. First of all, let's go to file, let's go to export, we're gonna go to media. And that is gonna export your timeline, what you have there. Now, here is the big problem. I'm going to tell you that the idea, and the art of compression is to keep it as close to the original file source as possible. So if you have to compress it, that's okay, there's a way to do that. You wanna try to avoid changing the codec, so this is H. If I were to put this on a DVD, I would be forced to change the codec, if I'm putting it on a standard definition DVD I'd have to make it MPEG too, which is a totally separate process. Let's say you wanna put this on YouTube. And I say, you wanna make it H.264, here's the biggest mistake everybody is going to make. They're gonna go to format, and they're gonna go to H.264. And this is going to make an H.264, that is an mp4, so there's a difference. There is mp4.H.264, and there is mov.H.264. You shot your clips at mov.H.264. I'm not really sure why the mp4 codec was invented, 'cuz I've never actually seen it play smooth on any machine, ever. But whoever invented that, I apologize, I just put you on blast. What you really wanna do, is you wanna make an H.264, and mov.H.264. And basically, what he's saying, is either way it's still an H.264 file, but it's either put in a wrapper that's a Quicktime wrapper, which is .mov, or it's put in an mp4 wrapper. And the .mov wrapper seems to play more consistently across machines, in a more smooth manner than an mp4 does, we've done this so many times, we've been in the middle of our performances, giving a presentation with an mp4, Mp4 will just stall. And it just freezes, and so. And one of the reasons for that is 'cuz you're actually changing the file extension, because you shoot it as an .mov, that's what it comes out of the camera as. So here's the first step you wanna go to. When you go to format, you wanna go to Quicktime, 'cuz that's gonna produce an mp4. An .mov. I'm sorry, .mov. See? Makin' mistakes. Don't even worry about this, the preset, it's nothing you need to worry about, okay. 'Cuz it's gonna turn to custom when you start to change it. Output name, just click this, I'm gonna put CL Action Man. And this is just where you're going to save it, and what the name of the file's gonna be. Click save. You want the export video and export audio checked, it'll always be checked for you. Now, when you get down to this box, this is where all the magic happens. Making magic. Video codec, this is where you select H.264. Okay? So you click H.264. See how the preset turned to custom? That's gonna be important in a second. Quality. You're always gonna leave the quality at 100% if you're tryna to make a full resolution file, so I was talking about how I make full res files for my portfolio, this is what I would do. I turn this little box off, because it makes it a perfect square, and I'll explain what that means in a second. So I go to the width, and make it 1920. And height is gonna be 1080. Now, ya see these little black letterbox lines on top of my film? That's not gonna be there, because what we have to do, is we wanna change the aspect ratio to square pixel 1.0. Because 1920 by 1080 is a square. And we're gonna leave the frame right, if you've set it correctly when you originally started your film, when we opened up Premiere, this will be set for you, you don't have to worry about it. If you, you can do two things. You can render your film. Okay, you can render your film before you export it, or you don't have to do that, but if you don't do that, you wanna click render at maximum depth. If it's unrendered. If it's rendered, it doesn't matter. And, that's it. And then you would click export here. K? A couple ways you can compress the file, is, And that's to create kind of a master It's to create exactly the thing you shot. It will not change it from what you shot at all. And give you the maximum quality. And from there you can take that file, And make any file. Run it through this process and make any file. Yes. _ Or, you can straight from the timeline do adjustments like you're gonna do right now. Yes. So, to compress it, I'm not gonna get into all the different types of compression, and whatnot, but if you wanted to compress it, you could change the size, to 1280 by 720, K? This is what I'd recommend going on YouTube. And you can turn the quality down to about between 80 and 85, depending on the file size you wanna make, and if you really need to compress something, like the Making Magic DVD's, for example, it's a two hour file, we wanted to make it a digital download, and I shot that on the C300, so the file is ridiculously large. And Jeff says ya gotta make a 500 mix. So, what I do, is, to make it good for download, I go to limit the data rate, right here. And basically what that's doing is limiting the bit rate. And this number, the bits per second, will affect the size, down here. Estimated file size, 27 megabytes. So I can go to, let's say would be a decent quality bit rate. And it, see how it increases the file size to 67. And what bit rate means, basically, is how the information is right across the screen, so, Kevin's wearing a blue shirt. The amount of data that goes into his blue shirt, is repetitive. So when you limit the bit rate, basically what it does is it takes repetitive information out of the file. And that's what that does. And it takes a lot longer to compress this way. So, if you are in a program like encoder, which is a, if I clicked Q here, right here, if I clicked that, then coder would launch, and I'd be in the Premiere, Adobe's compression program. Or Compressor, which is Apple's compression program. You can do an average bit rate, which, when you're making a DVD that's what happens, there's an average bit rate, and a maximum bit rate, and a minimum bit rate. And, basically, the minimum bit rate would be, how low the bit rate goes, at times, the maximum bit rate would be how high the bit rate goes, and then the average bit rate would be what you're supposed to average throughout the entire process. I know I just confused everybody with that science, but, I'm just trying to explain the point, that, if you limit the data rate here, you can control the size of the file. So. That'll be it for editing. I am going to finish this film, off campus here, and I will post it to my Facebook, so if you're not Facebook friends with me now, find me. You'll post it to Facebook, it'll be posted from our YouTube page, correct? Yes. And I'm sure Creative Live will post it as well, right? Yes. (laughing) You didn't sound confident there. Absolutely. Hold ya to that. Okay. What was your nickname? Bold claims Ross. Bold claims Ross. Bold claims Kevin. Now, a bold claim would be, I'm gonna edit this without looking. Wow, that is a bold claim. Or edit this with my left hand. Oh, under water? Underwater. With a mouse. With a mouse. An actual mouse. Sweet.