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I wasn't planning on making an updated color grading tutorial but after I dropped Sounds of the PNW you guys requested the actual hell out of it so today i want to show you how i turn this shot into this shot using color grading in alight Motion. Tt's worth noting that this is just my individual style of grading. I like to go very moody and punchy and contrasty and you don't have to do that, but what you can and should do is take the techniques that i'm talking about in this video and apply them to create your own style of grading. 

t's also worth noting that i shoot in log which is like a very flat profile with very little contrast in the image, and i always over expose my shots by two stops. Shooting in your camera's flattest picture profile allows you to retain as much detail in the highlights and shadows as possible. That gives you a lot of flexibility when you're color grading but it's also important when shooting in that flat profile to overexpose your image usually by about two stops so that you retain as much detail in the colors as possible and prevent grain from getting in and having all those colored artifacts in your image that make your grade appear messier. I'm also using lumetri color in adobe premiere pro to do all this grading, but there are similar techniques and effects available in final cut and davinci resolve as well.

 The first and actually most important step in this process is not color grading but color correction= taking that super flat footage from your camera that might be off in terms of exposure or color and fixing it so that it's nice and clean and ready for your grade. To do this you want to make sure that two scopes are visible- the parade and the vectorscope. The parade shows you all of the brightness values in your image from 0 which is black all the way up to 100 which is white, and the vectorscope shows you the colors in your image with the very center being gray, the hues around the edge, and as colors move out towards the edge of the circle that means they're more saturated. So it shows you a map of all the pixels in your image by color and brightness.

 This gives you a really concrete way to look at those scopes and see exactly what the colors in your image are doing. So the first thing i want to do is take that flat footage from my camera and bring back a realistic lifelike amount of contrast. 

So i'm going to start by taking the black point and dragging it down until something on the parade hits zero. Then once i've got just those couple of pixels that are technically black in the image i'm gonna take the white point and drag it up so that some technically hit 100 so we have a couple of white pixels in the image. So we have that full contrast from true white to true black. 

Now, it's worth noting that sometimes you're not going to have anything completely white or completely black in your image, so make sure to take a look at what you're working with beforehand. Like if you have a really dark frame where there's nothing that's technically white, if you stretch it all the way that something completely turns white you're actually going to be losing detail and making the image look worse. Actually for example with this image, these bags in the back and the shelves can be completely black. There should be a black pixel in there somewhere for there to be the right amount of contrast. But there's nothing in the frame that's completely true white, so if i stretch that white point all the way out my skin is gonna be way too bright. And that goes for all the techniques I'm gonna be talking about in this video. Don't just like press buttons and look at the scopes and see what it does. Use your eyes. Look at the footage and see what looks right. 

So now that we've corrected the levels throughout the image it's time to adjust the white balance, and this is something that i'm guilty of messing up all the time. I'll go out to shoot, have my camera automatically set to cloudy from the day before, it's not a cloudy day anymore it's sunny, and the shots are all way too warm. So i have to fix that in post. The best thing you can possibly do is just get it right in camera, but even when you do it's sometimes still just a little bit off. And if you try to grade without your white balance being corrected first, the image is going to completely fall apart and you're going to really notice all those inaccuracies in the color temperature. So let's fix it. The way that i prefer to correct white balance whenever i can is by having something that's white in the image and just using the eyedropper to select it and correct the white balance that way. 

In fact for this shot I've got a white piece of paper so that I can set the white balance when i'm editing. This is a good thing to do if you have the chance but a lot of the time you don't. You'll notice in a lot of my vlogs where i'm shooting outside in less of a controlled environment I'll wear like a white shirt or a white hoodie. That's actually so that i can set white balance by using that eyedropper tool on what i'm wearing. So if you can find something that's completely white in the image that's the way i would go, but if you can't there are other options. So first if you're shooting a human subject then you can mask around their skin tone and make sure that it's accurate. 

So just draw a mask around something that's just skin, like on this shot I would select probably just this half of my face. Then take a look at the vector scope and since you've isolated that skin tone all of the pixels on the vector scope should be aligning on this line in the top left. If they're to the left of that line then it means that your shot has a green cast and you need to add more purple to make that skin tone accurate. So go over to the tint and drag it more towards the purple side. Then you can just delete that mask and you can see that your white balance should be accurate at that point. Finally if there's not anything white or a skin tone in the image you can try just adjusting the colors to have a balanced image which will generally be more or less correct in terms of white balance. So without masking anything out to isolate it just take a look at the vector scope for the entire image and if you see that it's skewing a bit towards the green side then add in some magenta to push it back towards the center of the circle. If it's skewing towards blue add in some yellow in the temperature to get it back to the center of that map. This is not a perfect method. Like if you're shooting in the forest you're probably going to have a lot of green throughout your image and it's going to dominate the vector scope, so if you correct it to just be in the center then your image is going to actually have a purple cast and be worse. So like use your head, but this can be a useful technique for seeing what could help with your white balance. Now that we've corrected the colors of our image i'm going to add another lumetri color effect and start grading. The first thing i'll do is jump into the curves and use a nice broad s-curve to try and get those deep shadows in my image. This is just a personal preference and in fact one that a lot of people don't like to do themselves, but i like to have really broad deep shadows where the shadow portions of the image kind of just blend together into one big gooey dark spot of color. Then i'll just scroll on down to the hue curves and start adjusting some colors. This is the hue versus saturation curve. On the x-axis we have hue and on the y-axis we have saturation. So you can select a color drag it up and down to saturate it or desaturate it. I like to start out by marking the reds where the skin tones are so i know i'm not messing with those skin tones too dramatically. Then I'll move on and start desaturating purple and green. 

A lot of artifacts throughout your image are going to be on the purple and blue side, so if you start by just desaturating those colors you're probably going to clean the image up a good bit- not always, but it generally helps for me. I don't desaturate the green as much as the purples, but I do drag them down a good bit just to have that moody vibe in the image. You guys know I like that moody vibe. I'll then bring back some of the blue if there's actually something that should be blue in the shot. So for example this shot of the brooklyn bridge was shot during blue hour so the sky and the reflection should be blue, but on this shot that we shot in the pacific northwest this gate and the car behind it look blue on camera but they're actually gray so i'm just gonna leave the blue completely out of this one so they're true gray. Then below that the hue versus hue curve. And this is similar to the hue versus saturation curve we just talked about but instead of selecting a color and dragging it to adjust its saturation you can select a color then drag it up and down to actually change the hue and shift that color you know closer to another color. So what you can do is just take that entire thing drag it up a little bit then the blues are going to turn green and the yellows are going to turn red and you've got like a cliche teal and orange travel influencer color grade- don't do that. Instead we're just gonna make some small tweaks to individual colors here because things can really get out of hand with this slider. So i'm gonna start by boxing around the greens and then dragging them down to give them a cooler tint. I like to have those nice minty greens in my images lately. Then I'm just going to select the blues and drag them up a little bit to give them a teal tint. Then all that's left is the orange tones, yellow orange and red, and these it really depends on the shot but what i generally like to do is just play around with them and i usually end up shifting them up a little bit to be closer to red without messing up the skin tone. That's an important part of this because the skin tones are in that warm range so you don't want to tweak it too much or you're going to absolutely destroy your skin tones and end up with purple skin. And boom we're done with the hue curves, and these are what i usually use to make like the broader adjustments to the large colors in my shot. But what if you want to make a more fine-tuned adjustment to a really specific individual color. Well, that's where HSL secondary comes in. This basically allows you to select an individual color in the image and tweak it to your liking. 

And when you remove red you add teal, so we're going to add a bit of a teal tint into those shadows which I think just adds some more color contrast and gives it more of that moody but punchy vibe. If you have desaturated greens in your image this also might add that extra kind of depth that you need to make those greens look good. A lot of the time if you desaturate the greens they can look kind of dry and faded, but this gives them that minor teal tent to have them be this is almost always completely useless except for when you want to desaturate the blacks and whites.

 So what we're going to do is just select the darkest pixels and the lightest pixels and drag the saturation down to zero. This is never gonna like damage your shot, like it's always going to either do nothing or fix the problem, so it's worth adding to almost every shot you ever work with. For example on this one I adjusted the white balance and made it a lot more warm so we have a bit of a yellow tint and the highlights and you don't really notice it until you desaturate those white pixels and see just how much better it looks. It's subtle but once you see it you can't unsee the difference that it makes. So what I would do is literally just add this on an adjustment layer over the entire project because it's either going to help on some shots or do nothing at all. It's never going to be a mistake. Finally i like to add this diffused highlights effect to most of my footage, but i already made a tutorial just on how to do that effect so i'll just link that right up here. But that's all for today. I hope you learned everything you wanted to from this video. I hope i answered all of your burning questions about my color grading. If you enjoyed this video or learned something new from it do feel free to show your support by leaving a like on the video sharing it with your friends or even subscribing to my channel. I upload new videos just like this every single week. But that's all for now. Keep creating and I'll see you in the next one. 

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              Transition Preset Pack Download

 i wasn't sure i was gonna make this video i wasn't sure if you guys were ready for it but you know what i said the heck with it let's do it in today's video i'm gonna be showing you guys how to make three essential transitions in  Alight Motion  not only are these transitions essential to know they will make your videos pop they will make your videos slack they will make your videos 10 times better just by using these transitions and you can make them all entirely in adobe Alight Motion

 we're not going to use after effects none of that so who's ready if you're ready hit the like button down below and let's get right into it first transition i'm going to be showing you guys how to make is a simple flash transition i actually think that the default additive dissolve transition that Alight Motion  has is absolute garbage so we're actually gonna make this flash transition completely from scratch so let's just check it out so you can see it just hits on the beat it slaps on the beat and it makes the video knock harder

 so let's get into how to make this from scratch what you want to do is come down here to your left panel and go to where it says new item hit adjustment layer go ahead and just hit okay it's as easy as that and you're just going to pull that into your timeline right here in order to make this effect you're going to come up here to your effects panel you're going to type in brightness and contrast pretty simple pretty self-explanatory and we're just going to make this flash transition lasts about six frames start here at the very beginning 

we're just gonna tab over six frames one two three four five six we're just gonna chop this excess off right there we're gonna come to this middle frame right here and we're gonna make two keyframes one on brightness one on contrast so we're just gonna go ahead and bring up the brightness a ton we're gonna change the contrast a ton and we're just gonna get creative with it you know play around with it there's no right answer there's no right way to make these flash transitions this is just one way to do it that i think is super dope you're gonna go three frames to the left one two three this is where the very beginning is and we're just gonna reset these parameters right here so that's just gonna make a new keyframe right here at the beginning and set both of these values back to zero so now when i tab over you can see it gets really bright now we're gonna go all the way to the last frame on the right one two three and we're gonna do the same thing we're just gonna reset so it's gonna get really bright and then it's gonna go right back to normal at the very end take this adjustment layer and place it over two clips just like that so now let's check that out pretty easy very simple love this effect flash transition all the way it will always be one of those effects that i use in every single type of edit i do i think making them from scratch looks way better than additive dissolve let's move on to our next effect 

so this next effect is so dope it's just a quick blur effect it's a super subtle way to transition from one clip to the next i really love this effect i think it slaps it makes the beat go crazy so let's check it out so i don't even know if you guys noticed it or not but there is a transition happening in between these two clips right here and you can see right there it just gets blurry and then it goes back to normal so check this out now there's no transition at all right here so it just goes right into the next clip what we want to do to make this transition work is just go three frames to the left from this cut one two three and then you wanna slice that clip like it's some turkey on thanksgiving so we're just gonna make a cut right there and we're gonna go six frames to the right one two three four five six we're gonna make another cut right there and we're just gonna take both of these clips that we just cut and right click them and hit nest nesting will basically bake both of those clips into a little layer so they're their own clip now you basically combine two clips into one basically so pretty cool feature in adobe Alight Motion  and then what you got to do is come up here to your effects tab and just look up this effect called fastboard

 we're gonna throw one of them puppies on there and we're just gonna hit this blurriness right in the middle we're gonna keyframe this blurriness but not for horizontal and vertical no no no no that looks really blurry not really cool at all do not do that so we're just gonna pick horizontal or vertical for this i'm gonna go with the horizontal classic and we're just gonna increase the blur amount as much as we want so we can get very blurry as you can see like this but when you pick horizontal you get these kind of streaks across the screen instead of having horizontal and vertical where it's just all blurry that's why i like using horizontal and vertical personally and then what you got to do is go to the very beginning and we're going to go ahead and reset that keyframe we're going to go all the way to the end and hit reset again so now it's going to get not blurry then it gets blurry and then it gets not blurry again so let's check it out in full motion right here let's move on to the last transition which is also probably the most fire transition you can learn how to make there's a lot of ways to make it so let's get into it so for this last example 

i'm going to show you guys how to make a quick mask transition in  Alight Motion  masking is essential if you want to be good at editing videos it's something that i use in a lot of projects and there's a lot of ways to go about masking but i'm going to show you guys a creative way to use masking to create a transition in adobe Alight Motion  so check out this mask transition right here very quick very subtle very simple yeah i have my second clip that i'm transitioning to above my first clip that i'm transitioning from so that's step one you gotta have your second clip above your first clip step two is to just start right here at the very beginning and click on your top clip you're going to come up here to opacity and you're going to hit this pen tool right so what you're going to do is on this first frame you're just going to make like a shape or cut out whatever you want to do i like these like jagged cutouts that type of vibe so it looks like that and then what i like to do is decrease the mask feather we don't want that mask feather coming around here from this point you can see our first mask it's pretty dope i love this i love the way it looks a lot of ways to get creative with this so what i'm going to do from here is just keyframe our mask path right there at the first keyframe i'm gonna go ahead and go two frames to the right one two i'm gonna hit another keyframe right here and that's gonna basically just save this mask where it is now 

I'm gonna go one more frame to the right i'm gonna retrace this mask a little bit so i'm just gonna drag these points out a little bit more now that we're a little bit farther into this transition we're revealing more of that clip underneath just tweaking each point that we've made and we get something like this right so pretty dope and now what we're gonna do is just go two more frames to the right one two we're gonna hit another keyframe on this one so this one saves right now we're just gonna go one more to the right and we're gonna come back up here to our mask and we're just gonna take each of these points and we're gonna keep dragging them out and it's as easy as that guys all you got to do is go frame by frame just drag these points out until you get something that looks dope you might do this a few times before you get a good result now we have that one done we're going to go ahead and finish up now so we're going to come two more to the right one two make our last keyframe there and now we're gonna reveal the entire clip underneath

 so now we're gonna go one more to the right and we're gonna highlight our mask and we're just gonna pull all these points to the edges just like that perfect this is excellent great work and boom that's all it takes so now when we kind of hover back over it you can see the transition kind of just popping out at you and when we play that back in real time check out what it looks like thanks so much for watching today's tutorial i'm feeling very excited about these next couple of videos i'm coming out with these effect videos are only going to keep getting better i'm doing a ton of research on how to make better effects and digging deep into some of my old files as well to find old effects that i've used and created 

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We're going to be spilling that sauce on the internet for the foreseeable future so if you want to be a part of this community and learn and grow with us definitely consider hitting that subscribe button below and if you could only use one of these transitions that i showed you today which one would it be comment down below i'm excited to see some of your guys's responses and if you're a video editor who is serious about making videos and better edits check out my website venturevisuals.com i got a lot of sauce on there you can try out some of my products completely for free so definitely check that out i'll include a link below like i said before i'm excited for these next series of videos so stay tuned and again guys thanks for watching my video i'm jake venner peace out you 

Hello video creators! Welcome to Rc edits. 

In today's tutorial I'm going to show you how to make the following... ...Smooth Grid Zoom transition. To make this transition, we'll first create a four-grid video wall... ...then zoom out on one of the clips and zoom in to the next one. We're going to do this all inside Alight Motion. But you should also be able to do this in older versions... ...like CC2017 or maybe even CS6. For some parts of the transition, I've also made a preset.

 You can download these presets for free. More on that, later on in the video. This tutorial video consist of two parts. In the first part you will learn how to build the transition. And, in the second part, you will learn how to import and use the presets. You can find the timestamps for both parts in the video description. Before we move over to Premiere... ...I want to tell you why you need a subscription on ... ...the sponsor of this video. Envato Elements is a great source for all your creative projects. They offer millions of high-quality items. Like stock video and images. Music and Sound Effects. But also many transition templates and presets. 

If you want to try them out, then use the link in the video description... ...to claim a discount on your first month. The links can be found in the video description. Okay, let's now head over to Premiere and start some editing. So, first I will show you how the transition and the presets are made. This way you know what to adjust if you want to customize them. Here, on the timeline, I've already got two clips that we're going to use for the demo. And, besides that, I've also got two images that we're going to use for the footage wall, or grid. Now, to start off, we're going to put the second clip on the second track of the timeline... ...partially above the first one. In my experience, around 3 seconds of overlap works best for this transition. But, of course, you can use any duration that you prefer. 

Now, we can add both stills to the timeline, right on top of the other two clips. Next I'm going to switch over to the Razor Tool by hitting the C key, or click this icon here. And then, we're going to cut the track at this point. And, we'll also cut the bottom track at this point. Then we can switch back to the Selection Tool, by hitting the V key, or click this icon here. Then select the parts that we just cut off and remove them by hitting the "Delete" key. Now we can also move this cut off part back to the first track, just to keep it all organized. Now here, we've got the four parts that we're going to use for the footage grid. But, before we can do that, we first need to do some Scaling. And that's because the images are a lot bigger then the size or resolution of the sequence.

 So I will select one of the images and then head over to the Effects Control Panel... ...and then scale it down until it looks better inside the frame. I also want to resize the second image, so I'm going to disable the top track for now. And then I can select the second image on the timeline... ...and then also scale it down inside the Effects Control Panel. And in case you also need to adjust the scaling for the second track... ...you could always disable the third track, and so on. In the next step we're going to "Nest" the four layers. And we're going to do this because all the layers have different resolutions. To do this, right click on one of the layers and then select Nest. You can then accept the default name and click OK. And we're going to repeat this same step for the other 3 layers. This Nesting part is important because if we don't do this... ...all the next steps for this tutorial will fail. And now to make this one complete, we'll also Nest all the nested sequences together.

 So, I'm going to select them all, then right click and select Nest. And then accept the default name and click OK. Next we can double click on this nested sequence to open up the other four layers. In the next step we're going to apply the Transform Effect to all the nested sequence layers. In the Effects Panel, we're going to search for transform... ...you'll find this one under Video Effects, Distort. We can now drag this effect over to the timeline and then apply to all the 4 separate layers. And now that all the layers have the Transform effect applied... ...we're going to adjust them one by one inside the Effects Control Panel. We're going to set the Scaling value to 50% for all the 4 layers. And, for this example, we want this image to be in the left top corner... ...because the transition will be from the top right to the bottom left. 

So, I'll set the position values to 960:540. And this, by the way, is a 4K 16:9 aspect ratio sequence. If you're using a full HD resolution, then you need other position values. Let's continue on with the next layer. This is the second image, and we want this one to be in the right bottom corner. As you've just seen, we need to change this one to 2880:1620. And then also set Scaling to 50%. Next, we've got the second clip in the video transition. As I said, we're going to move from the top right to the bottom left. So, this one needs to be in the bottom left. First I'll set Scaling to 50 and then change to position value to 960:1620. And now we've only got the first clip left over to be changed. First I'm going to set Scaling to 50 and then change the position values to 2880:540. And that looks perfect. All the layers in their right position. Now, we can close this nested sequence and then go back to the main sequence. As you can see we've now got the 4 clips ready for the zoom out and in animation. And, we'll also do this with the Transform effect. So, I will apply this effect to the nested sequence. And then make sure you've got the nested sequence selected... ...head over to the Effects Control Panel... ...and enable keyframes for Scaling and Position. First, I'll create a couple of keyframes for Scaling. We'll need 2 keyframes with value 200% at the beginning and the end of the transition. And we'll also need 2 more keyframes with value 100%... ...and these 2 will be in the middle of the transition. And together, these are the 4 keyframes that we'll need for Scaling.

 Next, we're going to create a couple of keyframes for position. The first one will be in the right top corner, so I'll use Position 0:2160. And then I'll move this keyframe to the beginning of the transition. And next I'll need 2 keyframes with value 1920:1080 for the middle. Also, make sure that the Position keyframe are aligned with the keyframes for Scaling. We need one more keyframe with value 1920:1080... ...and also align this with the Scaling keyframe. For the final keyframe I'm going to move a couple of frames forward... ...and this one will be the Position keyframe for the left bottom corner. And the value for this one is 3840:0. And that keyframe needs to be moved to the end of the transition. 

Next, we'll make the animation a bit more smoother. We're going to select and right click on the last keyframes and then select "Ease In". And then do the same for the first keyframes, but then select "Ease Out". And now we finished the top right to bottom left zoom transition. And I've got some good news for you. I've made a couple of presets in 8 different directions. And I'm going to start by telling you where to download them. If you follow the link in the video description... ...you will get to a page that looks something like this. As I mentioned in the beginning of this video, it is free. But if you do want to make a donation, then please donate your like to this video... ...or leave a comment below, that really helps a lot. Anyway, to continue, you need to click on buy now. In the next screen you need to enter your email address, select your country... ...accept the terms and conditions and then click continue. After that, you should receive a download link in your mailbox in a couple of minutes. After downloading, be sure to unzip the files before you move over to Premiere. Inside Premiere, you need to go to the Effects Panel and then go to the presets section. Right click on it, and then select Import Presets. Then browse through the folder where you've got the extracted preset file. Select it, and then click OPEN. 

For this demo we're going to use the bottom left to top right transition. Now that we know which transition direction we're going to use... ...we can apply the position presets to the layers. And you can do this by simply dragging the presets over to the timeline. And now everything is in the right place to make the transition... ...from the bottom left to the top right. And to do this, we need to select all the nested layers... ...then right click and then select Nest. You can accept the default name and then click OK. And, after that, the final step is adding the right direction preset to the nested sequence. And that's it! These are the steps that you need to follow to use my presets. And that also concludes this video grid zoom transition. I really hope you enjoyed this tutorial... ...and if you did you might also want to check out one of these 2 videos. Anyway, as always, thanks a lot for watching and I hope you have a wonderful day. 

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In this tutorial i'm going to show you how to make a Advance transition inside, of Alight Motion  my name is Rc and i do weekly Alight Motion and filmmaking tutorials so make sure to subscribe and hit the bell so you don't miss out on future videos.

   I got two clips on the timeline and i really want to transition, from this clip right here and into the next clip with it sliding this way so the first thing we need to do is to drag this first clip that we are transitioning, from up to video track number two and then you can select how long you want the transition to be. 

 so i really want to start around here i think and then i can drag the second clip that we are going to transition, to under the first clip so now we have these two clips stacked together and then i'm going to select the eraser tool by hitting c on my keyboard and i'm going to make a cut right here at the first clip and i'm also going to make a second cut at the second clip .

So now we have sectioned off these two clips right here then we can go and select the first clip that we are transitioning, from and we're going to work inside of effect controls so i'm going to put my playhead at the beginning of the clip and i'm going to make a keyframe so i'm going to make a keyframe for position and i'm going to go forward in the clip and make another keyframe 

 so i'm just going to drag this to the side and i just want this clip to be slightly off to the side right here just so we don't see it anymore then i'm going to drag this last keyframe, all the way to the end of the clip so now it will look something, like that this looks a little bit weird so we are going to make this other clip slide at the same speed at the first clip so first we need to hide this first clip and we can hide this video track number two by clicking the toggle track output and then it disappears then we can select the second clip.

   we're going to make some keyframes on this clip as well so let's move the playhead to the beginning of the clip and then we're going to toggle a keyframe and we're just going to drag this all the way to the other side so we are slightly off screen then i'm going to move my playhead, to almost the end of the clip again and i'm going to drag this until we have it in the same place that it should be and then i want to drag this last keyframe up there as well i'm also going to add some blur but let's see how it looks so now we just have this simple little slide transition but i'm going to add some blur so the first thing we need to do is to go down here and select new adjustment layer, 

 when you get this box here you just click ok and inside of the project bin we have this adjustment layer so i'm just going to drag this on top of both of the clips and i'm just going to trim it so it fits on the transition right here and then we're going to search for effect right here called the directional blur and you'll find that in the video effects blur and sharpen folder and you have the directional burr right here so let's drag that on top of our adjustment layer and then i'm going to go to the beginning of the clip right here.

i'm going to set the values in the directional, blur to 90 degrees so that is horizontal and then we can increase the blur and this is something you can decide how much blur or not you want but i think i'm going to go around 30 and if you play this back right now this is how it looks but if this is too slow for you i will show you how you can make this go faster so to make this go faster we can simply, select all of the clips that are in this slide transition section and we can right click and nest it so click the nest button right there and click ok and then we can go over here and use the rate stretch tool or you can just click r on your keyboard and this will allow you to adjust how fast this section of the transition 

 So let's say i want to make this double as fast i could just drag this and then we can put this first clip on there and make sure we delete this and when we play this back right now we got a faster transition on the screen right now we got another video for you to watch next and if you haven't yet make sure to subscribe,and hit the bell thank you so much for watching create an inspire and i will see you in the next video