Transcript for:
Smooth Editing Course - Lecture Notes

welcome to the smooth editing course in this course you're going to learn exactly how to do the smooth editing style which is the exact style that I've used in my own career where I'm now working with the largest creators in the world guys with 20 30 million subscribers and this took me from editing for 50 bucks a video to now charging anywhere from 1 2,000 for every single video we're going to cover everything from the fundamentals of creating smooth edits to the five Dynamic principles that make it so your edits aren't overwhelming but everything comes together to make a good edit we're also going to be talking about creativity as well as some transitions that you can do to bring your whole edit together the beautiful part about the smooth editing style is that no matter which Niche or which other style that you want to sort of go into smooth editing always comes up I've worked with every single Niche you could think of art gaming self-improvement I've done Reactor videos I've done IO challenges I've even worked in finance crypto this style Stands Strong and the principles that we're going to go over together in this course are applicable to every other style that you could want and to be clear a lot of what I'm going to show you is going to be within Premiere Pro purely because I do most of my editing in Premiere and I find it crazy that people think you need after effects just to be a good editor I remember I used to be told by so many people that I needed after effects or wanted to make anything out of my career but here I am I stayed on Premiere and I've had multiple 10K months after that what you need to understand is the way you get good at editing it isn't a secret software or a specific thing you need to learn you get good at editing by spending a lot of time on a single software until you become the best at it so if you are a premere editor you're in luck cuz this course is literally catered to you so once you've got premere installed on your PC your Mac even if you have a bad computer it doesn't really matter these smooth editing principles still apply and you can still use them I'll see you inside the next lesson where we'll go over the fundamentals of smooth editing welcome to the first module smooth editing fundamentals this is where we're going to teach you all the necessary techniques for you to actually execute the smooth editing style these techniques that you learn the way that you look at elements the way that you look at the curves it's going to be the basis of every single key frame that you put down for the rest of your editing career for years to come these techniques are going to be applied so I can't wait to teach you this because this hasn't been taught anywhere else this is me editing thousands of videos and having to learn this for myself so if you can open up for me while you're doing this and you'll be able to follow the steps as I'm doing them other than that we'll jump into the first lesson so now we've got Premiere Pro open and as you know you can drag things into your timeline I'm not going to go through the dead basics of how to import Clips you already know that what I want to explain is more the way I like to think about the elements that are on screen elements are essentially what I call these little blocks I like calling them all elements you'll find that there's actually three types of elements that you're going to be concerned with when it comes to editing first one is backgrounds this is basically things that fill up the whole screen it's this footage you can see this is the background if we are going to do a smooth edit it would be a PNG coming up on here but the background is the actual footage so these two are both types of backgrounds I've added two of them on this layer so we know these are backgrounds let's add a let's make them both green to make it clear there's two types of backgrounds there's footage which is usually the client will give you this or whatever you've downloaded online or you can have artificial backgrounds this is where you've gone in and you've created a certain image something to fill in the background yourself this could be either you having like a p like a color mat like this so this I'll show you how I created this you just go onto a new item go onto color mat click okay select the color let's say you've got like this greenish just call it green so it stays organized sorry bro I just hit my mic then you drag that in and you can add some effects like um a brightness and contrast maybe do this Mosk it extend the mosque and this pretty much just creates a v yet and yeah this is how you can create and then there's other effects that I like to do for things like this to add more depth but this is generally how you can make an artificial background so your backgrounds are either footage or artificial the next thing that the next type of element that you're going to have is a foreground element so we've done the background now it's foreground foreground elements of things that basically they don't take up the whole screen and it's things like subtitles so here you can see if you put a subtitle on top it's not taken up the whole screen same thing with a PNG so I've got a picture the picture of my cat here this is a four ground element this also includes things like overlay so I've got this stupid overlay here if I just Ultra key this out so basically green screening it you'll see this is now a foreground element so you've got background elements and the foreground elements that go on top so you can see if I just sort of move things around here you can see you can have multiple foreground elements on a background you've also got adjustment layers so this is the third type of element so you've got backgrounds foregrounds and adjustment layers adjustment layers are going to be where we can add a transform or any other effect for that matter but what we're mostly concerned with is transform and now anything You' added to this adjustment layer will happen to all the clips below it if you don't know how to create an adjustment layer you just go to this bin click new adjustment layer and then click okay then you can drag that on and then add a transform to this so that's how you create adjustment layers it's the combination of these three but are essentially going to allow us to create insane edits this sounds super simple right now but once you understand this it's like everything else becomes a lot easier to understand because these are essentially our building blocks this is what we're going to apply the motion to in order for us to create an insane edit you're going to hear me referencing oh the background the foreground elements this foreground element should be taking this much space so understanding what a background is and a foreground element is and then an adjustment layer which basically helps bring them all together super important concept to understand so what I recommend doing now if you have your premere Pro open which I recommend if you are going to be following alongside this open up your Premiere and bring in a background which is a like a normal one so a um like footage background so bring practice footage if you need to download a video if you need to download the beginning of this um this course like you can just take the first minute and download that just put it onto your timeline get an artificial background so you make your own background like this on and then bring in a subtitle like this so this is our first type of um forr element bring in a p you can download this from the internet whatever image you want could be a car could be the Eiffel Tower could be whatever and then download from YouTube a green screen video something like this this is a blue screen green screen doesn't really matter search up a meme search up whatever and go to a YouTube to MP4 downloader download that bring it into premere so you've got these different types of elements and just practice putting them on screen and getting an adjustment layer throwing transform onto there and just messing about seeing how each thing interacts with each other I know this sounds super basic but it's important to see the differences between okay there's a there's a motion effect directly on the text and then there's also a motion on the foreground elements let's see how the zooms work so if I zoom in on this one it does it from the bottom if I zoom in on the Pepe then it does it from the center of that Pepe rather than the center of the screen with the transform and the adjustment layer you have more control oh the the motion doesn't actually help with the adjustment layer but it does with if if you add a transform onto it so mess about with that and have a sequence similar to this and once you've done that I'll see you in the next lesson so now we have the building blocks for a video Let's actually show how to move these around there's a few different ways to move elements around your screen but essentially the main two are going to be motion so this is where on every single element you're going to have premere Pro putting an automatic motion effect on there there something you can't delete it you can just is is on every single clip this allows you to move around and there's two ways to move it around on this you can either click on the motion effect it'll bring these blue lines around the clip and you can move it like this it's a little laggy but hey you see you see what it does or you can just drag on the actual numbers going up and down same thing with scale the second way of moving which is actually more important to us if you go into your effects Tab and search up transform and then drag that onto your clip you'll see the these values do a very similar thing in fact the exact same thing as motion where you can move move it around the screen zoom it in Zoom it out rotate but the advantage to this is this one effect here this is called sh angle is from 0 to 360 and if you mess about with it right now it doesn't actually look like it's doing anything but when you key frame something let's say we key frame it from the left to the right if we were to just leave sh angle at zero you see it's moving cool whatever if we put sh angle to 360 we've got motion blur this is like what puts edits together edits without motion blur I know it sounds kind of cliche like oh what should we just put motion BL and everything my answer is genuinely yes I put all basically every single movement I do has the shutter angle all the way clanked up to 360 for the most motion blur possible you can go too far with this if you put it to 360 and it looks like too much then okay we'll try putting it down maybe 180 200 whatever but for the most part I will automatically just crank it all the way up this is with every single transform that you put on so these are the two ways of actually moving things in here and for 99.99999% of the movements that you do you're going to be using the transform effect it's going to be ingrained into your muscle memory of you dragging in a transform and setting the sh angle to 360 you just always do it whenever you move things and key framing you probably know it already but I'll show you just in case you just click a this button this time stop which tells the software yo at this time make sure like the PNG is this spot and when you go forward in time you move the cursor thing forward you can change the position of it so Premier I recommend um for transform just use um the actual number or you could use this blue dot but it's a little more finicky I actually used the numbers for transform and then now we've got key frames it's like look it goes from spot from one place to another and you can open this little tab up which is basically the velocity this is at what point is it at what speed so right now you see from the start to the finish of these key frames it's the exact same speed right let's just move these stuff so it doesn't get in the way you see it's the exact same speed moving These Bars will essentially change the speed at which it moves up so you can see that's its fastest in the middle now this will be its fastest at the start so it's super fast and then it slows down or we can have it super slow at the start of movement you see it's moving a tiny bit and then it speeds super fast at the end you're going to learn about curves and when to use what curves and the best way to do it in the next lesson I believe yeah the next lesson where we talk about smooth curves but for now all you need to understand is this is the basics of um motion this transform effect your life and soul will be in this transform effect that sounded a bit strange but basically my career if I had to put like a percentage of what my career is built off of 90% of my career is built is towards this transform effect I've spent more hours in here than I probably have with my family and um that's why I'm really good at it and it's crazy how just knowing how to change these curves literally separates the an editor that wants to make like good edits and wants to make money to the best of the best just how good good can you control these these little bars so I'm going to show you exactly how I do it in next lesson but essentially that's how you use transform transform works on all the different elements so it works on footage as well so just practice now create some basic basic key frames this is my story see how it works experiment with shter angle just have some slide on and off screen and in the next lesson I'm going to show you exactly how to make the curves so that they are move so for now just have the background slide in like this and then you can reset it like that just have it simple slideing and have a PNG which does the same which let's just delete these for now it goes from off the screen to onto the screen so have these two key um these two animations for now from 100s and in the next lesson I'm going to show you exactly how to the curves and hopefully I can save you the tens of thousands of hours that I spent learning this so welcome to lesson three on smooth curves if there was only one lesson in this entire course that you could take let it be this one I promise you once you understand this this will change the way that you edit so I want to show you a clip right now I might just edit this in but anyways I'll show you here a lot of people see edits like this and it can seem kind of overwhelming but what if I told you that this entire edit there's actually only three movements throughout the entire video in fact in any edit that you look up to or that you want to create there's actually only three movements that's entry exit and intermediate movements let me explain a little more so entry movements is basically when something comes onto the screen let's Bing on this this PNG that we had from earlier this PNG imagine imagine we had let's bring this PNG up we're not going to key frame anything I'm just going to show you an animation with by just like moving it around the screen so if something's off the screen and it comes on like this that's an entry animation this is something that's entering the screen the next thing that a PNG could do so it can it could be coming onto the screen the next thing it could do is it could be coming off the screen that is another thing that it could do other than coming on or coming off the screen there's only one other thing that it can do it can stay on the screen so that's when it's goes from one part of the screen to another so that's an intermediate animation every single movement that you see in any edit ever like physically this is the only way that it can exist it's either coming onto the screen going off the screen or staying on the screen so let's just go through this video and kind of like understand these animations and start breaking it down because actually being able to look at an edit and identify oh that's an exit animation that's an entry that's an intermediate this is a part of smooth editing so let's go through this video let's think about let's think of something simple okay look at this this picture and the animation that it's it's doing on screen is it what is it doing it's coming onto the screen right so is it an entry animation an exit animation or an intermediate it's an entry animation right let's say with the whats up so when it comes off the screen which type of Animation is it it's an exit animation let's try to find an intermediate animation on here which element is the one that it's it has a movement it's animated but it's not coming on or coming off the screen this little image here this is staying on the screen both before and after the animation like the movement so from this point to this point it's the both the points are on the screen so it's an intermediate animation so like engrain that end your head entry exit intermediate each one of these has a different curve that we're going to make when it comes to the transform effect so it's extremely important like you need to understand what ENT entry exit and intermediate is if you don't understand that you won't know which curves to make this is the fundamentals so once we know which animation it is let's say we have an an entry let's drag a transform on and let's create a super simple entry animation on this PNG so we're just going to create two key frames go to the first key frame and have it going from off the screen to onto the screen super simple right what I want you to do is open this up this little arrow so that will basically show you the the velocity stuff highlight the two key frames right click go to temporal interpolation and click ease in then do the same with this time click ease out that will create this sort of curve it's like a hill if you watch this you'll watch it's a little smoother than normal an entry curve is when basically it comes on super fast and then by the time that it's come to its stop when it's already on the screen it slows down so it's going to look like basically this I'm not sure if the camera puts it the right way but I'll show you in the actual software so if you just drag this this bar to the left and this left bar left in fact just move it left for now just just just to keep it basic I'll show you the proper way to do it in a minute if you look at this this is a lot Smo if we put up our sh angle so we get motion blur look at how much nicer this looks like to how it was before I'll show you how it was while it was linear this is how it was before this is how it is now already we've seen a huge Improvement right I'm going to show you how to make these bars a lot nicer so we're back to the hill now you move this bar to the left and this bar we move up and you don't have to actually stop here you can move past the border and then let go now you've got an even sharper animation so what I recommend is have it you don't it's a fine balancing guys so you don't want to go so high that it literally just instantly pops up but you also don't want to have it like so low that it basically this fools kind of sloppy I recommend go a little a little bit up this takes a little um tral than never you'll get used to it and have it a couple pixels away from this Edge so you don't want it all the way here but you also don't want it all the way here I recommend just just have it a little far um a few pixels away and also something I recommend doing is moving the key frames apart like this gives you more leeway to make this either even sharper or slightly further away from the the wall so it's it's by messing about with these so once again going temporal ease in ease out moving this bar like this this bar up and slightly to the left but you get curves like these and then if you want to make it a lot sharper just move it up even more even sharper move it up even more like that's essentially how you do it so that's an entry curve now exit curves is when we have a PNG so this one's coming onto the screen it's when we have a PNG that's coming off the screen so let me show you what that looks like so we've got our plain PNG here we drag a transform on and we key frame it from onto the screen so this is where it's on the screen and the next key frame is when it's off the screen so let's say we move it let's say it goes out to the top once again put our motion blur all the way up that's what it looks like a linear what we can do is come in here right click ease in ease out and let's see what happens if we do the same curve as before if we did an entry curve here that's what it looks like not very smooth what you want to do instead is the exact opposite so the left bar we move to the right as much as it would go go and then the right bar up and slightly to the right and it'll create this sort of ramp so now look how much smoother that looks once again you can experiment by going slight even higher you can have it lower if you want to try that out you can put them closer together see how that that looks but usually I recommend having it further apart so far like this and then sharp I found this is how you get the smoothest key frames long and sharp just keep those in your head long and Sharp key FS that are far apart so they're long so you get even like right at the beginning like it's like barely moving but this is what makes it look super Dynamic so long and sharp movements if it's too fast you just bring it down a bit you bring it down and get it closer to the wall so yeah that's how you do the exit curve now entry curves let's bring in another PNG you put in your transform and you get the basic animation that you want so let's say we want it from the left to the right so this is where it's not going off the screen it's not coming on the screen it's just staying on the screen from one position to another if we did an entry curve we would temporal EAS in ease out this is what an entry curve would look like let's put motion blur up entry curve okay it looks smooth for the last part but it just kind of started at the beginning exit curve would look like this which doesn't look the best instead what we're going to do is called an intermediate curve so do your ease in and ease out once again and we're going to bring both bars toward the middle now that is what you call an intermediate curve this is whenever there's a PNG that's staying on the screen so that's actually what the curve looks like for this image when it's going from here to here I'll show I'll show you how to do this curved movement as well um but when it comes to the actual curve that's in on the key frames this is the this is the pattern so once again you can by changing the the distances of the bars you change the speed of things so if you still want an intermediate curve but you do want it slightly more towards the beginning you can make it something like this with a left bar slightly shorter than the right still follows the intermediate curve same thing with being further on the right but generally what I found is it's better to have one where both of them are super near the middle and if you want it faster you just put the bars even closer so let's for extreme example let's put them super close you see how sharp that is but if you want it to be slightly slower which I actually prefer sometimes you just put them slightly further apart and once again this follows the sharp and long rule so if you want to if you feel as though it's you just can't get it as smooth as you want you put them further apart like this and then now it's like oh it's kind of slow whatever and then you just make them sharp so sharp and long like this little too sharp let's save that this is how you create intermediate curves now let me show you how to do so practice that first of all I want you to get a PNG practice the entry animation on a PNG practice the exit animation and then practice an intermediate animation that is going to be the three basic movements and once you once you can identify entry animations exit animations and intermediate animations and do the the correct curve this is how you do smooth editing of course like there's a lot more that goes into it but just being able to look at this element okay was this element on the screen so this little Banner thing was it on the screen before it before the animation we're doing so let's say this flap down animation is it currently on the screen screen no are we bringing it onto the screen yes therefore it's an entry animation that means the curve that we're using is going to be this entry curve when we make it slide up it is currently on the screen we're making it come off the screen therefore it's going to be coming it's going to be it's coming off it's an exit curve so it's this curve we want to break it down into fundamental movements so I understand there's some things that are moving like crazy like this is moving like crazy we break it down to basically fundamental movement just what what movements do we put together in order for a thing to animate so with this this piece technically okay it comes on first that part was an ex it was an entry animation from here to Here There is a new animation going from here to here there's a new animation from here to here there's a new animation here to here new animation here to here there's a new animation here to here there's a new animation here to here like each part is a new animation which we're going to I'll show you later but we're basically going to be stacking and when you break it down into into its component movement so one movement at a time so this entry is one movement this exit is one movement practice those animations now and you can do this both with the smaller elements so the four grand elements like this but also with this is my story footage so let's bring on the footage here this is my story so this is our sliding it in we're going to ease in ease out and if it's sliding in it's an entry curve we just create an entry curve like this this is my story is my story and now we got entry curve and this exact same thing works with the artificial backgrounds as well so we slide that on bang bang um in fact let's I'll show you a slide out for this one um you do the ease in ease out there's a shortcut that you can use which I'll show you now which just does instead of having to right click and click this every time you just click one time I'll show you that in a second um so then exit curve is this make sure the sh angle up so fast let's put it further apart still a little bit fast maybe it's a bit too sharp there we go I like that so that's how you do the a animations make sure you practice this you need to practice this enough times to the point where it's muscle memory like I've gotten to the point where I can basically do this without thinking now so it's like me doing that then that bank and I already know this is a entry curve so I'll just do that like I can basically eyeball things without really thinking much um it might take you a couple minutes to actually move this around see like oh when I move it higher this is what happens when I move it slightly lower oh that's interesting it changes like that it's worth taking the time to experiment now so I'll show you the shortcut actually but I used to basically do this with the key frame so instead of having to right click bang bang um that takes ages not only can you reset them but you can click them all at once just do Control Alt K which brings up your shortcuts if you don't want to use that just go Um edit keyboard shortcuts and just search up temporal interpolation and you can extend this if you can't read all of them temporal interpolation ease in set it to 9 temporal interpolation ease out no so set ease in to eight and ease out to nine the exact um keys that you say it to aren't really that important what's important is that they're next to each other the reason being when I click a button to do this I can basically click them like this you know how you normally click a button like with one finger just get two fingers and just click it like that so now instead of having to do like eight sorry instead of having to do eight and 9 it feels almost as though I'm just clicking one button it's like I just do that um and this basically gives you the base to to do the move animation so this is what it look like the full process drag and transform pick in your head what animation am I doing okay I want to slide this in you create the basic key frames and then you just click highlight them click 89 this gives you the base you can put your sh angle up and remember we're doing an entry so we just create that entry animation okay make it a little further cool and that's how you do the smooth curves so before moving on up to this point we've only shown how to do slides so sliding in sliding out and intermediate slides but we can actually use this exact same concept this concept of Entry exit and intermediate curves with any movement not just slides not just our positioning you see all these other key all these other values scale skew um rotation these all follow the same principles even opacity which I'll show you in a second so let's talk with the next logical one after slides zooms so if you get a new PNG and just put a transform on and we're going to do a scale from 0 to 100 so 0 to 100 this is what it looks like something I found for some versions of Premiere um if you put it on zero it actually just bugs out and makes it show as 100 um so if it does do that just set it as one or 0.1 um that's if it bugs out but we're going to do the exact same technique so put our curves and because it's coming onto the screen is an entry exit or intermediate it's an entry it's literally coming onto the screen and you'll move this right bar to the left and this left bar up and to the left just like before and put the motion blow of course now in fact this is something I want to show so without motion blur it works fine but when you add a motion blur for this version of Premiere which I know happens a lot it just bugs out like this the quick fix for that is you want to Nest it so just get your PNG so this is a PNG I'm duplicating it so I can refer back to this if I need to but you'll have your PNG make it in the center of the screen so if you can just reset this if it's a PNG that it's not already naturally in the center just move it to the center um but for this just reset and it's in the center then Nest it so right click nest and the name doesn't really matter um then now if you add a transform and you do the same thing so we go from 0o to 100 and we have the motion blur on which previously messed it up you'll see it worked perfectly so now let's get to the curves 8 9 and set the entry curve because it's coming onto the screen oh it's a little fast in fact no it actually does do the bug so this is the bug I was talking about it says zero but it's actually showing us one just say it's from 1% so now you see the entry curve something with the entry curve with the entry curve on scale which doesn't happen with transform there's a few different things I not with transform with position is on a position key frame so when we're sliding you can't really like mess up the bottom bit cuz you don't want it so the bars up here otherwise it just won't it'll just start by moving we want it for the first few frames to not be moving at all right um with the position ones we can literally just drag it all the way down and then it'll naturally stay in line with the the Velocity bar from before instead of being like this which is bad um with position you can just drag it all the way down and it'll naturally keep itself in line with scale it falls into a problem where let's say for the entry where this needs to be in line this can go above or below as you can see which causes this sort of jitteriness so you'll see what that looks like um I won't do some you know I won't do something as Extreme as this yeah if you have that it basically does this like it does some weird curve so you want it to be in line perfectly with this so after the key frame and at the key frame should be perfect like in line You'll Know if it's right or wrong so let's say you you put the bar slightly too high it'll do this you put the bar slightly too low it'll do this we want it dead on it can take some practice like here slightly off if you zoom in you'll realize if it's good or not move it slightly lower there that's about perfect it is slightly off but like you it's worth the time to practice getting it perfect this is what separates like good editors from the bad ones where a bad editor will like just do this and they can't really be bothered to fix it a good editor like dead ass goes in and we'll spend like a minute just trying to fix this it's worth it and for the second one it's the exact same as before so this is what it look like normally and then you just drag it up to the left and now it creates that curve that we want um you don't want to go too high or too far to the right otherwise it'll do this and that's exagger of course this is what it might look like um that's just because you dragged it too far up or too far right so we just do the opposite drag it a bit to the left drag it a bit down and it'll fix it for us so that's the entry curve on the scale which I've got here as well and you can do the same with an exit so it's the exact same process but in the opposite direction so I'll show you how to do that now drag a transform on scale from 100 to let's say 0.1 sh angle put on Max do your your shortcuts that we showed last lesson and then the exit curve which is drag this to the right drag the right one down and to the to the right like this don't want to go too far down just around here so this is sort of what the top bar should look like then now that should look good now we've got an exit animation for a scale if you want to put it closer together that's what it'll do and yeah just mess about with the timings and the level that you bring this down to um now with intermediate animations this is where both at the start and the end the image is already on so remember with entry image wasn't on image is coming on so it's the entry curve image is on is an on after so it's an exit curve with going from let's say 40% to 100% the image is always on screen so it's an intermediate curve this follows the same principles as the slides so we go from I'll show you how to do it um let's just bring on another another PNG so you add a transform onto it go from let's say 40% to 100 put a sh angle up and now if we just create our intermediate curve remember once again it has to stay on the bar don't want to go up and down do that with both don't want to have them too close together otherwise it'll be super sharp like this in fact actually looks good um this is what I mean by super sharp just kind of gets rid of the smooth effect so you want them slightly apart and you get something that looks like this if you put them closer together it'll be sharper out the actual key frames you put closer together or the bars you put close together and that'll make it sharper or if you want it to be smoother and you feel as though it kind of feels too sharp move them further apart if you need to put these closer together a tiny bit and now the animation will last longer that's how you get super smooth for inter media now this I've just shown with position and now we've shown with scale same exact thing with rotate so rotate is this I'm going to show how to let's say it's already on screen we just want to rotate and make it to a 60 before the animation it's on screen after the animation it's on screen which means the intermediate curve so we just do that intermediate curve with rotation so let me just show you how you would do it let's add a fresh PNG drag it on so rotation let's say it starts from zero and it goes up to 360 sh angle on Max and it's the exact same thing that we did with the scale so once again you want to make sure these bars are in line so here you can see it's a little too low I believe so if I just put it in fact no was too high you'll know if it's too high or too low in fact you can actually mess about with this bar for rotation it works better to just use this bar make sure that's straight in line same thing with the bottom one and now you have an intermediate curve for rotation something I like doing with rotations is when you actually have it do something like this so this what type of curve is this is an entry exit or an intermediate it's off the screen then it's on the screen it's an entry so this is where it zooms in at the same time as it rotates so let's just show what it look like if you rotate so if you're just rotating it's this graph where you drag this right bar to the left and on line on the line and then the left bar you drag up into the left like this and then you have the smooth zoom in as well which follows the same curve then you get something like this and for exit something very similar you can get it zooming out and scaling out at the same time um yeah I just wanted to to show that because these curves people think that it only applies to zoom to um slides like this but it applies to literally every single movement even opacity so if you were to go let's say you want to have this PNG go from 0 to 100 sure this technically works but you want to know the smoothest way to actually make an opacity it's exactly like an entry curve sounds weird but you can actually make smooth smooth opacities so if you were to have it come in let's say we have another one which is we're going to be making the opacity go down we would do an exit curve so it slowly starts fading out rather than suddenly starts fading and if it was to go from let's say 100% to 20 like 30% this technically works but there's a harsh stop if you can see that what you can do is create an intermediate curve these don't need to be as sharp it's very subtle but it's the small things like this just that just add so much life to an edit and it makes everything feel like it connects together um so practice with these and just a quick tip I'll show you how to use a a um sort of extension it's called slide Keys it's by one of my good like friends that I know in editing space his name is Jiggy I'll add a link to this in the description um just search up search up slide Keys No I I'll send it to you in the description you can basically open up this program oh that was PowerPoint slide keys and then you select to trigger so I just use cap slop and click submit now whenever you want to make one of these key frame velocity things but you keep going either above or below like this by accident um cuz it can be hard to go like exactly on the pixel let's say you want to make an entry curve just do your eight and N shortcut that we showed last lesson go on top of the the bar so I'm not clicking anything then hold control and then drag it to the left and now no matter like I I'm trying to move up and down iys Bally cannot move up and down um so this is good for just keeping it in line now let go of control that's the right bar done then the left bar you can just do manually so that's a good way of making it so you don't go off offline with any of these so let's say with this you just do 8 n so the EAS and E out then you can use the caps lock well slide keys and now you'll never be off with with it being too high or too low um so yeah that was a quick trick and now with next lesson we're going to be showing how to stitch all of these together and get like these more complex scenes you've got a bottle that's coming on then moving to the left and then I mean it doesn't slide out but basically there's two component movements I'll show you how to put them together now so now we understand the basics this is where start to get fun we've done the component movements so you know how to slide things in slide things out how how to do it if it stays on screen this is the part where we put it all together to start making more complex scenes of course this is pushing it but these are the same techniques that I used in here so let's get into it essentially every single time you have a new movement you need to have a new transform this is something new that you may not have heard before but essentially this is what's called stacking transforms so for each movement each component movement entry exit intermediate has its own transform layer so let's say for this PNG we've slid it in if we were to slide this out a lot of people would try to okay so I'll I'll just add two more key frames that slide this out and sure technically this does work there's some limitations to it because let's say you remember we talked about having long and Sharp key frames you can't really have long and Sharp key frames while keeping the times you want cuz they'll just interrupt with each other they're going to get get in each other's way especially if you're doing some more complex things like you want an intermediate one in between so let's say you want it to go from here to there you basically want to do this sort of thing where it goes from bottom and then to the right and then up let's say you want it to do that it does technically work where you can do an exit curve at the last one intermediate in the middle then entry at the stop it works but like if you wanted to get the timings right it's just kind of awkward like you can't really let them overlap like you can't have like what it has to come to a complete stop before going if that makes sense which isn't optimal what I want you to do is whenever you have a new movement so let's say you have it sliding up you drag in a new transform do your little slide up so let's say it slides from there to there do an entry curve like that so you slid it in now let's say you wanted to move it from here to the left now so not sliding out yet an intermediate movement goes from there to there add a new transform and then do the intermediate movement so let's say you want to move it here do the same sort of um curve but this time for an intermediate movement like this and now what you can do is actually overlap these so you can see they're actually happening at very they B like this has already started moving towards this position and the slide in hasn't even completely finished yet and if you wanted to slide it out just add a new transform do your slide out let's say you want to slide it out to the top put your motion blur up create your exit curve and now remember we talked about long and Sh we can have long and Sharp key frames while they're overlapping and it just looks good bro so any movement that you want to do let's say you have an idea of I want to make something slide up then slide to the right if you want to do that on this what you would do is have a trans so first you can just use the motion to get it in position um have a transform this is for the actual movements so we have one that slides it up like this um that is way too sharp actually no this is a entry so that is the complete wrong curve this is the curve we want and then we want it to slide out to the right just like in that example and you've got an exit curve so now this is what it'll do of course you can change the timing so if you want to stay longer you just move the key frames apart if you want it sharper and you don't want it to start so right now it starts moving a little right straight from the beginning if you want it to do that a little later then you can move the key frame along and this exact same concept works with zooms so let's say you want it to slide in and then you want it to zoom out a little bit you want it to go to 30% you would do this so we're going to go from 100 to 30% because it's staying on screen for both it's an intermediate curve we'll set it like this okay there's a problem with it doing that that just means we need to Nest it let's just cut these two so just contr X um let's Nest it and then paste so we've got it again that is strange not sure why it's doing that oh I know you know what I'm glad that mistake happened um okay so the solve the solution to this should be instead of using motion you just keep it in the center and have one transform that's made just to move it into position there's a transform is this isn't even four key frames you literally just leave it there for a position and now you have another one which is the entry curve like so I'm actually really glad that mistake happened because it's problems like that that come up that I've gotten so used to solving that it doesn't really come up in my head but yeah that's the solution should be the solution to that we'll find that out now so if we add a intermediate scale out from 100 to 30 that should scale in that position perfect so it'll actually do it in the center of that um the nesting problem came up so now it should be the nesting problem we just cut out all of these effects contr X Nest this and now that Zoom why is it doing that let's see what problem it is oh it's just this transform just needs to position it in place like so and now when we scale out does it scale out in place not yet let's move it up just mess about with the layers okay so cool okay so having it above the transform which sets the position um having your effects in different orders can change literally how the edits look so this is how it looks if you have this transform so the static transform without key frames at the top you put it to the bottom it fixes our problem with the scale not being centered so now keep working on this intermediate curve so now you see it's slides in Scales down and then let's just have it slide out to the top so when you add another transform have it slide out to the top that is another PNG just move that to the side do the same thing with an exit curve because it is coming off of the screen so now you have all of these different transforms each one for each movement so you have one that slides it in one that does an intermediate movement and we have one that does the exit movement and these will never interrupt each other so you can see now it all just flows and you can even change the timing so literally like while it's scaling out it could be sliding out as well so you just have all this flexibility now that you wouldn't have had if you tried cramming all of these key frames on one effect now there are some other effects that you can try basic 3D is a nice one um let's say instead of having it zoom out before sliding out you want it to do a flip um so right now we have it as slide in and slide out let's say you want it to flip you just slide on a basic 3D so here it is and these basically do this sort of effect see what it does keeps moving to the side that might be a effect order thing let's try moving it around so if I put this at the bottom what does it do okay what if I put it on the second last does it have it offset okay it keeps moving to the side I'm not sure why if I move it all the way to the top you know that shouldn't actually be a problem there is a way to fix this actually you just don't add it on this layer just go inside here and add basic 3D to this and then let's say let's say we just do a basic like just kind of random flip for now cool yeah so that doesn't affect get affected by moving side to side randomly so you just let's say we want this to do a we just want this to turn around so it is a 180° turn there is going to be an intermediate so we give it the intermediate curve make sure we time it so let's say we want to time it so that it comes up and does the flip here and now we can have it so that it does this it happen slightly later later we can extend these key frames so that it still happens at the same moment but it just happens for longer so it starts spinning earlier that'll mean that it's overlapping with the slide in so it'll make it smoother of course this is a random movement but you can imagine you just have an effect in your head so in my head I'll start conceptualizing something so I'll be thinking I want to have all these comments slide in and I'll think of what effect I want to have if I have the project files open on here let's just go through and I'll show you how this looks when you're putting it together and then actually Ed it so let's start with a simple let's talk about this the movement of this image so in the actual video of course it's not just a black PNG it's her actual Sprite but when I give this project file out so in my private Community I I share this project file um I just black it out for per personality stuff um like her assets but it works the exact same so basically if I hide everything that is in a transform you'll see this slides up the black PNG it slides up um if I just show this you can see the PNG slides up and then it slides out to the V and you can see that happening with one transform here where it slides up so there's a Spite and then it slides out to the right let's find another example so let's say this zooming in the zoom in before it wasn't on the screen after it is on the screen so that's an entry animation let's find that box believe it's let's find which it is okay it's this one so you can see this is the layer which is the box and if it's zooming in as you can see here it is an entry curve because it's coming on let's find something else so we've got the bouncing between these words where the circle is bouncing between if you go in here you can see this this is it bouncing from here to here so going from this position to this to this position so from here to here it's already on the screen here it's already on the screen here so it's an intermediate curve as you can see with these two this is just a random movement don't know why that's there um but yeah so you can see and with each one of these it's basically an intermediate curve for this edit in specific I actually liked it looking troppy so that's why I did it all on one if you want to make move edits you do it separately even here I'm still using loads of transforms there's some moments where there'll be edits and literally I will have 10 15 transforms on a single like element so it could be the background so I'll show maybe a slide in on a background so here you can see there's a background so this is an artificial background where we've got this all of these effects are just made to make it look good but the transform you can see it slides in the background so this is this little bluish background at the back we're sliding it in using a transform and that's an entry curve um it's lagging a bit but it doesn't really matter so you can see at the top and so that's some examples in that project file I'll show you some in here as well so with this we've got so there's like a another project that I've done for a client when it comes to the actual calendar coming on screen you can see it's super sharp at the beginning technically this is somewhat of an intermediate curve but it serves the same purpose as an entry like this being here would do the exact same thing so it's sharp at the beginning and then when it goes from here and then it slightly Zooms in don't know if you can see that that's the second transform so if I didn't have it this is what it would look like kind of bland but having it look more Dynamic like this look at how much that changes so going from here to here just getting it closer to the screen it's a zoom it's a zoom in where it starts on the screen from here and after zooming in it's still on the screen so it's intermediate just going from 100 to 140 intermediate curve and you can see it overlaps so this part of the clip so from here this part of it it's both starting to scale up and it's also still sliding in that that's why the two motions merge so seamlessly I'm recording using loom now because OBS lags like crazy cuz these are some crazy project files where there's a lot going on so it'll be nice just to show those let's say this this is a nice a nice movement it's a little more complex again they are very delicious though all right next you a super complex animation let's actually break this down so break it down first into its component movements it comes onto the screen then it sits for a bit then it goes to the left that's one movement then it goes to the right that's another movement and there's a zoom in between here so from here to here there's actually a zoom so we've got quite a few different movements here that we can break down so let's let's see how it's been done so first it goes from this looks like it's going from bottom to top actually you know this is that's for the PNG for the Sprite let's find the pineapple okay so this is the pineapple the pineapple is just in the center let's find the transform for sliding it on looks like this one yep so it slides from the right to the left that's what this transform does let's just turn off all of these so you can see it just a transforms in motion so this slides it on you can see here and there's also a rotation as well so because it's an entry it's coming onto the screen there's a rotation accompanied but with it then you've got it moving from left to from right to left you see here this transform moves it from right to left using a um intermediate curve because it's staying on the screen and the scale does the same thing it's on the screen from here to here it's still on the screen so it needs to be an intermediate curve and then coming off the screen in this case I've actually used somewhat of an intermediate curve where you actually find this acts exactly like an exit curve in reality because look at where I've cut it off I've actually cut it off it comes off screen by this point if we just took this part of the curve from here to here what does that look like that's an exit curve right so this actually could have been the exact same if you just did this look at look at the similarities between this and this so that you see that so this is basically serving as an exit curve so here we've got a background coming in um it does come up on top but it's still considered a background it's the background for our next scene you can see we've got an entry curve and this basically sets the scene for other elements um foreground elements like this which is a slide up and as you can see this essentially this framework that I've shown you with all these component movements like oh you slide you you simply do a slide in that's just like a dead basic slide in and slide out it's when you stack these when you stack these transforms and you have one that is an entry so let's copy copy this onto this in fact I didn't even copy it save that now you've got one that's an entry one that's an exit and it's by doing this and allowing some of it to overlap you can see both animations are happening during this period this is how you get smooth animations and if you want to go even a step further you can use adjustment layers which I showed a little bit earlier I can find a scene here let's say with this so you've got the background which is already present then you've got an element which slides in and now let's say we want to zoom into this area we can use an adjustment layer to actually zoom into that area so let's say we've got let's build a super simple scene so we've got this this and this all happening this these two happening at the same time and let's say got my cat there as well who's doing a little and we want to just zoom into the Pepe face right here put an adjustment layer on top add a transform onto it and I used to use a method which was transition um which was key framing both the scale and the position which used to technically work but you had to like literally perfectly align these these key frames these curves which can be super hard and often times it ends up doing this which is like some annoying ass like dodgy movement what I found works a lot better add a transform and the Anchor Point just move it a little bit and you'll see it move with this little blue Aro thing so you know which one is the Anchor Point just move it a bit so it separates from the position cuz otherwise it's directly on top so figure out which one's the Anchor Point so it's this one drag it onto where you want the the zoom in to happen this sounds really weird get your finger put your finger on where you want it to zoom into so let's say I wanted to zoom in literally on this spot like in between his eyes I'll put my finger there I'll get my Anchor Point and I'll literally drag my Anchor Point to my finger so now the Anchor Point is exactly where the eyes are right copy and paste the anle point values to position and it looks like nothing has moved if you turn on and off your transform nothing seems to have happened but now whenever you scale in and out it'll Scale based on that point so once again if you just delete this transform it's lagging a bit let's see I mean I'm just going to close out this previous project file because we don't need it anymore so you get the Anor Point put it directly on top of where you want to zoom into let's say it's around here copy and paste the values and usually for these we're going to be using an intermediate curve cuz if you're zooming something in it's usually because it's already on the screen create an intermediate curve like that put the motion blur up R to now you can see we have a smooth zoom in to that section if you want to adjust it just adjust the Anchor Point so basically you need to adjust the Anchor Point and then over compensate and then Cy and paste so you overco compensate let's say you you you need to go more up more top right use the Anchor Point to go to where you want to go and then go even a little bit further and then you just copy and paste the values so that's to adjust where you actually want to zoom into and now you can see so I want to go a little bit lower yeah I like this positioning 1000 R to so now you have all these different things happening at the same time essentially that's what smooth motion is it's when you have a ton of things happening at the same time so let's say we want to have this Pepe slide in drag a transform onto it we want it to go from the right to let's say where where it is on screen right now put the motion blur up because it's coming onto the screen it's an entry curve so create that real quick um it's a little sharp let's put it down a bit make it further change some of the timings from 1 to still super fast so let's actually just do this curve again in fact I think it's cuz I've pushed it so far off to the side so let's just move it slightly off screen for the first key to and in fact no it's because I'm a dumbass and I'm doing an exit curve on this that is why it looks so horrible that looks a lot smoother I don't know don't know why that took me so long to Rize so now that slides in let's say we want to have the text slide up as well um this we just add a transform to it position from off the screen to top make an entry curve because it's coming onto the screen 1 R like so um let's say this we have it sliding in by coming on from the left to the right so just create that create an entry curve 1000 R to um there's a lot happening at the same time this is not what I'd recommend doing this is to show loads of things happening and then let's say after bringing on all these elements you want to actually zoom into the Pepe face that's when you have an adjustment layer like this so that is pretty much the fundamentals done this is so what we've covered just to quickly recap I've shown the three different types of elements we've got background Elements which can be either footage or artificial then you have foreground Elements which are things like these and then you have adjustment layers which allows you to interact with both for um with both forr and background elements at the same time um and when it comes to movements we basically always do it with transform we have the three curves which are entry exit and intermediate and that basically depends on what sort of Animation you're doing we always break down a complex animation into its component parts every single animation can only come in entry exit intermediate so yeah that is the fundamentals done and I'll see you in the next module which is the five Dynamic principles welcome to module two of smooth editing course over the next five lessons I'm going to share with you the five Dynamic principles of smooth editing so that we go from okay we know how to do the effects but we're actually incorporating all of them to make a cohesive edit which actually looks good the reason I wanted to make this section of the course is because there's so many editors that I see that can put the effects onto the timeline but when it comes to bringing them together it just doesn't look as good as it could and I actually think these next few steps are actually more important than the actual affects themselves when you're one of the few editors that can incorporate these five Dynamic principles which are composition digestibility constant movement depth and Rhythm you stand out compared to everyone else I'm going to be explaining each principle one by one and what I recommend doing is taking notes as I'm explaining them the reason being I'm going to show you examples I'm going to show you what each principle means but it's going to be you going out and looking at edits and recognizing where each principle has been used which is going to serve you the most so before moving on to the next lesson just go get a piece of paper get a pen and start taking notes on these five principles and once you're ready I'll see you in the first lesson of dynamic principles which is composition so put simply composition is how things are laid out on your screen so are they towards the center are they towards the side and how do the different elements actually interact with each other a lot of this comes back from film making and photography and it's it's interesting how these other topics come into video editing so the first thing I actually want you to do is click on your program window so this is the actual preview monitor and go to view and if this is disabled click on show rulers I mean um show guides sorry click add guides and set this to 50% units per color you can set it for Red for now and the hor and the orientation to horizontal click okay and it will add this horizontal line if you want it to be able to just stay there without you accidentally moving it what I recommend doing click on view and lock guides because if it's not locked it's just going to get in the way and you're going to be able to move it so just go in View and lock guides so we've done the horizontal line the second one we can do is add guide and it's the exact same settings so 50% position um 50% position but instead of horizontal orientation we're going to do vertical click okay on that and now we just have this cross this is going to be so useful for centering things otherwise trying to Center elements and especially when there's everything moving around the screen it can be super hard to know where the center even is this is the first type of composition which is just things being in the middle so let's go find an example of that so for example in this scene the composition of this scene is you've got a background which is of course filling the whole scene but the foreground elements where are the eyes moving towards it's the center of the screen if this was on the side it wouldn't look as good so there's one element it makes sense that it's in the center of the screen another thing I want to touch on is sizing notice how much of the screen it takes it's not too small it's not too large I'm going to show you what it would look like like in different situations so I believe it's this PNG you can imagine if it was just this big it's not fing enough but if it's this big it's feeling a little too much this is sort of a nice Middle Ground so sizing is another one of those things where just getting the composition down experiment with where the image is on your screen and how big it is so this is the simplest part um stuff type of composition the next composition I want to explain to you is the rule of thirds so this is a more of a photography concept so if I just search a rule of thirds you'll see these grids come up so it's a grid that's literally put into thirds and it separates the screen into nine Parts essentially humans Vision will naturally tend towards these points so any lines that are on the thirds humans eyes will go towards that and especially the intersections you will not your eyes will if you just have to look at this your eyes will naturally just tend towards these points so what photographers and filmmakers do if there is visual information that we want the viewer to focus on we will put it on these points so I'll show you how I did it in this scene so here I started with a center um a cental composition I actually transitioned it into one using the rule of third and to see this in action you can actually go into view and let's clear the guide so we get rid of those Center guides for now go into add guide and instead of 50% let's go for 33 so a third of 100 and then just add in all those guides so you'll be able to I have done that wrong let me just clear guides so you do add guide 33% from left vertical cool then you do oh for God's sake I've just cleared it again I think I'm actually an MPC boys add guide 33% from the right so now we've got the two third lines like this now we need to add the horizontal ones like so and you can probably imagine what I'm going to add last it's going to be one from the top and now we have this rule of first grid within premere the beautiful part about this is it'll always be too scale and it's not an overlay so it doesn't get in the way as long as you've clicked lock guides now you can see here we've gone from a center composition to more like the rule of thirds so by the time these parts have come in this is on the third and then we are actually moving the person's Focus over to the next PNG so we moved this slightly off and then what's on the third now it's this character you can see this third line here contains this character so we've gone from a center to a third what I actually recommend doing is having both of these overlays on M these guides at the same time so you can have it in a different color maybe green so I believe that's 00 ff00 man I'm such a nerd to no hex codes I spend way too long editing but hey that's what it takes um just adding a 50% horizontal and a 50% vertical imagine how imbalancing that would have been if I didn't know the hex code and I just acted so confident about it but essentially now we have the rule of first grd and Center Line you can see all of these in action so I'm going to basically for the rest of this lesson go through examples and actually explain what my thought process was because if you can't get composition down honestly it doesn't really matter how smooth your edits are because the viewer just literally won't even focus on them so so this example we've this is more of a center one so it's kind of originating from the middle and we're staying with that Center focus for the composition so now we transition to a more of a rule of third so we've got a third line here and a third line here and to continue this rule of thirds grid and sort of composition look where we introduced this new element we don't add it to the to the top here we don't add it to the bottom here we don't add it in the center we don't add it next to him we add it on the left where it's inter it's on that left third so we've got one on the left side and one on the right side notice how there's nothing that's pushed too close to the margins so the margins are basically these edges you never want anything to be too close to the edge you can imagine if let's say I disable this let's say this was just here it's such a minor difference but the fact that it's slightly off and it's not on nearer to this third line makes this look off because it's just it's not on the third line it's just tucked away so we want this to be one of the focuses so we put it on that line of course this doesn't need to be like dead on on the pixel on the third line but if you're not near it at all then we' we've got a problem but just use it as a guide same thing here let's say with this text and notice how at first there's only one line of text but then after that so there there's the actual vender you've got one line of text so it starts in the center because that's where the people would expect it to be but when there's two texts how can we split it across the screen so that it feels still like centered and kind of aesthetic we follow the rule of thirds this is somewhat under the thirds Line This is somewhat on the thirds line once again doesn't need to be exact but it is following it with this it's a center it's in the center clearly but when we introduce a new element what do we do we have this on the bottom third line you can see that it's in red with a red background so it might be a little hard to see you can see that's on the third line and the new element that we pull up is on that third line so you'll see this come up again and again that's on the third line that's on the third line these on the third lines that's in the center these are the two main compositions that you're going want to learn so you can see here the actual character once we zoomed in is on that third line when we bring this on it's somewhat Center but we put the Eyes on the third line when the eyes are on the third line it makes a lot more aesthetic when we Zoom it in we Zoom it in so that he's on that third line on the left third and the characters on the right Third characters on the right third this comes up on the left third so you can just see this with every single thing it's either following the rule of thirs or just centered let's bring up a different example so this is this is a react video um cool so first of all let's talk about the general composition so we've got the two guys reacting to footage notice how the split is roughly a third of the screen I made it like a little bit less purely because it's two guys and I wanted it to be somewhat like squares while rather than stretched but it follows that rule of third it's not tucked away in this little sliver but it's also not taking like 40 50% of the screen it follows the rule of third when we bring on new elements so here I just animated some planes flying roughly the average movement of these planes what line are they taking most of the planes if we had to average out all the movement most of them are roughly on this third line and you'll find that third thing coming up again and again so you've got um let's see if if I redo it anywhere else in this video in specific this is perfect so we've got them all in a scene and we're following the main person the main character so I've got foxies on that's why the quality is a little lower but that's not too important so this is just a joke where the person was hula hooping she was celebrating and then I put them in the scene notice how they are on the third if I was to go back on this honestly I would probably move this a bit up let's figure out how this composition was set up I would move it so that she her head it was more like this so her face is on top left third intersection and then it's like this I believe the reason I didn't do that at the time was because yeah their legs are cut off off because of the recording so in the in the Raw recording if you look here their legs are obviously cut off like here so I had to kind of move it forward so that their legs don't show because otherwise it's going to look a bit gy um so this is the best composition I could get where her face is kind of central but it's on that third line and then these guys are basically spread a little close to them the main focus of the scene is her and she's in on that line some examples of the centered one let's say um this was the full scene and I didn't zoom in or out of the scene so that doesn't really count let's say with this notice the sort of positioning that I've got on it it's bang in the center especially in comparison to these two and notice the sizing it's not let's find the actual thing it's not like tiny like this because that would look stupid but it's also not so big that you couldn't tell what it is it's just the right size to be able to tell what it is give the viewer enough time to actually realize what it is but it's not so small it looks stupid so that's a couple examples in this video Let's see if there's another scene yeah so we've got another scene of them flying flying up in an airplane the entire plane what sort of composition is this is it ruler thir or is it Center the entire plane it's Center everything's centered but where is he roughly okay he's about on third which makes sense but I want to bring him in closer to the center so it's clear that he's the focus if I just zoomed in to the actual video let me just bring up this add a transform on here if I simply zoomed in like this he's actually going further away from any of the focal points okay sure if we put him on in fact no if we if we try to get him onto like this rule of third now it wouldn't really be obvious that we're trying to focus on him in this case it starts with him off centered we're trying to get him more on in centered so we actually zoom into him so that it makes him come onto the center of the screen so it's clear the viewer should focus on that all of this is basically about directing the viewer's eyes a beautiful definition of Storytelling that actually learned the book is on my desk coincidentally this book called storyworthy amazing Storyteller he does more of the speaking storytelling but the same Concepts apply to video as a Storyteller you are essentially controlling the camera lens when you're telling a story so you're saying about this time you went to a cafe and as soon as you walked in through the doors a waiter greeted you and you looked over into the entire store but there was something strange happening in the corner of the room there was a table where there was a couple sitting down and that couple they weren't acting normal one of the guys he was instead of looking at his date he was staring at his phone and on his phone the phone that his fingers were tapping away on was a another woman's pictures I've given you the story of a guy cheating on his girlfriend but no it's how I started with the big scene of I'm walking in a cafe then we zoom into the corner of the room then we zoom into the table then we zoom into the couple then we zoom into the guy then we zoom into the phone then we zoom into the picture on the phone when I told you that story that's I was essentially controlling the camera that you had when you were listening to the story it's beautiful how we video editing it's literally you can you're literally moving the camera around you're choosing which part of the screen the viewer sees this whole scene I could have left it like this but I chose to zoom in so here you can see an intermediate curve I chose to zoom in so we know we focusing on him making that joke let's go on to another video so this was sona's video and you both I'm sure kind of understand the point so there's realair and there centered so here we've got son's profile picture which line is it on come on you know which one it is now and also just notice where her eyes are it's I centered but in this case because it's an intro I kind of I anywhere on the right was fine basically um same thing with here got under right third and the text on the left third this is a centered scene notice this sizing where it's kind of taking up those thirds within that Central thirds same thing here so this is more of a centered scene then we bring up her on the right third when we zoom in we zoom in specifically to her because that's where we want the lens to go if we simply just zoom into the center here I promise you it would not have the same effect I want you to imagine this this is what it looks like if you zoom into the center yeah nobody in fact I have to disable this it's going to have a black image I believe but it should be fine so this is what it looks like if you zoom in to the side like we have yeah nobody so it actually focuses on her cavor see there without the positioning key frame it just zooms into the center look at how how much less impact this has it doesn't even look like we're trying to focus on the character it looks like we're just trying to get out of get the character out of the way that's what it actually looks like so being able to consciously zoom in as if you are that like camera lens to what you want to do and keeping composition in mind let's say with this Sidman video so these sort of animations so here we've got like all right anyways Challenge number two darts so this was literally like the defin by definition this is called a lower third a lower third animation similar to how you would have like maybe a subscribe button here this is a lower third animation it fills the lower third where first the text comes up cool that's just where subtitles always come up so if you expect it for the dartboard what line do you notice that this goes on where's the center of the board where is it roughly it's on the third line the bottom third line same thing with these dots It's like because this a lower third it's lower than usual but we're kind of sticking towards this third line I didn't have the third grid up while I was doing this all of these animations you're seeing I've basically I've gotten to the point where I can do it subconsciously I don't have to think oh I need to put on a third line but honestly when I was starting out I had all of these grids up and I had to learn it so Ru of thirds works with that let's get this one so this is the most recent ciderman video that I worked on so you can see like this sort of overlay that comes up when they're introducing a new character how much if how much space does it roughly take off the screen takes up about a third so the right side of it the right side right there's another animation here where they're talking about the scores and one man really upset himself oh no he was the only man to take three minutes and now he's going notice how I've had to change the entire screen like it's not often that we change the entire screen's format like a videoos format to be in this format that's not normal so being able to look aesthetic while you literally make the person screen smaller so so important on PC this looks okay imagine you're on a tiny mobile and we're having to still make the screen even smaller then how do we make it look presentable this is how so first of all let's just talk about general composition with sort of um like if there were no other elements if I hide all of that what size is this roughly there's about a third on each side that's empty so if I just scale this into 100 so that's what it normally looks like if I scale it out you can see this third is empty this third is empty now that gives us space to actually mess about with more elements now so this sidon thing I just put in the top left that doesn't follow any sort of like real composition rules that we were talking about before the reason being this isn't the focus I actually don't even want the viewer to focus on the Sidman logo this is is just like sort of branding stuff when it comes to final times this is sort of centered but I moved it slightly up purely because the viewers are already looking at that top sort of third line just because naturally um not even naturally actually I'm pretty sure they do it consciously having the eyes on the third line so the top third line you can see here it just makes people naturally look at people's eyes when people watch videos they don't watch videos they watch people in the videos so they're actually looking at these this person's so this is for ey videos especially but the same concept applies to literally anything so I had to keep this sort of focus because the viewer's eyes are already there now the viewer's eyes were here all they have to do is just look left and now final final is there and then times is obviously they're going to read times after the final so it kind of it's almost like a mix between this middle and third but it just looked aesthetic with this now the reason I open up this Gap at the bottom and I made it a third first of all it looks aesthetic but also it gives us space to introduce these elements so that's the composition on this composition was a huge huge thought process when it came to this scene because it is a complex scene we're going to talk about digestability later but when you have this m elements 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 elements on a single screen most times I literally have even in a complex scene like this what's the most scene what's the most pieces that you have on here one background 2 3 4 five there are actually five elements on this scene so this in a way is actually a more complex scene than all of that stuff that you saw before so pulling it off i' I've already explained the composition stuff that I used that's what made this digestible and what made it actually look good and let's say with this this is a final note so this is for Shy's video there was a video where there were five models that he was basically rating and there was a scene that I I wanted to make which was basically showing that what the concept of the game was about a huge part of editing is actually conveying the context of the video Smooth animations animations at all they don't matter if they don't mean anything so this set of animations was made to explain the concept of the game which is we are going to be ranking five models so what do I do I bring up five models and then I show them being ranked where are their faces on this entire screen which line does their faces line up with the top third if their faces were up here it would look weird if the faces way in the middle it would look weird cuz they would all look short this is how you get like natural looking compositions and also just notice how all their eyes are on roughly the same line this girl the fourth one she was so short I promise you in the actual video her head comes up to like here so I I like zoomed in more and just made her look taller for this scene just so that everything matches so that's composition just keep composition in mind um if we had to summarize all of this use guides keep things on either the center the center or use these rule of third lines never keep anything right on the edge because people won't focus on it people don't look at the sides because it like this sounds autistic but their eyes need to physically move we don't want their eyes to even move on the screen if they're focusing here like if they were focusing in the middle and the last scene and then suddenly you ask them to look all the way on this corner you're asking them to move another like 30% more for no reason so that's why we never put anything on the edge of the screen like where here do I put stuff on the edge of the screen where when is the focus ever on the edge of the screen it's never right because people aren't looking at the edge of the screen that's the peripheral vision if you want someone not to focus on something like let's say we don't want them to focus on like this thing we'll put that on the edge of the screen I don't want them to f focus on this thing so I'll put it on this like block point plus one weapons you probably didn't even realize that it said that at first the first thing you looking at is maybe 89 spins left and this that is because I've composed it that way so I literally like manipulated where your brain looked where your eyes looked just by putting it slightly higher or lower and the last thing just sizing make sure things are a decent size they take up a lot of like a decent amount of the screen there's something called Dead Space which is all of this space that's not using foreground elements Dead Space can be good like wh space and Whit space Dead Space you can kind of use them interchangeably in design is something called Whit space which is it almost it's like wh space in design so let's say with this the fact that this has a ton of empty space adds more f Focus to the logo if you did all of this technically it's like the logo is still the exact same but there's less Focus to it cuz you've added visual garbage so Whit space can be useful you've got to find a balance between having Whit space so that okay when you want to focus on something we focus on something but there's not so much white space that the thing that you've put on screen looks silly so find that rough balance and something I really recommend look through an editor's videos that you respect that you look up to and notice these things so I've taught you the principle of composition now what I want you to actually do in fact I recommend you do this before moving on to the next lesson go through some edits if you want to go through mine go on my Twitter go on my portfolio you'll find it on my Twitter VFX malice and just look through some of my videos that I've done and take a notice of when I've done like certain compositions you can say oh I've noticed how he's made this thing bigger so that it adds more Focus oh these two elements are on like the third lines the eyes are on the top third the lower third is contained within that lower third so go through and edit and practice for 10 15 20 minutes honestly the longer you do this the better but just spend some time identifying compositions because that's how you get better if you don't take action on this you're going to go into your next edit and none of this lesson is going to go into your mind I want you to to actually take information away from this and improve go do that now go onto my portfolio or my Twitter or someone's edits that you like and notice the compositions that they use it's one thing making edits that look fancy but there's not much point if nobody actually knows what's going on that's where digestability comes in digestability what it means is quite literally the viewer is able to digest the information that we're giving them every time we bring something new on we're doing it to give the person new information new visual information and if there's too much going on at the same time the viewer physically cannot see it the first part of digestibility is actually singular Focus you need to realize that no matter how complex or how simple the video is your viewer has one set of eyes they have two eyes but they work in conjunction with each other and they can only focus on one thing at a time so if you have something going on at the center of the screen and also in the top right and the bottom left at the exact same time your viewers not going to go cross-eyed and start looking in different places right they can only focus on one bit at a time so by only introducing one new element at a time this essentially allows the video to be more digestible so I'm going to bring it up with this video first here this is pretty complex edit to be honest for today's video we go from Noob To Thunder Hasa and project Slayers and our goals are simple first we must obtain the 0.1% agatsuma Clan so you notice there's a lot going on and a lot of people would call this a complex edit but it is still digestible you can still understand understand what's going on and the audio matches the visuals you'll notice that I never introduce multiple elements at the same time right here I'm introducing the text here we introduce a new piece of information which is the the little Noob character new information is it's pointing towards here the next piece then we let that sit for a second there's new information which is this then the next piece of information is the text next piece of information is this text next piece of information is this and so on there's only one thing actually coming on at one time I'm never going to bring on something new and there's two new things happening at the same time cuz otherwise the viewer won't know like they physically can't look at both of them so even by offsetting things by a couple frames so that maybe one thing comes in and then the next thing comes in and it's a little bit of time in between there that's extremely important this isn't just with your visuals but even your visuals in accomp accompanied with the actual footage so let's say that something happens in the footage and you want to have a PNG that accompanies it have the either the footage come up first so whatever is happening on the footage happen first then a couple frames later the PNG comes up or you can do it the other way around the PNG comes up first then the thing on screen happens you don't want it exactly at this like exact same time because then the viewer physically cannot consume both at the same time so let's look at some other examples of this so here you see well it's not it's actually the biggest remote controlled airplane in the entire world so here he's talking about the biggest remote control airplane first I give them a second the viewer a second to actually look at the airplane and it's after like a whole second of the viewer having that time that's when I bring up the animations of the a panes coming up so first of all singular Focus the second thing I want to talk about when it comes to digestability is comprehension time realize that when you do bring on a new element it takes the viewer time to literally understand what you have given them if I just quickly for one frame flashed a piece of information on the screen you would you would see that something came up but you probably wouldn't have been able to read it straight away it's because I didn't give you enough comprehension time I didn't give you enough time to understand it so whenever you do bring on a new piece of information it has to sit there for half a second a second at least before bringing on the next piece otherwise you just it's just visual garbage at that point so let's say with this this is probably one of the fast like a super fast scene where I show an explosion and mind blown and this this is probably the shortest time that I could pull off because anything shorter like this like let's say um in fact let's just cut it like that and like the viewer doesn't have enough time to actually see what's going on oh there's an explosion there's a face oh it's it's um shocking that's what it all means it takes a second for the viewer's brain even subconsciously to understand what's going on in the scene adding an extra half second one second a lot of the time solves so many problems when it comes to actually understanding an edit I see so many edas trying to pull off crazy videos and honestly it looks like because nobody understands what's going on cuz they'll bring a new element onto the screen and within1 second it's already off and it's like you have to go back in the video to even understand what happened which obviously isn't optimal realize that as a video editor you're going into the video and you're literally checking it frame by frame so for you it doesn't seem too fast but if you're a viewer and you're watching this video for the first time and you miss a piece of information you're not going to go back and watch it frame by frame if a viewer was watching it and it went way too fast and they didn't understand it okay maybe one time they lay it off if you keep doing that the viewers just going to click off they're not going to be like you and start okay this does technically come on the screen like if it's playing in full time from nob to thunder has and project Slayers and they don't have enough time to sit on it and understand it it's going to click off so notice how and project sler once this is come on so here it's come oners there's all like there's this time which it's just sitting on the screen like technically I could have brought this slide on half a second earlier but I needed them to understand what just happened so giving time after an animation comes up here's another example so let's just unmute that and one man really upset himself oh no he was the only man to take three minutes and that is KSI so here I'm showing they all just raced around in cars and they're putting up all the times now I'm changing the scene so I'm literally changing the entire composition I'm giving the person new information to digest so final times there's a new background oh what's going on the view is going to be confused because for the all of the video it's been full screen suddenly we're changing the whole composition like what's going on so I don't bring on the title screen just before I'm about to bring on new information so I I'm not going to do it like this where as soon as man take three minutes and now it's KSI because if I vot it on as soon as um like ksi's face is going to come up it's like the viewer hasn't had enough time to even understand what's going on like what's the context so I actually put the animation a lot earlier you can see here and one man really upset set himself oh no he was the only man to take 3 minutes and now it's KSI so you'll notice actually bring it on first then I let it sit and then ksi's face comes up and the same thing when it comes off of the screen you'll notice here and that remains with the blue team here so I could have technically transitioned back to the full frame as soon as they say the third with a time of 247 that remains with the blue team here I could have technically just with the time of so we're just as a team with a time of 24 like this technically with a time of 247 and that remains but the problem is sure as a video editor you can come in and say okay all the information is on screen perfect but the viewer doesn't have enough time to actually understand what everything what's just happened so we bring it on and I'm going into the viewers mind and I'm thinking okay we've just brought up a new time their first four is was it faster or slower than the other people so not only do they need to digest this but they then need to digest this and then compare them then digest this then compare them and then it's like it's been enough time there's no exact number that you can put on this but you have to kind of use the context and go through it so we're just away as a team with a time of 247 and that remains with the blue team here oh now guys so you kind of got to go in their mind and be like okay this is probably about how long it'll take for them to do that there's a fine balance you don't want to give it too much time like in here if I gave it so much time that it just sat on here awkwardly then it's like okay now the viewer is getting bored but it's finding a fine balance between leaving it on screen long enough that they have time to digest it but not so long that it gets boring so that's comprehension time the third thing when it comes to digestability is actually tracking the eyes this is a super Advanced tactic where if you can Master this you literally Master like retention pretty much tracking the eyes is where you literally go into the viewer's shoes and think about where their eyes would be looking right now if I'm talking you're probably looking either at my eyes or at my face you're not looking at the screen as much and now that I mentioned that your eyes are going towards the screen like you need to kind of understand where the viewer's eyes would go and if for this scene let's say where would your eyes be it would be on this level and then where your eyes be moving it' be moving towards the right and then now more towards the middle and then because their eyes are still in the middle that's why I placed the next PNG in the middle so if the PNG moves to the left okay cool then it moves slightly to the right again then it moves to the left then it moves to the middle and notice where the next images are in the middle and then it move slightly down then up and then back to the middle to the left to the right middle middle slightly down middle like do you see how the viewer's eyes are moving as you bring on new information whenever you bring new information on depending on where you put that piece of information will determine where the viewer's eyes are we talked about this this in a previous module as a Storyteller as an editor you control the lens you choose where the viewer looks so you don't want to do do it in a way where you're basically making them have a seizure like you don't want to bring up information in the middle and then bring it all the way to the top left and then the next scene is like in bottom right and then literally a micr second later it's all the way in the left again like you want to make it so that it's kind of a smooth experience for the viewer while they're watching it so let's say here the view is in the middle okay cool it switches to the right and because I've brought the attention to the right the viewer's eyes are already here it's actually so when he says it's actually a new plane they're already looking here and when I bring on a new thing it's like all the planes it's coming up there as well these more complex ones are where it shows even more think about where the eyes are so we first thing we bring on Sona so this is the first thing that actually shows up so their eyes are here notice how I'm actually sweeping their eyes across this way so just think about the tracking of my mouse this is the viewer's focus the viewers focus is here so when I bring up letters it's also in this area and now it's coming up here okay cool with coming back to the middle like the focus is always generally towards the center and if I am going to change the area of focus it's like I give it time before we moove the focus what should I draw keep it simple the focus is on the left side right oh yeah no the next thing I do is bring it up on the right so I had to actually give it a second before changing anything so this scene actually sits here for like half a second because it's going to take them time to like physically move their eyes from the left to the right so whenever you're looking back at your edits I'd recommend doing this now look back at your edits are there moments where you kind of force the viewer to move their eyes across the screen and do you if you are going to do that do you allow enough time to compensate like do you compensate enough time for them to physically move their eyes and regain their focus pretty much um yeah so go back and watch those and also just keep it in mind when you are like adding new elements in so if you are going to add a new element keep it keeping it in the same area of focus can work extremely well so let's say with um let's bring up an example that we can do um you know what these super Advanced ones are are like nice so here the focus is already in the center because there's so many things they're not going to focus on one thing so the next image where is it it's in the center it's like just keeping everything generally in the same spot where you've got the viewer is focusing in the middle right now cuz you just brought up a new text so the next element's in the center I'm not going to zoom into the center and then bring up something on the left because then the viewer wasn't focusing there so just keep those three things in mind singular Focus comprehension time so giving everything enough time to actually sit there even if it's a couple frames extra it can make all the difference and tracking the eyes as you're going through the edit so that is digestability it does take some practice once again I recommend going through your previous edits notice where you've given either too much time or in more cases than not if you're trying to create more heavy edits you probably aren't given enough time for the viewer to digest what's actually going on so try that out look through edits see how it's been done done and I'll see you in the next lesson I want you to do this visualization imagine you are in the middle of this field a huge Meadow of grass as far as you can see there's a few trees plotted around but it's just calm it's like you're living in a movie and not a single thought not a single stress no client work is overed you you've hit all your deadlines you're not worried about class you're making the money you want it's like life is good you're looking around this huge field for miles and although there's nothing going on you sort of focus on the trees the leaves sort of moving around in the wind you kind of just appreciate that even when things are so peaceful there's these subtle movements that just make life feel alive you look at the grass sort of swaying in the wind this is the first time you actually sat down with PR and weren't distracted by a phone and you realize like it's just so calming to see the the wind sort of naturally interacting with the environment what you'll realize is even when things are so peaceful nothing is ever truly still it would feel unnatural for everything to literally be like dead still you don't when you look outside right now you don't see a tree and it's just exactly like perfectly still the leaves are slightly moving if you went to the Sea even in like like a calm or like a calm River it's still moving even the river lake you see a little bird sort of flapping there's a duck that's like waddling around it's like there's tiny movements in your scene your edits should replicate that there's something called biomimicry which is science advances by simply copying Nature Nature has evolved over thousands millions of years so it's basically found what works best and science often replicat nature because Nature's already done the hard work for us so if we can see that nature never sits still our edit shouldn't either because when you do have a completely still image when you have a completely still Scene It feels like the video is just paused so there's going to be certain ways that we can have constant movement with our edits so here's the first one the first thing actually comes within our curves so in the first module we talked about creating smooth curves and how to do all that motion we're going to sort of come back to that with the curves that you create the reason we actually had it on multiple transform layers is so that we can have multiple movements happening at the same time you'll realize that for this um foreground element not only is it zooming in by the looks of it with this transform but it's also sliding somewhere I think this one's sliding to the bottom right so there must be an element that's making sure it's staying centered this motion technically only happens like the majority of this motion happens during this last like few frames but we've got all of these frames where it's just moving slightly it's constantly moving there's not really a single point where you can say it started or stopped if you looked at let's just focus on the text there's no point where the motion starts or completely stops you this it's just constantly moving with every frame I click there is a movement there's no two frames that are the same right so it's constantly moving so with the curves we want them to be overlapping you'll see that with let's say these not only is it rotating but it's also moving like the position is moving it you don't technically the same animation could have been done like this like technically it is the exact same thing but the difference is that when you make something long and sharp so the key frames are pretty much like instead of having it like this you extend it and then you make it sharper it will look the very similar like it look almost the same but the difference is it has constant motion so if I actually just bring up a PNG now I can show you it let's bring up my cat that is my cap I did not drag it on and we'll pull on a transform and we'll just key frame it so that it moves from let's keep it simple let's say it moves from off the screen in fact no we'll do an intermediate curve it moves from this point to this point let's do a quick curve on that so like this does look pretty good right A lot of people would stop here what I found you can make it even smoother is so keep this in your mind you extend them so long and you make it sharper now look how much smoother that is compared so this compared to this so we create long and Sharp key frames and the timings don't need to change for this so you'll realize I can actually make it so that even though this is like short I can make the timings for the long and sharper version the exact same so basically what you do you put your blue sort of marker like cursor on here at the fastest point and move the key frames away from it and you just make sure that the peak is still in the same spot so here the peak is still in the same spot so it'll still have the exact same timings but now it's become longer and sharper so it looks smoother and it's moving for a longer amount of time you shouldn't be able to see the start or stop point off your animation otherwise it just doesn't follow this like just doesn't look as good so even if we were to slide this on let's say from the bottom so we're doing what curve would this be an entry curve because it's coming onto the screen this technically works this follows the smooth key frames and everything but you can make it look a lot Smoother by doing what long and sharp if you want it to come on faster you just make it even sharper so it's this compared to so it's like yeah you can see the difference it's this looks a little more robotic this looks a lot smoother also like we talked about overlapping key frames let's say you have this slide in and you want to have it slide out as well we drag a new transform on like we talked about before stacking transforms and most people would do let's say it needs to slide out after this most people if they did a slide in then a slide out even after following a smooth um key frames it would look something like this let's extend it a bit so let's say this was the timings but can you see remember we talked about having constant movement it's like sure it's moving here but here it's like the PNG is just sitting still it doesn't look natural in nature it would never do this what you can do with the key frames is long and sharp long and sharp and now what you'll see is for this period here is actually both animations happening at the exact same time that's why we stack transforms and you can see it just never stops look every single key every single frame it's moving even the tiniest amount just like trees in nature never stop this never stops it's always moving slightly so that's how you can do it with just the transforms um with like the slides and stuff and curves this applies the exact same way for Curves so if you we're going to do an exit animation with let's say a rotation and a scale where you went from here to oh go say you know what let's just say scale cuz I need to Nest it if I use rotation which I can't be bothered right now in in fact scale is still going to do it but it will just do the nest for the sake of the tutorial um so let's say we're doing the scale animation this same concept still applies if you were going to do a scale out animation you still don't want it to be like coming up and then stopping and then scaling out you can have them both overlapping so long and sharp with that one long and sharp with this one fact let's move this one like that look how much smoother that is compared to before so that's overlapping long and sharp and now I want to show you handheld shakes so handheld shakes I'll be honest they take a while to set up for the first time but the way you do it is you pretty much manually come in you add a transform you keep in position and then you zoom super far in like say yeah it let's say 400 and then you move it slightly to the side like this and then you go a few frames forward so let's say like 10 frames forward then you key frame it so it moves like to another spot then you move like 10 frames forward then you move it to another spot and then you just basically keep doing this in like a sort of natural path um you know I'm not going to spend too long on this because it can take a while for the first time but I'll share the quick away so let's say it does that and you always want to bring it back to its original position so you create a cycle to copy the first key frame and have it end at that point so now you can see it follows this path right this was way too exaggerated I'll be honest it probably should be not as much so we can kind of just let's just bring the points here thinking it points more towards the center I mean of course this isn't going to be perfect cuz I'm doing it quickly but you see like this is sort of the basis of having a handheld ship um bringing this more in can take a while to mess about with and once you've done all of that you just ease in and out all of them and if it's too fast then you can just space them out I'm just going to use speed to space them out so that's the main concept of having a handled chick I'll be honest the first time it um you do it it can take take a while so I just use presets for this um for me personally I use let's say handheld Shake I use a um I used to use a sapphire plugin which was like let's say this Sapphire plugin it's a paid plugin um and it does like these handle movements so that's using constant movement but there is a no plugin way which is the transform version that I showed and um that you can just use in like there's a no way plugin pack which pretty much these are like the sort of key frames that it makes there's a small rotation on it as well so it's like can speed it up so you can see it's like just having a handheld shap and there's different amplitudes so this one's a little bit heavier make it faster just having this it's like you can see even though this is just an image sitting on the screen now if I go frame by frame it's never sitting still it's always moving in the slightest amount even though you can barely tell so if you look at an edit you'll notice even when there's something that's still on the screen like let's say with the text the text it's staying in the same spot but not only is there a handheld on it if I go in here here you can see there's a zoom in top so this basically makes it move up but but once you've nested that I've got a in fact this didn't even have a shake on it actually no it must have how in the world is that shaking okay it's inside the nest I believe yeah it's shaking inside the nest so I used sore Shake because at the time of making this project I used to do that but let's say with the Sidman project which I used the transform handheld shakes with let's look at this video here you can see on each one of the letters so each one of these letters is a extra is a new layer you've got the handheld Shake which just makes it move around slightly same thing with the dots you've got a either constant movement or like a wobble on it so basically everything's just constantly moving you never want something that's just sitting there cuz otherwise like it just looks stale and you don't want that and um yeah so that's the three main ways to have constant movement overlapping curves long and sharp curves and handhold Shakes and um yeah when it comes to background so everything I told you was more for forrs similar concept works with backgrounds but you're mostly going to use that with fourr elements with background something I've really liked is using flickers so you notice with this even my backgrounds they're not truly one color there's like a SL light flicker it's very hard to tell but there's a slight flicker on every single one of them um so here I use the sapphire um flicker but now I actually use a um a like vanilla plug not like a no plugin flicker so let's say I just this piece of footage just because like I can't be us finding more footage um flipper no plugin so it's using the strobe light effect and you can just copy these values and now you can see this is flickering it just makes it so when you do have like these sort of backgrounds it doesn't just look stale everything is constantly moving if you literally went through this video frame by frame I promise you will never find two frames that look exactly the same next to each other so incorporate constant movement and you'll realize your edits look so much more Dynamic let's talk about creating depth in our edits depth is where you have your foreground and your background elements but unless we work on actively creating depth it's going to look like you've just got a sticker plased it on your wall and took a picture there's no actual feeling of like reality or definition in there so by creating depth which I'm going to show you exactly the few steps that I use to create some more depth for my edits without depth it just kind of looks Bland so I'm going to show you the first technique that I use which is probably the simplest and it's called layering this doesn't require any effects instead it's more more about using more elements in a creative way which it makes them stand out from each other so this scene where basically they're saying whoo like I'll show you the original clip this is them saying like their mind was blown and um originally it looks kind of bland sure they've got this scene in the background but we could do a lot more with this so the first thing I actually do is I know I'm going to be layering in this scene I'm going to be adding extra sort of for Grand elements in here I rotoscoped them out so I used a mask and I got them out so this is the mask that I use I use runway. ml um just to Green Screen things out but essentially I Road scoped whatever I M them out and then what that allows me to do is add an explosion in the background so awesome we've created something between our characters and the background we've sandwiched in another element so we've created some more depth but this still doesn't really look like it fits in with the seam so what I actually did was duplicate this and put it above the cctas lower the opacity and now there's just a slight bit of fire on top of them so I've layered I've added another layer increasing that depth and then I've added a sort of like animation which slides in between all of them so once again we're adding another layer of depth and yeah so once we've added all of that this scene what started as some flat boring scene like this became this super Dynamic scene where everything's kind of flying around um so that's Ling the second thing I want to talk about is drop Shadows so drop Shadows are this is the first effect we're going to be talking about out of a few that can be used to create depth let's say with this exploding head thing so here I've used a drop shadow with v settings this is done with a plugin but honestly I don't use the plug-in version anymore I just use premere Pros normal drop shadow so you just drag that on and then change these settings whatever um and you can create a drop shadow and you can see the difference between without drop shadow that's what it looks like and then with drop shadow it's super subtle but it just adds so much depth to your edit drop Shadows alongside um other effects sometimes you have to put them in specific orders otherwise it can bug out like okay I've got some shake thises once again a plugin but this can sometimes happen with transform as well if you found that you adding drop shadow messes up your PNG placement just try moving the effect order around cuz sometimes yeah it can do like that weird like these weird bugs so mess about with the order and it'll fix it um or if that still doesn't work just copy all your effects Nest the image or video that you're doing and then place the drop shadow onto there so that's if you do have any problems with the drop shadow the next effect that I want you to use for adding depth is actually on this same clip it's using VR glow glows in general basically I'll show you what they do you've got VR glow which is built in within Premiere and let's say that you've got this random PNG which is if we come down here let's say damn it is going to be horrible trying to find a PNG now let's see you've got okay this is a PNG awesome if you add VR glow onto this so we just drag out on and then this is essentially glowing now which it looks kind of cool if you actually Nest it sometimes the glow can go outside so if you increase the glow glow radius it'll go slightly further out and if you have a Brighter Image sometimes what you'll have to do if you want it to Glow is change the Luma threshold what that basically means is how bright does something need to be in order for it to start glowing so if you had something completely white you would have to put the I believe it's completely white or completely black you have to put the Luma threshold all the way down but essentially if your thing isn't glowing just put this all the way down and then you can mess around with like the glow brightness um You probably don't want it to be crazy like let's say this you go for like point if I was to make this glow I'd do something like two maybe maybe put the threshold slightly up like3 the glow radius make it a little bigger so that it's a little more ethereal so now this is the difference between glow no glow and in this case you can see with coming back to this exploding head if I took away the VR glow this is what it looks like VR glow no VR glow V glow no VR glow so it just adds a little more sort of oomph to that to that um to the colors and everything and what I actually love most which this is actually why I explained this section of the video in this order of drop Shadows then VR glow adding drop shadows and VR glow together makes it look so good let me see if I can find an example here um it'll probably be in something like these I've Pro I'm assuming that I've probably used it in this so if I go to here I probably yeah I've used VR glow here so this is what it looks like with nothing that's VR glow and if I was to add a shadow onto this which this one didn't need a shadow purely because um I believe this image already had a shadow on it but if I added a shadow plus a drop shadow essentially it just looks a lot better I'll try to find an example now so if we go was it done on this Yep this is perfect so you can see I've used a VR glow on the text and I've also used a drop shadow which you can't really see but basically it adds it just looks amazing let me try bring up a fabricon if I just bring up my cat's face my cat's name is Ace by the way so if I just bring that up you will see we add VR glow okay cool it looks like whatever um bit down but if you add a drop shadow it actually we can do this put the softness up so you can see the sort of shadow on the on the PNG so that's the Shadow by adding a VR glow mess around with the two orders if you you have VR glow on top of a drop shadow it makes a drop shadow shadow actually look better which is always nice like that's just something that I found you can try it on text especially it looks really good if you do it on um certain subtitles it just looks amazing let me see if I've done it on this one so this is where I wanted to show the word Romania and if I come to the main sequence you can see here this is what it looks like with just drop shadow so drop shadow off on this is what it looks like with just VR glow but if you put VR glow and drop shadow together this is what it looks like and if you do it the other way around it just it looks kind of Muddy like everything's merging together if you put it in this order the drop shadow looks really defined so here you can see I've actually used like premere pros default drop shadow so you don't need plugins to do this um so that's putting drop shadows and VR glows and using them in conjunction with each other but past that another thing that I've really liked for for depth is actually using contrasting colors so this is something that you will not need to use effects for but understanding a little bit of just color theory will really help so here you can see pinks and oranges like pinkies and yellowy oranges they are on opposite sides of the color spectrum if you search up color Spectrum you'll see they're not maybe they're not perfectly on the other side but they're contrasting what that means is the orange really pops on top of this and you'll realize this is how you make it so scenes like this it doesn't feel like everything's just bleeding into each other instead you have this super high contrast sort of scene so if you feel as though you're trying these sort of like edits where you've got an artificial background and everything just feels like it's not popping like it does in videos like these try out contrasting colors where this yellow really like pops out compared to this lightish blue um yeah so look up the color wheel and look at opposite sides of the color spectrum and you'll realize that those colors put together often do a lot better instead of having two colors that are too way too similar and the last way of in incorporating depth into your edits is actually using blurs so let's see if I've done it in fact I'm pretty sure I've done it in this exact scene so you see how I've introduced this element this is a foreground this element and now we've shown that this is turning into this but for the next scene I don't really care about this Noob image anymore this is the only image that I really care about so what I'm going to do is actually put this from a foreground element to now kind of blending it into the background so I'm actually pushing it away how do I do that using this blur so in this edit specifically because it is a bit of an old edit that I did a while ago I actually did the the blur using an actual effect so I used lens blur OBS this is using a plugin if you don't want to use plugins use gorian blur you can search up gorian blur or you can use lens blur I believe there no I think it's called Camera blur yeah Camera blur so these are two quite good blurs that you can use um one of the ways that you can do it is like how I did where you can keep as it's going backwards like you want it to go into the background you key frame the actual blur to go from zero to whatever number you want this is an intermediate curve because it's starting on the screen and it's ending on the screen so just like we talked about before it's an intermediate curve but the problem with this is you need to do it with every single foreground elements so here you can see it starts blurring here and then it ends blurring here that's for this Noob image for the red arrow we have to actually do the same thing where it blurs at the same time so it's like you have to line up all these things and when you have five six seven eight elements on the screen it's not fun the new way that I do it now is actually using an adjustment layer so I'll probably be able to find an example somewhere so here you can see I've introduced all these elements and it's sort of like taken up a lot of space on the screen and to introduce this next element what I actually did is just blur out all of the background the way I did that put an adjustment layer which is this one and key frame the gorian blur so that just blurs out all of those backgrounds cuz otherwise that's all well defined and it kind of doesn't give this space to breathe and it doesn't add any depth this adjustment layer with a gion blur adds some depth so the way you would do this is let's say you had a scene that you wanted to transition out off all you would do is get an adjustment layer put it on and then get a blur let's say we just use a Goran blur for this one go from zero to whatever you want it to go to so let's say for this one we wanted to go to about 75ish I recommend putting repeat Edge pixels on otherwise you get this weird Vine yet and then putting it onto a intermediate curve like we talked about before so we normally do it with transforms but works the exact same with blurs and now once all of these things come on you've set the scene in order for you to actually introduce new elements and it will have more depth so that is how you introduce depth into your edits you've got layering drop Shadows VR glows mixing the drop shadows and VR glows together contrasting colors and then blurs which you can do either on the actual elements or you can use an adjustment layer which I actually recommend and yeah that is how you use depth in your edits the way that I like to think about rhythm is it's the flow between fast and slow parts of a video you can have a rhythm over the course of an entire video which is faster sections off the video shorter sections of the video but you can also think of this in a more micro sense where it's faster parts off the edit and slower parts of the edit this could happen literally second by second so we're going to talk more about this flow of fast to slow points but first I want to share how to actually time things because a huge part of rhythm is timings so you'll notice throughout these edits as I play these not we're going to talk about the timings that I actually make movements happen this is my story from $1,000 to 8 million so this is just a short section you'll realize that I've consciously picked when edits come up the easiest example of this is when he says each word this this is my story each word comes up when he's saying it it's not they all come up at the same time it's not um they're all coming up exactly five frames away from each other some of them there's like a like a three frame difference some there will be like a two it's like there could be a different timing words like these are the easiest cuz we're literally subtitling it but this same concept applies when we're not directly subtitling as well 1000s to 8 million 1000s so 1,000 once again it comes up as he's saying 1,000 bringing up the waveform is going to be super important here so I want you to have the waveform actually extended by extending this and you can see when the word actually starts being said let me bring up a little whiteboard what you're going to realize in waveform so basically V is when a word is being said it's not like it just goes like word being said so like nothing being said word being said nothing being said it's not like that usually what it look like is nothing's being said the word is starting to be said the word is said and then it slowly tapers off that's what a word will look like as you can see here 1 so one it doesn't start randomly like this the way it starts it actually starts from like up here this is where the word 1,000 starts not here so my animation for 1,000 is starting from a couple frames back where the majority of the movement so that peak of movement is happening at the loudest point so it started at 1 and then the fastest part the loudest part of thousand so that's the main syllable which it feels kind of harder than everything else like 1 thousand I sound autistic but I hope this helps that's when the majority of the movement happens so you can see with this scale here the peak it starts getting fastest at the 1,000 like sort of hardest syllable so now when it zooms in it zooms in on that syllable on that emphasis 1000 to 8 million in like six years or something I don't know let's say with this example hey FR he hey FR there's two very distinct points there's like hey and it starts here you see this is literally the first frame it's not a coincidence that this is the first frame that the word starts coming up same thing with brosies Bros it's not a coincidence that it starts off the first few frames a little slow but the majority of the word comes up when it's the hard the loudest in the audio so you want to match your animations to the emphasis in words it shouldn't just randomly come up cuz of time like oh it's kind of on the same time it should be on the exact frame that it is loudest on that word that is when the fastest part of the movement should be so it means if you got an intermediate curve like this if you can move the whole curve like by a couple frames to the left because the audio was actually loud the the word was emphasized on that point it'll change the entire feeling of you'll notice how when I say what's up notice how it happens on this loudest part that's where the most movement's happening what's up it's it's Sona these things are all moving in fast look there's a huge spike in the waveform it's welcome back to my Chanel to my CH notice when I bring it back up I don't just randomly bring it up when I one to I bring it up when she says the word Channel because it's like human sentences if you just speak a sentence now you'll realize that there's some words that kind of like they just kind of flow out but there's some where you put specific emphasis on them a human sentence is going to kind of look like this where you've got low parts you've got high parts low Parts it's on these high parts that you want to have your motions happening so welcome welcome welcome back to back to my so back to my channel is almost like back to my what almost like filler words when it comes to emphasis having channel was the hyp back to my channel three whole months ago I said what months ago I said so you notice how I said almost like it sets up the scene for the next word so just listen to the audio for a bit four months ago I said what should I draw I said What should I draw so I said almost slow down the pace and then what should I draw brought up the energy again months ago I said so I said is the leading up words so I almost replicated that in the movement so I saidd just put it into its place so it gets it ready what should I draw what should I draw that's when the Cadence the speed of the the words sort of speeds up so that's where more of the animations happen I said what should I draw so it's matching the tone and the points of emphasis and the timings with when you do the animations this is huge if you can get this down and start noticing when this is done right in people's edits and when it's done wrong and you can incorporate into your own videos your animations actually just blend in with the video something I love saying is good editing is when you don't even think about the editing if you look at your video and you think oh this editing looks quite cool I can see all the different animations and look there's like like you've lost the whole point of editing the point of editing wasn't so that you can say it's a cool edit it was so that it Blends so well with the video that it doesn't even feel you don't even think about oh this editing is cool it's like this is just an experience you make that experience by having a seamless that it's like a seamless bridge between audio and visuals you do that by having these timings down this same concept is applicable to emotion as well remember when I talked about you have like the sort of slower points of a sentence and then when the person gets super excited they'll speak they have some syllables up here then they get a little Karma again you want to match the speed and sort of vibe of your animations to that if you have someone kind of saying a slower sentence or they're calming it down don't have a sharp animation so here my channel three whole months ago three whole months ago so three whole months ago isn't like some super hard anim like some crazy excited thing she's just saying three whole months ago so it's going back into the past it's a slow sort of vibe that's why I did a sort of like but like it's just fading on and it's just super like it's slower animations it's not like something hard just flies into the screen it's it's a lot softer months ago as said and it sits on screen for a second because three whole months ago isn't an EXC sentence so it's match the emotion of that audio in the same way draw keep it simple oh yeah nobody kept it simple I got a lot of replies and I picked out a 100 of these comments a 100 of these comments that's something that's a lot more like exciting it's something more overwhelming in some way that's why I brought on a lot more things and all of these come on really fast this is overwhelming to the viewer normally you don't want to overwhelm the viewer remember what we talked about in the digestability lesson you don't want to overwhelm the viewer but we just said 100 comments it's like that's overwhelming for Sona so for my client so for the Creator it's overwhelming so we're almost recreating that emotion in the edit if you had to read all of these in the matter of one second you would have be able to but neither could she because she was overwhelmed and of viewers overwhelmed it's sort of matching the same emotion but imagine I did this sort of edit when we said three whole months ago we brought up a whole whole calendar and we changed we showed all the dates and it's flicking between the 3 month like it would have been overwhelming she just said 3 months ago it's 3 months ago so matching the actual edit to the emotion and the speed of things so I said it's just a it's just filler so let's just keep it slow so here in this case the five models they come on quite quickly models from my favorite to least favorite but I keep it kind of slow relative to what I could have done like this first little bit is super fast but there is so much new information that I got to give them a second and there's not really anything crazy that's happening right now for something new to be sliding in my favorite to least favorite and I am very nervous because I don't like same thing with this and I am very nervous I am very nervous because like there's nothing crazy that he's saying so there's no crazy animation for them to be like sliding in turning into a Cube and flying across the screen like I don't need to be doing all of that I just slide them off I even pause for a second and then bring off the rest so matching the speed to the emotion of the audio super important and another thing I want to mention is constant directionality this it isn't exactly about speed but it does impact the flow so it does impact sort of the Rhythm having things move in a same in the same plane or preferably in the same direction will make your edits look better in imagine that I slid these girls in to the right so they all came in to the right and then when they came out they all slid upwards it would just not feel as good instead they sort of went out in the same way that they came in I also could have made them all come out of the same way but what's important is that it's not like a jarring movement of something coming in and then moving out it's moving out of like a different direction you'll realize I do this with a lot of edits so let's say with this it's like all moving from the bottom to the middle and then middle to the top like cool let's say with this there will be elements that follow the movement of each other so here we have things coming from the right to to the left not only is the PNG coming in like sona's PNG the face coming in from right to left but the words are also coming in from right to left imagine the words came in from the left but the PNG came in to the right came in from the right it's like it just looks disconnected so having things come in from the same spot where let's say you've got once again you've done the whole thing of things coming in this comes in from the right this sort of feels like it's coming in from the right cuz it moves from here to here this we brought it down so if it's going to get come out of the scene we're not going to move it out to the right it's going to go up and then when this moved up we can follow the same direction with the next scene look this goes up look what else is moving up so I didn't move this up and then this comes in from the left so you can get away with it sometimes but it looks a lot more aesthetic when things move in the same direction like this so here you've got this moving upwards so the scrolling also goes upwards and then guess what also comes upwards and then guess what what also comes upwards the background it's like there's all these movements that sort of fit the same direction and it makes things look a lot more aesthetic and um yeah you'll see you'll see this done in so many edits so this the movement is spinning so it spins this is moving to the left guess what also comes in left and even the zoom sort of complements that movement cuz they're all happening together to thunder so this Zoom doesn't feel disconnected the reason this Zoom doesn't feel awkward is because the movement was already going towards that direction and then we break up that Rhythm we break up that flow with this PNG and then we let it sit for a while so that's what puts so much emphasis on this image because we actually broke the flow intentionally so we created the Flow by by going left left left then it comes in right that puts more emphasis so you want to build flow so you can break it intentionally rather than everything kind of being janky and just coming in random directions so these come down this comes up it's not like it comes down and then it comes in from the right it's like we're using the same plane and um yeah so that is directionality and now more on like a macro perspective so over like multiple scenes what you'll realize is just like how we talked about this sort of wave your edits are going to follow this sort of pacing generally you're going to have Parts which are super fast and then that's going to follow like a super slow moment and then that's going to follow be followed by a fast moment the reason pacing and Rhythm work it isn't because something is fast paced or slow paced because these two just look like the exact same line the reason that you can say something is fast or slow paced is because the moment before it was relatively faster or slower than that moment it's because of the faster moment that a slow moment can exist and it's because of that slow moment existing that the next moment can be called Fast if everything was the same speed if everything was fast nothing's fast it's just a fest if everything's slow nothing's slow it's just boring you can have slow moments you can have fast moments they just need to be used together so I'm going to show you how I do this sort of for today's video we go fromb to thunder so even in that area there we've already done pretty much like a fast slow fast you've got the fast moment so literally first second for today's video this first second so much new information just came up for about half a second off after it came up so from here to about here there's no new information that's coming up it's just manipulating what's already on screen so we've kind of gone a little slower and this bits a little faster again so we've brought go from to thunder and project slers and our goals are simple first so basically this first little bit was pretty fast like there's so much we go from to thunder and project slow there's just so much new information coming and notice what happens after we bring this up and our goals and project slers and our goals are simple first we must we just let this breef and our goals are simple and there's a moment of pause you'll notice here there's a few there's a few frames of just nothing happening notice here there is literally like this sentence stops this sentence starts like there's literally no frame of Silence here I've added 1 2 3 4 5 almost six frames of just silence it sounds tiny but this is what I mean by like there's intentional thought the the top guys in editing they put this intentional thought into their videos I'm I'm able to teach this to you so at least you're able to see the back end off this but it's by doing this and like it's just it's literally like five words and there's a pause and the next thing is L there's just one element on screen that spends a whole like three seconds just on one element and then a couple words so we've slowed it all down compared to the first bit so up to here is super fast then we slowed it down for this section for today's video we go from NB to thunder H and project slowers and our goals are simple first we must obtain the 0.1% agatsuma Clan then we must go obtain thund breathing from the Thunder trainer and last but not least I must head into PVP and give my honest opinion and then this bit is where we're starting to speed it up again and last but not see notice this slow pace of this and then how fast it comes here then we must go obtain Thunder breathing from the Thunder trainer and last but not least I must head into PVP and give my honest opinion on the breathing style which so all of this kind of comes in super fast and then what do we have to do after a fast moment what do we have to do we have to slow it back down must head into PVP and give my honest opinion on the breathing style which hey kind of doesn't seem simple now it's literally just one element on the screen and it's like there's it's just there's not much new things happening this is super slow compared to loads of Swords flying in a Lego Dojo like slide like we speed it up we slow it down it's when editors try to make something super fast and it's like look at me I'm a smooth editor I'm making a complex animation and it's like now it's just super fast and no one knows what's going on I make fast edits too but people like them because I slow it down at times as well it's when you slow it down people have time to not only like sit in it for a second but their brain still needs a couple frame like a couple um like half a seconds to just understand what the hell just went on after bringing up an entire like two swords a dojo that just split in half and came together the viewer needs half a second to understand what I just gave them and it's this slow moment which allows them to do that so kind of look at your edits are you staying fast for way too long or are you staying slow for too long and another problem which you might be facing is are you trying to switch too fast between human as well you want to kind of have this sort of vibe of course this is an abstract idea you don't need to literally say this point is 0.1 so it must be here and then 0.4 like that's not what I'm trying to tell you to do just generally it follows this faster moments slower moments and we give the viewer time to breathe so don't make the mistake also of just like your speed up and me you suddenly go like super slow then you went all fast again and me it's like you're continuing and then you went super slow and then super fast sudden like it kind of follows this natural feeling of things flow there's a rhythm to it you'll get better at Rhythm a lot of the time by watching other people's edits a couple times so watching if you like my videos watch my videos like my edits not my normal YouTube videos but the videos that I do for my clients so on my portfolio on my Twitter PR views watch them and notice how I speed things up and then I slow things down then I speed things up again and it's like that's what rhythm is and it makes your edits actually understandable and feel more Dynamic welcome to the transitions module in this module you're going to learn how to transition between one scene to another so that everything flows together and it's all pretty seamless I found that there's five general types of transitions that you can follow and almost every transition you can do falls into to one or multiple of these categories so throughout this module we're going to be going through all five of them we'll jump into the first one now which is the disolves the simplest of the five but I think it'll be amazing for you to see it in action and see the different ways that I've implemented it so the first transition that we're going to be talking about is dissolves and this is arguably one of the simpler ones when it comes to the five transition types but I wanted to show you it because there are some technical things that you might not know and mistakes that I've made in my past so dissolv put simply are when something Fades into the next scene so just like this and the usual way that you could just fade two clips together is you have this scene you can cut it and you just add on the I believe it's called constant is it called constant no it's called cross dissolve sorry cross dissolve and you drag that on and there is a fade so let's say this was part of a different section that just fades in between and whenever you do drag this on it's going to be a certain length if you want to change the length of the default one which I do recommend you can go to edit preferences and I believe it's on timeline but it'll be in preferences yeah in timeline and here it says audio transition default duration it's a lot longer by default I'm pretty sure but I have mine set to six frames which I recommend you do because the default one's way too long now when you drag on Cross dissolve granted that it's your default transition if it's not your default you can just right click it set as default transition and now it'll be a six frame cross dissolve another short a shortcut that I recommend putting on if you go to your shortcuts by going to edit keyboard shortcuts is searching up default transition and it's shift d so I've set mine to shift d so now whenever I click shift shd it'll add on the default transition which is always super useful but cross disolve is the effect we're going to use now let's talk about actually transitioning between the scenes so you've got like this smooth animation that you've done cool and now we want to transition to the next scene without it being like a hard cut because having this transition as a hard cut as a made clean people's um if I undo that as a ma clean people's houses that's what it would look like it's just it ruins the entire flow after we've done all this smooth stuff we just going to hard cut yeah let's not do that normally the way you would fade in and out of stuff you could like sort of Nest all of this Nest all of this and then fade it with this clip so it would look something like in fact you can see the problem that comes up it's like you have to move all these weird layers then now if you try fading this it's like the cross disolve doesn't extend because there's nothing left for it to fade so then you need to extend all of this part basically it's just really annoying to try fading stuff like that so what I actually recommend you do is keep it unnested but let's say the next scene that you want to Fade Into You just grab a section of it so this is the the section that I want to fade into I just duplicate it and drag it to the top and then I'll extend it a bit and then I'll alt click this well I'll click this shift d so I'll add that transition and now instead of having to fade out all of these other parts so I don't have to do this cuz then there's going to be a lot of bugs like this like it fades out to Black and stuff like that if you have an adjustment layer it's easier often to fade in the next scene rather than Fade Out the last scene so we can just do that and now you see we get the same fade effect and if you want to shorten the fade like I've done here made gets the exact same effect as trying to fade out all of these but you don't have to deal with all the bugs so that is the simplest way to do the Fades the dissolves um there are other ways to do dissolves that aren't directly with the cross dissolve that is just one of the ways so another method that I like using is often VR light leaks so if you search up VR light leaks this is within Premier Pro and it does effect which is pretty much the exact same as a cross dissolve but the difference is it just looks nicer so you can see here this is the sort of fade that happens because of it so I've done the same concept of instead of trying to fade out all of these different things CU I've got all these things on screen if I try fading all of these out you'll see what happens um let's say I go here I try fading these out turn up this lay it like Fades to Black and some of them have like this weird white gradient now and it just looks really bad so what we did is just have it come on top we bring up this this part of the clip we dragged it up in fact no for this one we actually had a a artificial background so put the artificial background on top instead of directly next to it and then trying to cross disolve it instead we put it on top and fade it in with a VR light leaks and we have the same thing with the top image so now we have a dissolve from this scene to this scene so we're basically seamlessly going in between them and similar concept with from here to here so in all the other examples that I gave you it was going from a pretty highly edited scene to something that's less highly edited so it's pretty simple to put the unedited version on top and then just fade it in but in the scenario that you have here which is the highly edited section is after the edited section so this is more an intro of a highly edited section so before it was highly edited section how do we come up but how do we actually get in it's the same concept just reversed so you bring up the section that you want to go from put it to the top extend it a little so this is the orinal footage extend it a little add a cross dissolve and now instead of having to try fading all of this stuff on like this which will often cause loads of bugs like you can see that's what happens when you try fading it in it's not pretty instead we have just one clip that we need to fade in and the journey and it f in so much simpler yeah try that out use a dissolve to fade in and out and use this method of just dragging the next clip onto the top and then fading it rather than trying to fade all the different layers now the next transition I want to share with you is using slides so slides we've talked about this a lot earlier in the course with how to actually create them now it's how do we use them in our edits to transition between scenes so slides you'll realize I use them a lot especially in these sort of cartoony videos where let's try to find a slide so if we just focus on let's say this purple background coming up to transition from this scene to this scene I use a slide so if I find this so I've transitioned from the old scene to this scene and to transition this scene on I've just used a transform where it slides on if we go into this video you'll see it done in a very similar way so let's say the background of this we're transitioning from this to this so if we go into that layer which is Canan here we are you can see there's an entry curve which slides it on and that is now transitioning the background from one background to another so that's one way of transitioning between this scene and this scene and let's say here as well you've got from this scene to this scene we transition by sliding something in so this is where we actually we keep the old scene how it is and we add on top the old scene the next scene the ne the other way of doing it is where you have the new scene which is already there and then the old scene which is covering it and you actually revealing the new scene so the first method was where we're revealing the we're revealing the new Scene by dragging it on so we're actually covering the old scene but then then second way is by like uncovering rather than sliding on top little confusing but you'll understand once I explain it so here I'm sliding on the new scene versus let's say with in this case where you have this scene and we're trying to go from this scene to this scene and instead of sliding on this scene like how we were talking about before where we just slide in this let's say screen of Sharky being on screen instead we're sliding out the old elements to reveal the new scene so this it's kind of split up into five parts but the same concept applies if it was a full screen sliding out but you can see it's sliding out to reveal the the new scene so you can either slide in the new screen or you can slide out the old screen those are two ways you can use slides and of course this can happen in any direction and yeah so that is how I incorporate slides as the second type of transition so this next transition that we're going to be learning is the screen wipes I'll show you a few examples first before we teach you exactly how to do it but it's where you have a animation which essentially wipes off the old screen and wipes on the new screen so this is the old scene and this is the new scene and in order for us to transition between we have this PNG which wipes across the whole screen and it introduces a new scene here you can see me doing it with a circular PNG so it wipes across the screen takes out the old one brings in the new one in here you can see I've done it with the circle again just like before but I've also used an example with this PNG so it almost wipes across the screen so this is the old scene this is the new scene so you can characterize these screen wipes with a PNG going across the screen and it has to cover the top and the bottom in order for these two work you need it to be touching both the top and the bottom throughout the entire movement otherwise it's going to be like Midway and that just doesn't look good cuz you can imagine if I find the PNG for this pineapple which is this one if the pineapple was like even slightly higher or lower like let's say up here you would be able to see this bar in between them that's not what we want by having the PNG perfectly um touching the top and the bottom it allows for you to basically make it look seamless so I'm going to bring up an example now of what the process would look like to create an animation like these so I've got two little here it's just from an apex clip that I have in a practice footage folder and I've got two sections I've got a section where in the loading screen in Apex Legends another game and a section where they're in game I want to use this screen wipe transition on here the first thing you need is something to wipe it with so I'm just going to bring up a picture of my cat so if I just search up um yeah let just bring up a picture of my cat and I'm going to quickly make him into into a circle so that it looks nicer in fact yeah I'll show it with a circle so if I just put my circle crop and yeah let's just make it small for now so this is what a PNG of yours might look like first you need the movement to go from the left side to the right side of your screen so there's different ways you can do this and I'm not going to show you talk too much about exactly the key things to use because we have the earlier modules which are about that but essentially you have a movement which takes it from the left side to the right side of your screen so it needs to be big enough that it's touching both the top and the bottom so at this point it's touching the top and the bottom and let's say it goes from for the sake of example from the left side to the right side just like that let's do a quick intermediate curve in fact let's actually just let's just leave this for now the actual curve isn't important I have presets and stuff for this and it it takes me like a while to get a good curve but let's say this is per for the sake of example and I'll show you different methods of doing it later so you've got this PNG now which is sliding across the screen and you have it in between the two clips the first thing you want to do is make some space or move that clip up and the first scene that you're transitioning from you want to have on one layer above the second scene that scene the first scene you want it to be extended so that it lost the entirety of this animation so there's two ways you can do this you can either extend the scene or you can move the PNG forward but essentially you need it so that this first first um clip needs to last as long as the animation goes so in this case let's say it goes up to here this PNG this first scene needs to be continued for the entire section next you need to make it so that at the start of this clip you also want to have the second clip playing so let's just make these two different colors so that oh you can't even do that can't right now to turn that setting on but essentially you see the two different clips this second clip also needs to lost as long as the PNG animation and now you have this doesn't look like anything's happened but the way you can basically um transition between them is using either crop or MK so you can use both methods but I'm going to show you with crop first so if you just drag in crop on the top layer what you're going to be able to do is essentially wipe away the first layer while the second one while the PNG is sliding across so at this point how much of the screen should be off so all of it can stay on so we're going to keep him the left one at this point we want this much to come off go five frames forward then we want it to be here another five want it to be here another five it's completely off after you've done this essentially just go through frame by frame make sure it's always touching the two contact points that the PNG has with the screen so imagine there was one key frame where it accidentally went here you can just go in manually and change it back but in this case looks like it did it perfectly in fact no there's still this bit so here you can see the PNG is touching both the top and the bottom at this point so it should be completely off so we'll just make it that cuz otherwise it was actually bringing on this bit was still left so if we created that now you can see if we go frame by frame The Mask works perfectly and that is how you do this screen right and the second way of doing it is a little bit different but it works better if this first scene is super highly animated so for sections like let's say with this it would be super hard for us to add crop to all of these pieces so there's a couple ways you can do it the first way is you just Nest everything and um you Nest everything and then you use this crop method on the nest so this would be the nested sequence with all the effects and stuff and you're sliding it out but another way that you can do it similar to how we did the dissolves instead of having this on the second layer you can have the first layer that stays here but the second layer that goes on top so let's say you have these two clips once again right so these are two just blank Clips going to transition from one to the other imagine that this was a super complex scene so you've got all of these different layers and there like loads of different stuff basically and you want to transition to this scene instead of having these on top and adding crop to these you can have the second scene on top and we're going to use either a crop or a mosque so the same PNG it's doing the exact same thing so it needs to last as long as the PNG animation so in this case it needs to go imagine these are all complex pieces so you would actually just move this across a bit and the second scene that you want to have on extend that so I'm just holding all to extend it and dragging and now you add crop to this second piece so imagine these were all complex so you couldn't really add crop to it you add it to the second one and it's the exact same concept going from here go a few frames forward crop it a little more in few frames forward crop it more in and continue that process until the top and the bottom are both covered so that you can go all the way and here we see it goes off track a bit so we just put it back on track does it still on track here no so we just put it back on track so basically you just create that goes off track here move that here and now you can see it should be perfect and that is how we transitioned this a problem that you might face is what if it's not perfectly in line so if I come up to this pineapple wipe you will see that where is it if I go [Music] to here we go so this pineapple it doesn't actually have a perfect top to bottom I'm pretty sure so in fact let's turn off these grids it'll be a little distracting so you can see the pineapple it's a line if we just Ed the crop on let's say this the crop doesn't touch perfectly the top and the bottom so going from basically like the old scene to the new scene it wouldn't really help so this is the new scene that we're bringing on the orange so because the old scene was kind of complex so this is the old scene this is the new scene we're actually adding on the new scene which is this one and I used a mosque but let's say we try to use crop instead you'll notice that there's going to be points where like the pineapple is kind of turned so here it's like even if you get up to here sometimes this is the top is going to be touching the bottom isn't as you can see just couple pixels off and essentially if there's a PNG that isn't like dead straight you want to use a MK so in opacity instead of crop mask masking you use an actual mask you can zoom out a bit and here you can see the first bit I've masked it so that it's completely off pretty much and then I followed it continuing the mosque to follow this PNG the way you do that is I'll do with this same old PNG from before so now we've got no transition that's made instead of using a crop I'm going to show you using the mask so you go into the second clip opacity mask and just extend it so that it goes in fact just make it so that it's tall enough and keep it off the screen like this once you've done that click this key frame for mask path go a few frames for forward and follow the top and bottom contact points like so so how I usually do it is first I do it in chunks of five frames like this and then I'll go through frame by frame so here it's kind of off I put it here so once I've done like the rough one that's when I'll go through frame by frame make sure it's constantly touching cuz if it isn't you're going to have like a weird piece of footage just bleeding through cool here it's actually off by a bit in fact this can be off completely so it actually only needs to start and come onto the screen once it's actually touched half half the um the top and the bottom so there we are that is how you do it with the mask and if you find that you've got issues with it bringing on the the old screen rather than the new screen you probably just need to click invert so sometimes it will actually look like this by accident where it hard cuts and then it does this if you have that problem just go into your mask and click invert and it'll fix the problem so that's if you have a PNG that crop doesn't work for so that is screen wipes and something that I found a lot of editors do when they learn about this is they start abusing it honestly it's nice using it once in a while and using it in different context so this sort of circle wi transition the like malice circle white I use it maybe once twice Max a video on this video all right boys now because it is one of those super like interesting pieces that doesn't look look usual and that means if you use it too much it makes it look kind of cringe like you it it becomes a bit cliche so you can still use screen webs again but use it in a different context so you maybe you don't use the circle again and use it in this way so here you've got the old scene which is if I hide all of that you can see the old scene is the one where you've got this background and I've basically made it so that he's blowed up and then once that I've seen okay I want to transition from the glow scene of him just glowing a bit to I want to make it fully so that first of all I changed the background I made it lightning and everything like literally I made the whole place In Like A Different World then I Road scop the character out so that he's on top and it makes it actually pop out so basically I changed the scene and to transition between them I have a PNG that slides from pretty much left to right so here so it zooms in and then touches the top left and bottom left then wipes across the screen while touching both having those contact points constantly and then I have created the crop here because in this case the PNG there's a direct line from the top to the bottom like a vertical line that can be traced rather than like some weird diagonal so I just used crop and you can see as it's going I followed for both these two layers so yeah that is how you do the screen wipes and I will show you how to do the next transition type in the next lesson the fourth type of Animation that we're going to be making is called zooms so there's a couple ways to do this but essentially it's where we fill the entire screen with a certain color so in this case we've got the blue text which fills up the screen by zooming it in and that color then becomes the background for the next scene so there's one example of me doing it and I can bring up another one if I just go into here you will see that I do a very similar thing with a different sort of reason so first it was changing the color but this one it was more me changing the scene so I zoom in and I changed the entire scene so it gives that Vibe of entering the house of course this isn't actually like possible for me to have a PNG with a 3D inside as if it's some Tardis but I'm able to show the inside of this house using this Zoom transition so let's talk about this we're going to talk about the first one which is a simpler version of you you filled a screen with a certain color so I've introduced these elements which are for today's video we've got these two texts and I want to basically zoom into let's say this middle bit here the first thing I do is get the so this is the original scene first thing I do is actually bring this as close as I can to the screen so I've used a transform um it's an exit curve and it's basically just scal in in as much as I can and positioning it so that it stays as Central as possible cuz if I don't have this this is what it ends up doing so it will still zoom in but the problem is it will basically just go off to the side like that I wanted it not to be in the like crease in here I wanted it to be in the middle so I use the position there and what I found is if you go above like a certain amount it starts lagging like crazy like it will literally just black screen PC crash everything um so instead of making it scale up and rotate on this why I actually did was not only did I zoom on the element the for Grand element but I also used an adjustment layer what this adjustment layer does is while this piece is scaling in we also zoom in with the whole scene so where the main thing is scale so it's zooming in with a scale you've also got a rotation so it's rotating the entire scene see it and it's positioning so that it doesn't go offset because if we didn't have this position it would basically just zoom in here I wanted to zoom in here very subtle but he I wanted it like that so once we've zoomed in like that and you want it to be a sort of exit curve so here you see it's an exit curve here it is technically an intermediate curve but because it's cut off here it's like it serves as basically an exit curve once you've zoomed in enough you want to continue the momentum and basically fill up that space so here I've got this PNG so this is the actual background that I'm using it's just a PNG but what I've done is actually Chang the color of it so I've used the color balance to basically make it brighter than it actually was before and the Hue I changed a tiny bit so instead of the super dark blue it's more a lighter blue and essentially I just I try to color match as close as I can but I wanted it slightly different to this color what you can do if you don't want to do all these changes or you don't have the PNG when you're creating color M by going in your project clicking this little new poster icon color mat click okay what you can actually do is just click okay for now go here for the color M you can double click it and use this pen Dr dropper I think and then grab the actual color so now you have like a perfectly good color to use and transition into so yeah so while this fills the screen the second I fills I've got the next PNG which is this background I've got it cross dissolving in if you don't cross disolve it's just going to hard cut like this so you want to acrosses well so it sort of seamlessly goes in so all these random imperfections like the edge of this word it kind of Fades out smoothly if you did it too late then it would do this so it still does work but like these stay on for a little too long and if it's too short then sometimes it can look a little too harsh so basically you want to mess about with the timings but essentially the main point is for it to look seamless so while it is still moving this is why I've done an intermediate curve you want to fade on while the animation on the first screen is still happening so that it does look seamless you can see it's constantly moving while I'm fading it's not that the animation just randomly stops like imagine that it was like this where the animation completely came to a stop and then I faded it in it it doesn't look as good as that so that's me basically changing the entire background so an artificial background but let me show you what it looks like when you're zooming into more a PNG and there's more context behind why you why you're zooming in so here context I enable that back in our old houses whenever we got a house me and James would make a Photoshop map of the room it's like so it's basically telling the story of him being in a house and they photoshop stuff in the room so the first thing I did was I actually brought on all the limits so if I hide this fact I'll hide this as well is whenever we got the first thing we did is we just brought the house in so the curves are important here because I talked about that in things like um layering and the curve module but we brought into the house and now to transition from here to here first thing we did was actually Zoom in on the house itself so I wouldn't normally do this like normally I would just do this method where I'm scaling in with adjustment layers so you hear you see a scal in with a position I only went up to around 800 because if I went above a th000 for some reason my PC it lagged like crazy so I just used two um I I I used a Transformer and adjustment layer but I also added a zoom in on the PNG so if I don't have this motion if I didn't have V scale key frames it's like it doesn't zoom in as much but I wanted it to zoom in even more so that's without the motion if it will update let me just go here so that's what it looks like without it this is what it looks like with it so it zooms in even more without lacking too much and I used also a radial blur so I believe Premier might have radio fact you can use something like directional blur here as well and um yeah you can use directional blur here so pretty much it's to make it so that it blurs slightly it's not necessary technically the transforms motion blur so the sh angle does the same thing I just wanted to make it a little more enunciated so you can see it just adds a a little bit of edge blur and once you're zooming in so these will all be exit curves the ex exit curves on the first scene and then entry curves on the second second scene so here I've used an sore shake using the Z distance honestly if this is such an inefficient way of doing it basically this will change how zoomed in or out it is it's essentially the same as a transform but you're basically zooming in to the scene you imagine this is a transform it works the exact same from let's say this is about two um like 50 zoom in to 100 or from 100 to 200 you're zooming in and it's an entry curve so it almost follows the momentum of the entry curve so you know how in fact let me bring up a Myro board if I just search up this I'll show you it in drawing format so smooth curves if it's coming out it looks like this if it's coming in it looks like this if it's staying on it looks like this pretty much we're emulating this but in two parts so it's like if you split it down the middle you've got part A and Part B so the start of it is an exit just like you can see here and then this is an entry tree which means that they follow each other's momentum which makes it almost feel as though it's one scene and once again this color thing follows the exact same concept so you've got an exit curve on this and then on anything that's coming up you've got an entry curve as you can see here so that is how you do the zoom in transitions this fifth transition type is the impact transitions now a lot of you might or might not know this but I actually started editing in the fortnite space editing these videos called fortnite highlights it's these videos where we would put together kills and sync it up to music I'll show you a few now and the transition I'm about to show you took heavy heavy inspiration from this so I'm not sure if you noticed that but between this clip and this clip there's actually a transition it is technically the same clip but the scene is pretty much changing and you can see there's this hard sort of smash that happens in between to give it a huge impact and that's the sort of transition that I actually use in my edits today so I'll find a quick example here so in fact I think there's one here yeah I use one here you know build it let me explain here you see that same sort of impact going from this scene to this scene and I believe I used it in this video as well laugh challenge laugh so just here you see me doing a impact here and this sort of idea I actually I'm going to show it more with the fortnite clips because honestly this is how I learned it so I think it'd be nice for you to learn it in the same way so if we look through these clips so if you don't play fortnite you're not going to understand what's happening but I'll be able to explain it to you so if you just look in the bottom right it might be easier for you to see what's actually happening with the zooms and stuff but you can see where we finished one clip so we finished a clip here we're zooming in and then we impact to the next one with like a shake if we go here it's very similar so this time we don't just do like a normal buildup we do like sort of a zoom in and a little wobble and then it impacts to go from this scene to this scene so there's basically two parts there's before the impact and after the impact the buildup and the impact itself and when you put them together you get like these super hard-hitting moments like that here's another one and things like this so essentially I'm going to show you how to do it with content but this is the concept that we're going to be using for our impact transitions where there a buildup and an impact I've brought up a couple Clips here where I'm going to show you how to do it essentially you're going to have your two clips that you want to transition between what kind of and there's two parts you want to have the buildup and the impact just like before we're going to have the buildup which has an exit curve and the impact which has an exit curve an entry curve sorry so let's put up a transform and put it on our first one and what we're going to do is have it basically preempt the movement which is before the build before the impact we want to build up to it so I'm going to create a scale from 100 to around let's say 120 doesn't have to be too big put motion blur up and let's make that an exit curve just like so and we want it to be right till the end of the clip go mining we can extend that a bit let's say go mining here so now you can see it sort of slowly just Zooms in and randomly cuts out so now we're going to end this second clip with basically a shake there are presets that I use honestly I haven't done this manually in a while but um I'll show you the preset and then let's see Shake I normally use this Pack's shake so we'll use I mean we can just pick any for now so here we've got an impact Shake which is basically this scen shakes and we can modify it slightly from 20 to 100 so here now you can basically see it zooms in and then it impact shakes to the next scene so this is what it looks like you need go mining you need go mining and of course in this context it doesn't make too much sense but like it's going from one scene to another and to make this manually you can just just see the sort of key frames that we made so if we zoom in the key frames are just going from one position to the next so it's going moving around super fast and it's slowly getting less and less amplitude until it comes to its original position and if you didn't have this scale what would happen is you get like these black bars which is you shake and now there's these black bars which don't look the best so we have a scaling which takes care of that so this is how it would normally look like and then with the scaling we Zoom it in and as the shake calms down we come over to the normal position and normal scale which just allows a clip to play as usual so you put these together this is what it looks like combining and yeah that is the basics of how you make an impact um an impact transition so very similar to how we did it with these fortnite clips you've got the the buildup which is you're zooming in you're zooming in you're zooming in just looking at this bottom right you're zooming in you get a little bit of a wobble and then when the wobble gets really hard then you impact with the new scene and to go back I actually did the same thing so it's like we're slowing it down we're slowing it down and then impact when we're back so here we've got the movements down if you feel as though the buildup doesn't feel that good you can experiment with the speed of it so I know sometimes if you don't do the curve sharp enough it can feel kind of awkward like if you do it more like this it's just sometimes not as clean as if you do a curve like this and maybe you need to extend it a bit maybe you need to make this sharper once again long and sharp just like we covered with the key frames before go mining and with the impact you want to make sure the impact happens exactly on the point of the first frame so you can't have it like zoom in and then it pauses for like two frames so it it zooms in it zooms in it zooms in and then it pauses and then it impacts go mining you've got to have it so that it keeps zooming in all the way up to the last frame and the impact happens directly on the first frame because if you even have this a couple frames off this is what happens you have a zoom in zoom in zoom in and then it randomly stops moving and then it shakes so you want to have it on the first frame and and um yes and something else you can also do is have a brighten so you'll notice with these sort of montages let's say with save this clip so from here to here you can see it goes super bright when you impact that just makes everything come together better so if we go here goes dark and then impact goes bright like this if we go here you can see dark when it goes brighter can do a similar sort of vibe so if we come onto back to our clip there's a few effects you can use there's hls color balance which you can use and you can key frame the lightness or you can use tint we'll use tint in this case so you add a tint on set both the map map black and the map white to white so you brightening the scene and the amount to tint will change how bright it goes basically you can do this similar effect with a white screen um like a white color mat and key frame opacity there's different ways you can do it I'm just going to show you the way I normally do it so you put a tint on and you key frame it so that it goes from a high number to basically zero so it does this go mining you probably don't want the first one to be 100 let's say we do something around like 30 and then because it's at the beginning what curve do we do we do an entry curve just like so let's not make this as sharp so now you see it flashes when it comes on scene just like so go mining and something you can also do you can do the inverse for the buildup so you can add a tint onto the first clip map both of the black and white to black so it basic this becomes like a black screen basically darken and we can tint from zero to so let's say around let's say around 30 because it's at the end of the clip it's an exit curve like so make sure it comes up all the way to the end of the clip and now you will see it darkens just before it actually impacts go mining if we extend this make it less sharp might look better yeah so how go mining the impact Transitions and this honestly works with any any sort of scene because it's literally a way to go from one scene to another and you can complement this with an impact like a um you can use a riser a riser sound effect let me see if I have one Riser MP3 you know this might work I'm just adding a random sound effect so so you boys can probably find one that works better so like you got something like this information do you need go mining do you need and then maybe hit e and e no idea if any of these are good so let's sa it do you need yeah this is a horrible sound effect but you get the point like you would have a hard Rush here or maybe a soft impact where you get hit come mining yeah know this sounds awkward so like if this was an awkward Scene It Go mining so you go an impact visuals like this an impact sound effect then an exit visual which is impact shake and the brighten as well as the impact sound effect what you'll find interesting is notice how an entry an exit sort of curve like this just look at the shape it takes so it's like that notice how sound effects follow the exact same pattern for the exit curves it looks like this for the exit sound effect looks like that for the entry curves when it's impacts it looks like this sound effect also looks like that so just something interesting you might might have not Noti do you need go mining so that is how you do the impact transition and that is all five transitions put together what you'll notice is you can often put multiple of these transitions sort of together which I'll actually probably make another lesson on that so yeah other than that I will see you in the next lesson something I quickly want to cover before moving on to the creativity module is transitions that don't quite fit into any of the categories in all honesty 99.999% of your transitions are going to fit into either dissolves slides screen wipes zooms or packs they just are but there are some where you can actually merge them together and I'll show you a few examples now so for example this is a scene where 50/50 but you know we can talk about it that as Step One is done we need to make a room that no one is going yeah so I mean this is one of the impacts and kind of zooms put in one so this one so sure it impacts hard but there is some zooming element to it and this next one where we fill the scene with an obsidian room close the back door and then impact him inside there's quite a lot going on so this doesn't cleanly fit into any of the categories because you've got kind of like a slideing but then you've also got some zooming element because it's zooming onto the screen and it's sliding and it's technically a screen white because we're covering some of it and then you've got like a sliding up to cover morph to see and then you've got an impact so it's like you've got a lot of different components into it and realize that that's totally fine I've given you these five these are going to cover literally like this is the one one of the only examples of where I've mix matched lots of them 99% of my transitions follow fall cleanly into one of those five categories but there are going to be instances where you do mix them up I think I've got another example around here yeah so from this scene to this scene this is a zoom like quite clearly we've changed the background from Orange to White by simply zooming in now to go from here to here we've smoothly done it through quite a few things first one we've got an impact because the character You' got a small buildup then you've got an impact and then yeah so we've transitioned for the character we've also got a slide in and to get to this point in the first place we had to zoom so it's kind of like three in one it's like we've got a zoom slide and an impact and that is completely normal and there are going to be points where the traditional slide in it follows the same principles it's just done in a more creative way which we'll talk about how to find these creative methods later but in this case like instead of just sliding on the dojo background I've split the dojo into and then made one piece slide on at a time rather than coming in One Direction so it's still a slide in it's just done in a more creative way so there are going to be points where you can actually have moments where you mix multiple of them together but it will always have the components of these five Transitions and we'll talk about the next module how to actually think of these creative ideas because honestly it's a skill on its own so I'll see you there welcome to the creativity module in this module as it sounds we're going to be going over how to be more creative now I found this is actually a skill on its own you hear people saying that oh I am creative or I'm not creative maybe you've identified with one of these things the first step at becoming more creative is seeing it as a skill it's not a trait that you're born with or you're not born with when someone comes out of the womb it's not like an editor just knows exactly what to do like people have learned how to be creative that means you can too so if you think you can never be creative that's a limiting belief either stop watching this because it's not going to help you or understand that it is a skill and the way that we level up the skill of creativity is the way you would level up in any other skill if you wanted to improve at premere Pro what would you do you would learn about it you would implement it and you would do that a lot of times until you got better at it right so there's actually two components of gaining any skill there's intentional effort and repetition you actually trying to do the thing and you trying a lot of times until you actually get good realize that with every single video you edit you are going to be leveling up the skill of creativity and if you haven't tried to level this skill up before realize that you're probably not going to be the best at it and that's okay it's normal that your skill hasn't been leveled up yet when you had just started editing on Premier Pro you weren't good at it and it's not like that's a reason for you to not even try in the same way you should be optimistic that my skill in creativity I've never tried leveling it up there's now an opportunity for me to do it and I want to bring in another concept that I think will be really useful for you to become more creative it's called Progressive overload it's a term in the gym where let's say there's a certain weight that you want to lift you've got a 60 kg bench press if you want to do that certain amount and you had just joined the you've never worked out a day in your life it's going to be hard for you to do that weight and if there was someone who was trying to bench that weight would we tell them just keep trying to bench that 60 kg until you bench it of course not right he's going to injure himself he's just physically not going to be able to lift it instead we'll say okay just lift 20 kg so basically just the bar with no weights on the sides and then when he can get good at that we'll add a little bit on and then keep doing that until that becomes easy your muscles have grown you've gr stronger and then add a little bit more weight on now it's only 40K and we just keep going more and more weight Slowly by slowly until we're at the weight that we want that's the concept of progressive overload and I've given you the example of it in the gym but honestly this applies to everything in life it applies to the gym it applies to your social skills and more importantly for us it applies to you trying to become more creative in your edits if you're just starting on your journey on smooth editing I actually wouldn't recommend you to create these crazy complex scenes where you've got 50 things coming in and there's four eight four to eight different like animations coming in at the same time like I wouldn't actually try to do that in fact you're probably slowing down your progress more than you actually think you would make more progress by just benching the bar or just doing a smaller wait for now by only bringing on a few Clips only bringing on a few animations a few pgs at a time rather than trying to go all out so I know you would love me to say that just create something crazy in the first edit but I'm saying this for your benefit and I'm saying it because I could have made more progress earlier in my career if I listen to this sometimes you need to drop your ego and say like I'm not good enough yet to edit like this crazy animation maybe like I see another edit to do but that's okay I'm not going to try to bench what he's benching right now I'm going to do the weight that I'm I can do and then with each time I have another workout I'm going to put that weight slightly up do whatever you can now and with each edit just try to slightly do a bit more just overd deliver just that little bit so now in terms of actually creating the edits and being creative with those so building it up from scratch I'll see you in the next lesson where we talk about San June Theory two years ago when I was in college I was studying geography so I'm 17 years old and one of the concepts in geography is deserts and basically how environments form something I found really interesting was how sand Junes are formed because it perfectly reflected my mindset when it came you editing so let me explain it for you if you haven't studied geography before the way sandunes form is you have some sort of like debris some sort of mass which causes sand when it flies towards it to slow down and stop Wind Blows sand across the desert and when it meets this bush it stops and it settles down and it creates like a little Mound so more and more sand comes and when more sand comes and flies across it it comes across this little mountain of sand and it builds on a little bit more and then that keeps happening over months over years and suddenly you have these huge hills and valleys which are sand Junes which have formed from this tiny little thing which started as like a tiny Bush and I remember how poetic I found this cuz I'll keep it all I didn't care about the education side of things I was in college but I was already making money editing cuz I'd been working for an extra year before that and I didn't care about the actual sandune I more like this is literally exactly what I do when it comes to me creating creative edits the way you create a creative edit it isn't just you start and then you've got this amazing piece of work in front of you the way you make it is you start with something small something so insignificant which looks like it's worthless you start by just throwing something down the timeline and then you build a little bit more on top of that you just get a few sand grains on and then it turns into into like a little small Mound after you've done some work on it and maybe one day it turns into a huge sand June but maybe sometimes it never gets to that point what sanjun theory is if we had to put it in plain English is you need to be okay with making mistakes I find it so sad how so many of us have been fed this lie of perfection and I think the education system has a lot to do with this you're graded by your a letter your literal selfworth is given by whether you have an A B C or D like that's a horrible way for you to live and it strips you off your creativity because now you're told that if you get an A an Asar okay you're awesome like you've done it perfectly you have nothing else to improve on cool but if you get something like a c a d it's okay you did bad now we need to make sure you do better like we need to make you do better why did you get that like you're basically punished for trying new things if you got into a new subject and you got worse grades than you normally do for something else you will be punished for that next time are you more or less likely to like that subject or want to do it any further of course you're not going to want to right and just to prove a point I'm going to show you some examples from literally like my client work right now but I want you to take this moment to just internally tell yourself maybe you can even say this out loud it's okay for me to make mistakes it is okay for me to throw something on the timeline try it for 2 hours hours doesn't work and I just end up deleting it like that is completely fine because it's when you make those edits where you're just trying random stff and allowing yourself to mess up that is ironically when you create the best edits it's the willingness to mess up it's losing your egoo and being like I'm okay with creating a crap edit but I'm just going to try to see if I can make it work and you end up making your best work like that so here's a video that I've worked on recently and I'll just let it play out for a few seconds so that little animation in the corner was something that I made to basically show there was a forfeit they had to drink a can of water and yeah I had to visualize that so I'm going to show you the process that I had of executing that so here's the project file and this is what it looks like so a toilet comes up and there's a can that kind of bounces inside of it like this with a shadow so it's pretty clean there's not too much going on and of course you have VI star's face coming up I would say that this was well executed it gives context of what's happening in the video and it works well the thing is to get to this point a lot of people don't know this but the way you get to a point like this where you've got a clean thing that conveys the information well you start by just throwing things on I want to show you the first draft I actually made for this overlay so this was actually the first draft so bear in mind this is how it ended up this was my first idea I still remember I was in my cousin's house while I was working on this I I had taken my laptop and I was so dry on ideas cuz I had no idea how to visualize this my initial thought was like Hey the can that they using is white so in the actual video the C they give as a forfeit V I found the exact brand and put it on and I was like it's white let me put it in clouds because I couldn't think of any other way so I'm like I bounce it in a cloud and this is what I came up with of course at the time this didn't have the plus one on both of them like the can didn't have the plus one on it but this was the idea that I had and the way that I got to this point was literally I just placed down first I placed down a cloud so there was I believe it was this one I literally just placed this down and then I added like the smoke overly and then I put the cad inside and I made it so that there's two layers and it sandwiches it so that it looks like it's inside the cloud and I will just be building up layer and layer and I'll be honest I didn't have a vision for the final piece I just knew I wanted to show this sort of information but what I wanted to just show this for is to show you like you need to be willing to just throw things onto the timeline throw things onto the page and allow the next step to come naturally and honestly you might do everything you might try it all out and then out of nowhere you have another idea where it's like I'm going to scrap the whole thing I'm going to use a completely new concept so this might have taken me I believe this took me about 2 3 hours and that at the point I am now so I'm already more efficient than most editors it still took me hours and I had to scrap all of it just to get to this idea here and to most people that seems like a waste of time but do you think that I would have gotten this idea here if I didn't go through this first so this wasn't waste of time this was me actually becoming more creative this was me getting the creative idea be willing to make mistakes and maybe you end up scrapping all of it because you got a better idea but be willing to make those mistakes akes in the first place the second clip I want to show is in this video which was I just let it play out so pretty much they walking into McDonald's having makes a fat joke so the next scene I turned them a beast and you can call this in insensitive I don't really give a it was funny as hell while I was editing it so the idea I had for this was I didn't know exactly how I was going to execute this I just knew it would be funny if they were fat after they made a fat joke so there was context within why I want to make this edit it wasn't out of nowhere I made them fat so the first thing I did was I knew I needed to change the sides of their body and I don't change the size of everything else that means I'm going to have to have their body just separ separated so the first thing I did was just separated them from the rest of the scene I didn't worry about how I'm going to make them fat I didn't worry about the logistics I didn't worry about which effects I'm going to use I just like masked him out and then once I masked him out that's when I decided the next step which was like okay so now I've marked him out I need to separate the body and the so then I did that step and then after that I figured out okay this is exactly how I'm going to make him wider so there were certain effects that I used and I just want to show this because a lot of the time even with this next clip I believe let's actually use I believe it's in the same video there's a stupid ass edit I can show you here we are there's the edit here where where literally I turned Toby into a pickle and that sounds so ridiculous but in this context it worked so it's like he made the joke that whatever like some mad joke but at first I didn't have the fully formed idea that this is exactly how the piccolo is going to come up this is exactly how I'm going to do the background this is exactly the face that I'm going to use and the coloring that I'm going to use like I didn't think about all of that at first I literally just said I know I want to change him for a pickle I just had that random idea that came up and I'm like let me just try it so what did I do I'm like okay I'm definitely going to have to get rid of him in the scene first things first let me just get rid of him so I'm not going to explain fully in this video because this would take me another hour um just to explain how how I removed him basically it's content aware fill in After Effects and these are the few things I use after Effect 4 you can do most of the things that you want in premere just like I've shown you now there's like a couple things like even rot scoping you can do it outside of After Effects you don't need it um but it's things like content aware feel fair enough I'll use After Effects this is the one time like I'll use off of things like these but essentially I've taken him out that was the first step then I'm like okay now I need to get rid of him cool let me just like stretch him out so that's the next step and then the third step was bringing up the pickle I just do it one step by at a time and at first this was literally just a pickle but then I had to out of nowhere randomly I had an idea what if I put Toby's face on the pickle so then I went in and I added Toby's face to the pickle then I'm like hey Toby's face is on the pickle but now it doesn't blend in at all this is what it looked like okay let me fade it in okay now the color's off let me make the color different it's like you just do it step by step if you try thinking 100 steps ahead you're going to be way too overwhelmed to even take one step and that's actually going to do you more harm than good because I would rather you take one little step or two little steps mess up go back and then try again you would actually learn more from that than you trying to think ahead 500 steps and try to create a crazy edit so those another few examples we've also got something like this where not not this animation this was the my other mate so so this is like a little sort of UI so user interface type animation where you have similar to when we showed the little toilet thing coming up but an animation like this these can be super hard to try make from scratch like there's all these different elements you have like even with you have like nests inside of nests inside of nests and that is me making it as simple as possible I'm someone that doesn't Nest much because I just don't like it cuz I think it's easier to go back in and edit things if you don't Nest as much even then I've still got a ton of Nest so this is what the timeline looks like for me creating this and this is like the most efficient I could make it but the way I started making this animation wasn't by thinking oh I need it exactly to look like this and I need this to be this color and then when it wobbles on so there's like this animation where when it comes on it actually sort of like bubbles on so you can see it here it bubbles on with like a little forward coming thing as well and it little Bops I didn't have all those idea at first I literally just started off I put down a gray rectangle I you this is where it starts when you want to create a crazy animation like this the first thing you do you just throw down random shapes and then you're like hey I need to make another shape inside of that I need to make another shape inside of that oh what if I rounded of these Corners what if I made it so this had a turbulent display so it wobbles it's like you do all these things but it starts off with you literally just throwing a piece on but I have the actual process of me creating this exact animation and you'll see it's just me throwing stuff on the timeline seeing what works undoing half of it and then trying it again until I get something that I like so that is with that animation and then the final one so that's another animation that we made recently it was this video where they just racing to a place and there's challenges along the way so I created these cards to essentially vision I them opening the physical cards but obviously the viewer can't see this so I'm trying to make it look kind of cool it kind of has like a playing card feel that was the idea that the team was going for and these I would say look pretty clean they we used them throughout the video and generally they convey the video very well I want to show you the first draft I actually had for this so this was what it ended up looking like this was the first draft final first draft I want you to imagine I used this in the actual video like if we just go here and we paste that on imagine that I had this as actually like part of the video where I would try to try to give information like this compare how this looks compared to these these looks so much cleaner but I wouldn't have gotten up to this point with the clean animation and the clean like image and how creative this one looks without first going through this I had to allow myself to mess up this it looks okay but it's very far from good and it was only by like literally just throwing down random rectangles and trying to layer stuff and then adding with texts and yeah I tried it and then I was like it looks kind of what can I change oh what if I did a white background cuz that would make it look lighter for this type of video and then what if I made it look taller so that it looks more like a playing card and I had to redo a lot of this but it was by allowing myself to create this crappy version which made it so that I can ultimately make the version that we ended up using in the videos so yeah those are just some examples of my process when it comes to sandan Theory because honestly the hardest part is allowing yourself to mess up if you are willing to to suck if you're willing to be bad at first that's how you get good beginners stay beginners because they're not willing to look like beginners Masters at anything the reason that they're so good at what they do is because at one point in their lives they sucked and they were horrible at what they did and they were embarrassed to show their work but they still kept creating and they were willing to suck for a short amount of time in order to look like the master that they are now so be willing to suck and yeah hope you found this useful bro so what we have here is a page that I've made for you it's called the editing tracker and it includes both a project tracker as well as what we're going to be focusing on now which is the inspiration bank so first I'm going to show you how to actually make this for yourself it'll take you literally 30 seconds so I want you to go onto notion I'll have this linked and once you're in here it's a free app you'll be able to just click log in and you can log in using your Gmail once you've done that you'll have a page like this what I want you to do is actually go and go to the link which I have linked you so it will be this link once you've gone to this link you'll have access to the template that I've just shown you and what you can do is Click duplicate right here it might be a different word for you it might be written as a word but this is the button that you can click for duplicate click duplicate and now what that will do is ask you where would you like to add it just add to private on your workspace might take a second to duplicate over and once that is done you now have something called editing tracker you can delete these other ones honestly you want to keep your notion as clean as possible I prefer to keep literally one to maximum three tabs ever like in my life and that's not even just for editing like my life is G given by three different tabs it's Simplicity that gets you far in life boys off topic but he so just keep your editing track up and now that you've duplicated it in the inspiration Bank you have all these different tabs where I've just given as examples so you can see something like this where you've got a screenshot of a technique that has been used so Premier Pro Goran blur layering so I can imagine they've used gorian Blair to add depth here something we talked about in the earlier module here there's an exploding car there was an edit that was made oh there's a link here which you can go to to see it actually being done that friend has destroyed so many cars holy so it's like these are all your different points of inspiration and you as you're going about your life as you're going about your own just your on Twitter you're looking at someone's edit I want you to take moments out of your day where you realize like oh wait that's a really cool edit or you kind of have a moment where you think that you just go here click new and you can type it in so let's say on Twitter you find a edit where let's just bring up a sideman video can the get so let's say you find this you can just screenshot something like this and it's like paste it in here and maybe you say cloud clock title screen you can just give it sort of a name that rings a bell for you for tags I recommend doing what sort of category this goes into so this is more a visual effect sort of like subtitles fonts and I like the colors for this so those are some of the tags that I might give it so for something like this it was I liked how he did the text so I just put the tag as subtitle font so while you're making this you do the title you do the tags and I also recommend doing the links so if it's on YouTube you can right click and copy video URL at current time what that does is it'll give the exact time of when that effect happened so let's say there was an effect like Midway just pretend you want to do okay let's just say for some reason you want to you want to do this as your inspiration Bank you could do you create a new one just screenshot this it doesn't need to be a perfect screenshot because it's just for you um so let's say map animation in for trains I believe that's a train map anim is for trains right I think so yeah so for trains tags it's a visual effect link just go to where it is copy video at current URL time and Link and that's basically done now let's say one day you you're confused you're like ah I can't think of anything creative instead of having to watch hours of videos and scrolling on YouTube and getting distracted and ending up not doing any work and it's now it's 9:00 p.m. and you need to go sleep and you've got nothing done so you doing it all night and so you want to die and then you wake up late for school like instead of going through that loophole um that like rabbit hole you can just come into your inspiration bank and look through and be like hm what sort of stuff do I feel like I I would like okay cool I need a visual effect visual effects will always come at the start because it's ordered in terms of like visual effects then subtitles then composition then music and call to actions so it's like oh I'm just looking through oh I you know what this Cloud thing looks cool oh maybe I'm going to do a cloud effect but I'm not going to do it with the text and the clock I just want to use the cloud and I kind of like how this opacity isn't 100% it's kind of faded out oh I like that oh I can do that for not a text but instead I can do it for an image so like I've taken inspiration from this let's say I want see literally how they did it in the video you can just copy this paste and it will go directly to the point at which that time stamp was so in this case let's say I want to oh there's like punching subscribe Button as a call to action you know what let's see how I how how this was actually done if you thought those people are smart hit the Subscribe button if you want to check out oh cool okay so maybe I can do that oh you know what that I'm not going to do a subscribe call to action but maybe I could do it with a a whole person I can get the person and punch them out and I use that as inspiration so I've copied like this could have been from someone else's video I've taken that and now I'm going to steal that in my own edit and it's when you have this inspiration bank I like I've got like maybe 89 here I genuinely want you to have hundreds and hundreds of pieces off this over the next few years like this is something that you keep with you and every single day maybe you just come across something you just add it in just add it in whatever just add it in like it's such a small thing but when you're stuck with a creative rut and you feel like you can't think of anything this is going to be your best friend and this same thing works with Twitter so if you find something on Twitter where you like it just add a screenshot of it give it somewhat of a name give it a tag add a link to it and what this allows you to do is just keep everything in one place instead of having a 100 different tabs you just have it in one place and what I want you to realize is don't feel bad for this this is literally like this is how every single thing in the world was made therez 8 billion people in the world do you think people have many original ideas even when scientific Innovations are made let's say when like laptop was made the way that a laptop was invented and made it's like he didn't make that from scratch he built off the in Innovations from people that made light screen from like made like the LED stuff and then people that invented buttons and then like he didn't have to remake all these things he just stole what they made and then added all together and made it better so it's like don't feel bad for stealing honestly it's how everyone learns um there's this beautiful phrase which was I think it was like the the great a bit I'm only great because I stand on the shoulders of giants it's something like that where you can comfortably like I can comfortably say I can I'm saying I'm a good editor I maybe it's ego I don't really care I can say I'm a good editor but I'm also more than happy to say there were so many editors I completely like stole parts of their edits like I look up to them and I'm friends with them now like I'm friends with these guys and I tell them like oh yeah I know like we're friends now but about 2 three years ago I used to be like your fan bro I used to screenshot your work and literally try to copy it like that's how much of a fan I was and I'll say that like bro I'm grateful that you posted your work so I could appreciate and I learned because of it they just say like oh that's cool like thank you and I never expected that like people find it nice like it's a compliment bro so yeah that is the inspiration bank and later on I'll show you how to use a project tracker that'll be in the bonuses but yeah inspiration Bank go create this now so just go to the link go back in this video if you forgot how to duplicate it and um yeah I really really recommend creating this and something else I recommend you do have this this tab open up every single time you open Chrome the way you do that go into here go into settings and on Startup go into this tab go into open a specific page or set of pages click add a new page and then add the link to after you've duplicated it add this link so copy that and paste it in here and now every single time you open up Chrome it will literally like bring up your editing tracker so you have inspiration literally the second you log into Chrome in instead of you getting distracted as soon as you open your Chrome you go on Twitter you'll be met with inspiration so it's just like if you want to change your behavior if you want to improve you want to make it as easy as possible that's one of the ways you do it so I really recommend you do that as well and yeah that's the inspiration back hope you find this useful bro presets are man's greatest invention and you cannot convince me otherwise just quickly let me show you what they do if you don't know already basically let's say you have a transform normally you want to slide it in blah blah blah what we learned in this course cool um I can't bother doing the actually curve but essentially like you have a smooth curve in that might take you 20 30 seconds to get perfect but if you want to do that within a lot less time you can do just search up whatever you want and you can just drag it in so all of these steps you now doing one little drag and also you have zero chance of messing up because you can't accidentally put in the wrong values and you can stack them so let's say you slid it in now you want to slide it out right you can also do that so it's like cool you save some time awesome I think the bigger benefit with presets is not only do you get the simpler effects but you can also do like the super more like the ones that are a lot more complex so you have something like let's say you know let's go a little more complex than usual you have the jelly Poppin which just has the high and width scale offset so that it has this cool little Poppin that's something I love doing makes Poppins look a lot more Dynamic this might take you 2 3 minutes to do on its own to get the curves perfect I've made a perfect one where now you just I'm just able to add it on within one drag same thing with something like this where you have like four a lot more complex effects I'm able to do this within one drag let's say you have something like a shake that you want to make normally to create a shake which we showed before you'd have to go in and basically manually just move it slightly to the side each time or you can have someone who's done it before or you who's created all of the key frames perfectly imagine you having to go in and create all of these little movements someone has done it for you and it looks amazing as well this would have taken someone maybe four five hours to do instead of you having to do it every single time you just drag it in so that's what presets do and I want to show you how to use presets in your workflow in a way that doesn't stifle your creativity because a huge like sort of limiting belief that a lot of editors have and I have no idea why editors have this it's like oh I don't want to use presets because I'm going to be original I would say that my work looks original like I would say it looks original for today's video we go from maybe it's ego but hey I'm proud of my work if I go in any of these clips you can see all the presets that I use I'm constantly using presets and it's not a bad thing and honestly if you want to make money from editing which I'm assuming you do if you want to get to like the higher eons of video editing and like you want to make a crap ton of money for it these guys they value their time you have to have your workflow dialed in if you take multiple days on a video when someone else can take one if I can get a video done in four times less time than you and it looks better you're going to get so do you want to be that edit that's getting but but I don't use p sets because I'm a original or you can use presets and actually leverage the technology that you've been given so yeah I'm going to show you how to do it so the way you want to use presets is whenever you manually create something that you enjoy so let's say you're doing something with transform you're creating this cool little effect which is like um let's just make something where you're skewing and it goes from here to here and obviously I'm just doing random stuff right now but this is you genu going throughout your editing career and creating a cool edit that you took your time on so okay I'm just going to make like a random effect here I don't even know what I'm making here okay cool like you know what this actually looks kind of cool and then you rotate it maybe anticlockwise and do that okay awesome like Pretend This was polished up like you could actually make this look pretty cool if you took the extra time but but for the sake of this tutorial we're not going to do everything so cool let's say you've made this PNG entry animation and you have it at the beginning of the clip to turn this into a preset you first make sure it's in the right place if it's an entry animation which we learned about before you keep at the beginning of the clip right click save reset and name it something let's call it um spin skew PNG in you would then anchor to inpoint what this does is these key frames will automatically go at the beginning of the clip if you don't do this the P the the animation will basically stretch in fact let me show you what the default looks like so normally it's always set to scale and let's go find it skew in if you had a a PNG so this is an empty PNG now and you just dragg this on it's like cool it looks good awesome if you had a PNG which was let's say an empty PNG but it's longer so let's say there's a longer PNG I'm exaggerating here for the sake of example and you drag this on it looks fine this looks fine look what it does holy I think it's going to crash my thing but yeah basically bad things happen when you don't use the anchors properly so I'm going to delete that and hopefully my Premiere sorts this all out cuz God damn what has happened here in fact you know what I'm probably going to restart my premere cuz this has everything up we apologize for the technical difficulties but essentially that's what I mean by bad things happen when you use scale what it's essentially doing is it's it's stretching it out if it's a longer clip and it makes it shorter if it's the Shor clip which kind of messes up your animation so what I want you to do instead is when you're saving the um the preset so let's say we want to save this as a preset you save it as the preset so spin skew PNG in I'm going to call it two just for now just to make it clear instead of using scale you use anchor to endpoint so for entry animations you use anchor to endpoint for exit animations use anchor to outo so this is an in animation because it's coming onto the screen click on okay and now if I use it on the exact same PNG it will work perfectly awesome and if I use it on a super long PNG it still works and this applies to every single like animation you do in terms of any entry animations so whether you use just transform whether you use VR glow whether like let's say you have a glow that you want to use VR glow and you want to make it so that it glows however the exact thing I'm going to do doesn't really matter let's just say you want it to do a short glow where it's basically glow brightness and it goes to zero so you want to have a flash on let's say so this is how a clip would normally look so you would have the first bit of the clip with nothing on it and then you have a cut where the glow happens where the flash happens and then you have a glow so cool let's mess about with this cool let's say we like this in fact let's make it green cuz that's more of like context that we could use in so it's like this would be when something correct okay let's say you want to do this use this in the future you really like this animation VR glow right click it's an entry animation because it's at the start of the clip and to end point cool so now whenever we have another clip that we want to use it on let's say let's say you literally want to use it with d we're going to like break the fourth wall here so let's say there's this clip you want to use it on you just cut wherever you want the glow to happen drag it on and wait let me in fact no we didn't even create the preset I'm dumbass you would right click save preset VR glow let's just call it um Green Flash what did I even call it anyways green flash green flash now whenever you cut it you just drag it on and it will Green Flash for you sick and this works with pgs everything whatever you might want to create different P different animations one for a PNG so you could literally call this green flash PNG and then you could have a different one that you use for full screens maybe you have it where the Luma threshold is around4 and you have the brightness that isn't as in fact what if you kept Luma threshold on minimum it's just the glow brightness you went to like point2 and then you can save this sub feet as Green Flash face cam anchor to endpoint so you do that and this exact same concept works with eggs animations so let's say you create a you created a p an preset Where've got transform and you've made this come out of the screen by going down and at the same time it's skewing so of course this is just random animations that I'm doing you would let's say have this sort of thing and perhaps you have also another effect which is in fact I'll show you multiple effects later so you would save you would um have this at the end of this of the clip because it's an exit animation it always happens at the end of the clip make sure it's lined up cool and then you just right click save reset um drop skew PNG why do I keep writing SK skew and to outpoint now whenever you have a clip that you want to use this on you just go onto it type in skew drop skew PNG now this it will automatically drop skew at the end of the clip which is awesome and of course this looks a lot better when it's actually within context of the video so normally you won't have a clip that's like 10 minutes long it'll be maybe like a couple seconds so here you can have spin skew PNG in and then it drops out as well so it's like cool that's how we're using presets now and you can stack presets so this is part of being creative you can stack presets so if I just use like malice Shadow I can add a drop shadow and then I'll Mal let's say I use Danny Shake Danny shake and then I add a VR glob and I want it to to right here I want it to flash so if I write Green Flash so now you have all these different things happening to the picture which is like otherwise would have taken you a while in fact let me pre-render this just so that it doesn't lag as much it's because I'm using a different drop shadow um that lags a lot more than the default drop shadow I use the vanilla drop shadow now in fact I'll just drag that on drop shadow malice I'm just going to use the free one cuz that's actually want I use now what has happened here it's cuz this is started late then you could Nest up add in a green flash so now you have like this cool animation where you can see it's by doing stuff like this where you would start getting the animations made for things like these where it starts off like a few things but now you can see like you can imagine me breaking down this animation into basically just presets like okay you have you could have a preset for spinning in preset for going left and then for this one is like you have a slide and preset I probably did use a slide and preset for this like um yeah I just Ed my slide and preset right so that's how you use presets and if you want to make a preset that's a little more complex this is how you do it let's say you want one where you've got a transform which slides it up like so and of course normally I would take a lot longer if I'm going to make an effect but you have a slide up and you also want it to flip when it's on the screen in fact let's say it's in this axis it flips let's say you want it to spin while it comes up like that and it comes to a stop slowly so it's an entry animation so here we have like this cool little slide in and then let's say you want it to R our glow as well just to add some brightness to it so that's without that's with and we want it to be kind of golden let's say that looks horrible in fact let's keep it white so this is sort of what you want and you want it [Music] to the glow to slowly fade so key frame the brightness to go from 0.2 to zero and of course these curves I haven't done perfectly I've literally just done on the spot normally I would take maybe 10 minutes to make all of that now let's say you want to turn literally all of this into a preset you want to be able to apply this to any PNG all you do click hold control click the rest right click save preset um spin in glow anchor to in because these are all entry animations click okay now whenever we apply this it will do all of those effects so let's say we have a fresh PNG imagine we've never done this before spin in glow and now whenever we want to use this we can literally use it whenever this can be used in any effect in any any context so yeah that's how you create that and something I want you to understand is when you use presets usually you're not going to use presets as the final form so a lot of these like you see they're made with presets but I didn't use just the preset I use the preset as a base so I apply the preset and then you need to allow yourself to actually manipulate the values so I might actually let's say add this on but then I realize like I don't want it to come in from the Bottom I want to come in from the top I can come in here literally go on top of this key frame and move it to the top oh and now the basic 3D is happening a bit too fast maybe I could make it spin less so and maybe I make it start at a certain level so that it doesn't spin as much or maybe it's happening too fast I can make it happen slower there we are so it's coming in from the bottom think I accidentally undid me moving it to the top so let's just quickly move it to the top still happening too fast make it less steep now it's too slow move it there cool I like that maybe I want the glow to be red and I want it to be start super bright and I want to fade out earlier um what if I wanted to turn red instead of going away from red and then I want it to turn back to zero then I can maybe manipulate these curves to make it work better with the sort of red Flash and yeah so now I've got this kind of similar animation to what we had before so this was the original but we just kind of manipulated it and what if I wanted that to be in the top right as like an overlay and let's say I also wanted a drop shadow can add in the drop shadow to it and now it does have a drop shadow let me put a transparency GD on so what if I want to try drop shadow cool let's put that on as well and now when I want it to come out I just want a slide out I want to slide out to the right so now it does this and after a few seconds it will slide out cool and what if I wanted to sort of handheld Shake while it's on the screen let's say this one and I believe this one is made mostly for full screen so I can turn off the the 105 scale and now we have all of this happening that was made all from separate presets but this looks like a completely original animation because I was able to bring in different presets and yeah I was able to manipulate them and stack them and I was letting myself mess around with the values what I highly recommend honestly Fus set packs one of the biggest Investments that I'm like I made when I started out I'm so glad I made made them genuinely like it was the best investment I ever made because it allowed me to have a base to build on just like we talked about before like when you're being creative we talked about this in the inspiration Bank the reason people are great is because they stood on the shoulders of giants of like they stood on the shoulders of other of other great people you can become a good editor by using other people's presets not just by copying them exactly you can use them on their own I still do use them on their own a lot of the time I'll still use like a lot of time I would literally just like Mal slide up Mal um let's say Danny Shake Danny Shake mini handheld um let then M slide out and then get that out to the right like I could and then maybe we have a drop shadow like this technically I I changed none of the values but I can still use this is still very feasible in a video given the context of course so like yeah you can just apply presets which is great like you will get good I want you to be able to like not only use the presets but able to manipulate them from your for yourself there's that phrase which is you can teach a man to teach no give a man a fish feed him for a day teach a man how to fish feed them for a lifetime I want to not only give you the fish like I'm giving you the presets when you do buy other people and stuff like you don't even need to be buy mine like I don't really care there's so many other people that have amazing packs but it's the fact that I want you to understand you're able to manipulate things just like we did with this small example where we went from here to I don't even know what we did we ended up we ended up doing a Madness with this yeah and if you really wanted to you could turn this into its own preset or you could separate them you could have one of the presets just for the basic 3D one of the presets just for the transform you can have whatever you want and you're able to build up your own catalog of preset so there's times where I have a folder called liter client presets I don't use this too often now like I only use it for a few clients but if there's a a preset that I use specifically for certain Creator I would add it in here let me see if I did it with Jess no I don't have it on this PC but sometimes there would be a a preset I would use specifically for that client I would just add it in its own folder for with their name and often times I would use these presets on videos that weren't even for that client so like I'm sure there's probably some here where I've used it for like a Sona one yeah so this was a like a Sona preset that I use for sona's videos but I can still use it in another video That's The Power of creating presets and also the power of actually trying hard on a video even if you're not getting paid much for it purely because even if you're not getting paid much for a video but you try very hard on it it means that you are creating the assets and the resources that you can use in a future video and that will mean you will get that video done faster meaning you get paid technically more for that video so it's all a future investment into yourself when you try hard on videos and this is the process that I use to make it so the work you do today will pay you off for the rest of your life so that's presets and hope you enjoyed that congratulations you now know everything you need in order to execute the smooth editing style this is once again the style that I've used throughout my editing journey and the one that thousands of editors are using in order to uplevel themselves in the editing space so now you've watched everything I'm going to put you on a path where you actually make progress I'm sure perhaps you've done it in the past where you watch a video it's hype you've gotten all the information and you do it for maybe a day or two but a few weeks pass months pass and then you've kind of forgotten about it I'm going to share exactly how I Implement new information that I learn and how you can learn the smooth editing style in a way that you're taking action and growing at the fastest rate possible so your goal coming into this was learning how to edit smooth videos so that's your goal but actually trying to create smooth edits in a counterintuitive way isn't the fastest way to make progress with your smooth editing I want to imagine this imagine your goal was to have a physique like a body that you've built in the gym if that was your goal if you obsessed over that goal sure one day you might get it but day by day it' be extremely hard to know if you're on the right path so in a weird way focusing not on the Big Goal but on the daily workout would be a better way to make sure you're making Focus if you just obsessed over the number of workouts you did of course having your rest periods and whatever but if you just obsessed over the workouts you would eventually achieve your goal anyways so there's two sorts of measures here there's the lag measure which is the Big Goal which lags behind the work and then there's the lead measure which leads up to us getting the Big Goal the problem with focusing on the lag measure the Big Goal at the end so the physique the money you want to make the editing style that you want if you just focus on this you don't know what you're supposed to do and also it can feel kind of overwhelming right so focusing on the lead measure the dayto day the workout to get to the physique the number of videos to grow on YouTube so let's say you wanted to hit 10,000 subscribers 100,000 subscribers whatever if you were a YouTuber and that was your big goal in a weird way you obsessing over the subscriber account wouldn't help but if you just obsessed over uploading videos that would naturally correlate to the big gold so the lead measure is number of videos uploaded lag measure is subscriber growth so for your smooth editing Journey what's the lag measure and the lead measure the lag measure is the Big Goal you wanting to become a smooth editor the lead measure the day-by-day action is the number of videos that you've edited especially with the stage that you're in now you're in this amazing spot where with every single video as long as you're actually trying on it and you're implementing the advice you've learned here you're going to be making crazy progress so here's an actionable step that I want you to do because there's something I did when I was growing and it made my style improv by so much get a piece of paper where you're going to create a tally like a board where you're basically going to put a line at the top like this just separating the top and the bottom and then at the top you're going to put videos edited just like this this doesn't have to be neat whatever and every time you edit a full video you're going to put a tally just like that just a line and the second one you're going to do the same and then as you go out throughout your you're just going to add more and more Tes like that and the reason you do this is this is measuring the lead measure this is the number of videos you edit and what you'll find is if you obsess over this metric your editing will improve honestly without you even thinking about it all that matters is you edit videos and each time you edit you get slightly better than the last so what I highly recommend you do because this helped me is create that table get a piece of paper now if you tell yourself you're going to do it later let's keep it rule you're probably not going to create that get a piece of paper create that table and either leave it on your desk or what I used to do that helped me stick it up on your wall I've always been obsessed with sticking things up on my wall you can see I've got like the Whiteboard there I've always found it useful whenever I have tallies whenever I did this keeping up on the wall is amazing cuz not only are you able to see it but you're almost like held accountable for it when your parents walk in and they see that oh he's got like three more Tes literally within the last week they just take you a little more seriously and for me my parents never supported me editing heavily And when they see these weird things that I'm doing where I'm they can see I'm actually putting in effort even though they can't really understand it they see how much obsession is going into it and yeah that was just a small part of me being able to convince them to let me edit full time but that's besides the point go create this table where You' got the line videos edited at the top and then the tally and honestly by the next year I want you to slowly create this entire tally whether that's create um practice edits whether that's client work no matter what it is and just turn it into a little bit of a game where you're just trying to get that next one and maybe every five you give yourself a reward and yeah it's a cool system that I found where you focus and obsess over lead measures and the lag measure the big goal of becoming a smooth editor happens by accident pretty much