rc edits official

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. 

 Alight Motion 4.1.0 New Update 

                          Alight Motion 4.1.0

New Features:

Hi Guy's Alight motions 4.0 update comes, with various new features and changes

  You can watch alight motions tutorial, on some new features all for the same a bit confusing to me first i'll show you the new features and effects then i'll show you how to use them - the first one is that you can now change the settings of a project while being in the project and also we have two new background colors green and blue - project editing timer now exists it displays the amount of time you spent on a project secondly.

Add Multiple Pic's:

  We can now import multiple images at once by tapping on all multiple and then selecting the images - we can also select the amount of duration layers, we'll have when importing them and change the timing of the layers - well that reminds me we can also set the default duration of a layer from align motion settings.

Bookmarks:

 Thirdly the bookmarks are now added by tapping on the timeline and the former bookmarks, place is replaced by view options panel - the view options panel consists of pixel preview grid layer solo slash reduced opacity view active camera view preview pan and zoom you can go to home then tap on detail to release notes of the 4.0 update, and you'll get redirected to this page where you can find a short 

New Features:

Explanation of the new features - pixel preview is basically what it would look like after exporting it grid is just a grid which you can increase or decrease the columns, or routes layer solo allows you to view only the selected layer while you are editing it and reduce opacity view is just a layer having 50 of the opacity it originally has preview pattern zoom allows, you to zoom in or out the project you can either tap on this plus or minus or tap on this icon and pinch the screen 

3D Camera & Null Object:

 also we have the new object where you can find camera no and empty group - camera object is kind of complicated, but i'll try to make it simple so let's do the easy first - i'll show you how to use this shortly null object is an invisible layer that you can parent with other layers like maybe little ducks or other layers follow the mother duck which is the null layer an empty group is
basically a group that has nothing in it.

Group Settings:

 Now you can also change the resolution on the group - - and add dynamic resolution which lets you transform groups without the group getting, blurry we can also turn off group retiming which means now you can split or trim the groups without the start of your grooves hindering you already that's so.

Z Position:

 How about camera object there is a new feature called set coordinates or z position, just tap on the number above z to switch to it this creates a 3d or three-dimensional scale kind, of thingy it allows the layer to appear closer or further away to use camera object i found out that you need to use that position for it to work properly add keyframes and move it or just bring it close to the preview then add a camera object turn on active camera view and swipe on the layer around it moves it moves - -

      when you go to camera options you can find camera view focus blur and fog camera view controls the view angle and zoom distance focus blur adds a blur on some layers and pop box - a quick explanation is that focus blurs blurs the layer that the focus is not on or to help you focus on an object and fog gets a layer of fog on the layers and kind of makes it look like it disappeared you can add multiple cameras, add effect to them and also parent them - and copy paste styles how could i forget better - you can now copy layers and the style of that layer and paste it onto other layers the best part is that you can select what to paste - copy pasting easing curve 

Now allows you to place the same easing onto all the keyframes, auto shake random jitter and oscillate were updated new effects are rash to transform skill assistant and parenting helper the names changed - the image and video button is now called media estimated time remaining to export project is now available on ipad and ios - and the audio browser looks different now it has been updated to match the design in ipad and ios and let's preview Thank you 

                     Top 10 Shake Preset Pack

Hi Guy's

 what so everybody dobby mass is here and today I'd be showing you how to edit camera shake into your footage in Alight Motion so we're gonna take footage that originally looks like this just a very you know tripod shot nothing going on here and we're going to end up making it look like this where it looks like that a camera someone was actually holding the camera for this shot and this is actually really simple to accomplish we're actually using warp stabiliser of all effects to do this sort of a reverse warp stabilizer

Sequence:

 so let's get started I'll explain it along the way first thing we need to do is we need to create a sequence with our footage in it so in this situation what I have is this file right here we're going to change the sequence settings for it and you see it's just this this long sort of footage here I have this posted on my other channel it's just sort of like a ambient sort of video I'll put that I'll put a card up if you want to check that out 

   but so we have this right here and what we want to do is we want to add some camera shake to this so what we need to do is we need to find literally any clip in the world that has camera shake you can find this on YouTube you can just record you know go outside and record something you know chord your desk you can record anything as long as there's some proper contrast and warp stabiliser can sort of figure it out and so in this situation 

what I have is something that's completely and totally different than the other footage which is this right here and so we're just walking into a temple and you see there's some camera shake along the edges it's got that sort of bounce in the move and that's what we need it's all we need so we're gonna go ahead and drag that onto this footage and then I'm just going to make sure that my other piece of footage doesn't go longer than this one so we'll just cut the end right there and now they're all the same so it doesn't matter that this one's smaller than the other one that doesn't matter at all we can make it bigger

 if we want to to sort of make it fit a little bit bigger so we'll put that like right there and now it fits perfectly but what we need to do now is we need to actually nest the footage so we need to make this one a piece of footage so we're going to highlight this we're going to right click and we're going to go up to nest right here it's going to create ourselves a nested sequence we can name this like camera shake or really anything that you want we'll leave the extra eye in there and we'll click on this and now what we have is the only the top piece of footage 

is what it's doing is every time this one moved left this one will not move left and we basically just copied the camera shake from this footage onto the bottom footage and now in the final form we have it looking like a natural camera shape because it was a natural camera shake that we just transplanted onto this new footage and now there you have it we have ourselves moved from a tripod shot to a very realistic-looking handheld shot and like I said all you had to do is use warp stabiliser of all effects to do it now don't ever click the analyze button again once you click that again it's going to reanalyze for this new footage

 right here and this will become you know a tripod shot again so once you have it all set up just you know don't mess around with any of this anymore you're now good to go and you now have your camera shake ready to move things are before joining if you have any questions or comments go and dome in the comment section below or on our website I don't master yet if you would super move it is similar this one going into that subscribe button I make a video every other day on Adobe it related products and until I some guys see ya you 

 TOP 5 Cc Presets Pack

                         Top 5 Cc Presets 

hey guys jill here for premiere basics a weekly series where we teach you all the ins and outs of adobe premiere pro, last week adobe released a brand new feature that lets you color grade your footage with just one click of a button currently, it is only available within the beta version of premiere pro 

  so first let's open up the adobe creative cloud app and move to the beta apps menu then download the beta version of premiere after it's installed open up the beta app and you'll notice that the import menu is already different,  but that's something that we've talked about in a previous video which you can see by clicking the link in the top right corner now 

   i'm going to import some, footage which will be some log footage that we've shot and some stock clips from story blocks that already have a decent color grade we're now going to color grade these clips to get some nice looking colors to start color grading move to the window menu and select the lumetri color panel if you have never color graded before let me give you a quick introduction within the lumetri panel, we have multiple tabs the first one is the basic correction tab from here we can make as the name indicates basic adjustments to our contrast and exposure but also the temperature of your shot.

  next is the creative tab from here you can add luts which you can technically, also do in the basic correction tab but if you apply it here you can still adjust stuff later on in the basic corrections, in the creative tab you can also add sharpness vibrance and saturation next up is the curved step from here you can use the curves to control exposure and colors but in a more advanced way you can also play around with the hue saturation, and luma controls to control specific colors on your shot next is the color wheels and match tab and here you can add specific colors to either the shadows mid-tones or highlights, next is the hsl secondary tab which you can use to make selections of specific colors which is an ideal way to create better skin tones for example and lastly we have the vignette tab which is basically, to create a vignette obviously but you have clicked on this video to see the brand new one-click color grade feature in premiere so let's now wait any longer. 

 when you go back to the basic correction, step you will see a new button which says auto tone now if you click this premiere will apply intelligent auto corrections to your footage and this is all done with the sliders of the basic correction step which means that afterwards you can still have full control over it and change anything if needed so why is this so useful well for beginner video editors this is a fast and easy way to apply a quick and nice looking color grade to your footage as a start you can then use for example the color wheels.

 and results actually look pretty damn great so i can't wait for adobe to release it officially for everyone to use it i hope you enjoyed this video and learned something new and if so make sure to hit the like button turn on post notifications and of course subscribe to the channel and feel free to share this video with your friends or on your socials i'll see you again next week with a new tutorial and as always stay creative.

 Trending Soft Zooming Transition Tutorial 

Introduction:

Today i'm going to show you how to zoom in Alight Motion, also you will see how you can create different zoom effects on your footage so when zooming into our footage it all comes down to using the scale parameter here in your effects controls.

    So you can use the scale parameter to zoom in zoom out your clip you can also use your position parameter, your x value to move your clip left and right and your y value to move your clip up and down and you can reset any of these parameters, by hitting this arrow here and reset it back to the default values now one of the easiest ways to zoom in on a clip is to use what they call a punch cut or cut to close up and for this type of a zoom you don't need any key framing i have a clip here in the timeline.

Position:

 i'm just going to move my playhead over, i'm going to make two cuts here on this clip hit c for the razor tool make one cut right there bring my head over and this is where i want my punch cut to end so i'll make another cut right here hit my v key to go back to my selection tool and then i'm going to select that middle clip 

Add Keyframes:

i'm going to adjust my scale parameter and zoom in and i'm going to change my x and y values kind of center this and so as i play this back here is my zoom in or my punch, cut and now it's going to go back to the wide view and that's the easiest way to zoom if you don't want to use any keyframing, so now with this clip here we're going to zoom and we're going to use keyframes to enable keyframing come up to your effects controls, and if you're going to use position and scale together or one or the other you would click on the stopwatch right here and right away it creates default keyframes and if you move your playhead over.

  let's say i want to scale this up and when i made a change to the scale at the position of my playhead it made another keyframe and if i play this back you can see it zoomed and the distance between the initial keyframes, and the last one is the amount of time it takes for your clip to zoom in and if you need to move your keyframes at the same time just highlight them and they both turn blue and you can move them back and forth to change your starting position or your ending position or your keyframing, now to help with a smoother zoom you can highlight in this case the first keyframes and right click and come down here to temporal interpolation and say ease out and you notice that your keyframes change shape.

   i'm going to do this to my second keyframe and right click and say ease in so what we're doing here is we're actually creating a bit of acceleration, into the motion rather than to just abruptly starting and stopping so this should make it a little bit smoother looking played that back next to position,and scale if you drop down this arrow you see that your key frames have a graphical representation, and so you can grab these handles and these will give you more control over your zoom so if you want to zoom out it's basically the reverse so if i have my clip selected here and i'm going to click on scale and position to make my default keyframes.

Add Effects:

we're going to have a zoom and it's going to zoom in in the middle of two clips and it's going to have some motion blur, first you're going to come down here to the bottom of the project panel and click on this icon that's where it says new item and add adjustment layer and so i'm making sure that it is the same as my sequence and then drag that adjustment layer, over my clips that's the way it looks and put my playhead right in between the two clips and i'm going to select that adjustment layer and go into my effects and search for transform effect and i'm going to drop that on my adjustment layer.

Angle:

      i'm going to make a couple of adjustments and come down here to my transform effect, and scroll down and uncheck to use composition shutter angle,  and change that shutter angle to 360 this is going to create our motion blur in the transition now without moving the playhead i'm coming over to scale and i'm going to change the value to 300 and use my left arrow key and move my playhead back, three frames and i'm going to change my scale to 100 and so that created another keyframe there and i'm going to hit this arrow here that says go to next keyframe that's the first keyframe and then

Ending:

 i'm going to use my right arrow key and move over one frame and then click add remove keyframe, i have a new keyframe there and then i'm going to use my right arrow key to go over five frames and then here's where i'm going to change the scale back to 100 and if you want you can change the position, of these keyframes to change your timing but here's the motion blur in our transition you want more tutorials like this click or tap on one of the videos on the screen now and remember, it's never too late to learn thanks for watching see you in the next video you 

what's going on youtube Rc with venture visuals and on this channel we break down trendy music video effects and creative editing skills and today i could not be more stoked to be showing you guys this film roll transition that's very easy to create in alight motion pro but before we get started i just want to shout out you guys out there in the audience who are watching my tutorials and leaving comments liking the videos all that the channel just hit a thousand subscribers this week which i am stoked about and you guys helped me get there so the first thing.

 we're gonna do is basically just identify where we want the transition to start so this is where i think a good spot for this transition, is gonna be so as you can see we already got the two clips split in half like that what i'm gonna do is hold shift on my keyboard go to the left and that's gonna bounce over five frames here on the left

 i'm gonna make a cut right there and now i'm gonna hit shift and go to the right twice that's gonna go to the right ten frames and i'm gonna make a cut highlight them right click on them and nest them so they are just one clip here on the timeline so what we need to do first is add in an effect called offset so that's over here in our project panel we're just going to type in offset and you'll see it under the distort folder we're going to drag that onto our nested sequence like so you're not going to see anything happening here in the beginning, and that's fine we're going to make a keyframe under shift center too i'm going to drag that keyframe to the beginning so now what we're going to do is scroll to the right here on our nested sequence adjust this shift center two.

    we're gonna drag this value of 540 and we're gonna just play around with this let's go maybe to like 5000 okay so it'll be a pretty quick transition here so check this out so you can see it right there maybe that's a little bit too fast so let's take this value let's go down to like three thousand that's probably going to look a little bit better so now when i play it back we'll get this so that looks a lot better than how fast i had it going before step two for us is gonna be to add an effect called fast blur.

   so we're gonna go to our effects panel and we're just gonna look up bass blur under obsolete we're gonna drag that onto our nested sequence as well and we're just gonna turn this blurriness up to about 115 right so it gets blurry like that but we don't want it to be blurry on the horizontal, and vertical the blur should just be horizontal okay so we kind of get that look step three is gonna be to add a circle okay so we're gonna type in circle and we're gonna click and drag that onto our nested sequence so now with this circle up in our effect controls we're going to change the radius to like 700 right so we get a very very large circle here.

   we're going to go ahead and like keyframe the center and the radius points for this circle just going to keyframe, and move this point around a little bit maybe we'll have it like kind of bleed in to the frame a little bit like that and then maybe uh the radius gets a little smaller you know right around the middle and then we'll go kind of like we'll get big again and then you know we'll drag the position down a little bit here from the center and you know it's making these keyframe, points now when we scroll over the nested sequence you can see how that circle is moving right but like what is this circle for okay so i'm going to explain this to you guys this is kind of an interesting way to make light leaks or film burns in alight motion so what i'm going to do is change the color and i'm going to make it uh somewhat of an orange color you know something like, that looks good and then what we're going to do is we're going to feather this outer edge a ton we start to get this you know really feathered edge here with our orange circle i'm actually going to turn it up a little bit more 

 so we're going to bring this up to even you know let's go to like 950 okay perfect now we got this really nice soft edge come down under opacity and change the blending mode to add and now we can see our clip behind it so now when i scroll over we get that film burn type of look that just kind of comes into frame as the transition, starts step four is going to be to duplicate this light leak that we just made i'm just going to click on our circle here in our effect controls i'm going to hit command c command v right so that's going to make another circle and as you can see our light leak gets a little bit brighter which is awesome i'm just going to change the second circle and i'm going to change the color to something a little more red okay so you know we get more of an authentic fiery type of look now what i'm gonna do is just change the center and radius key points the keyframes so that it looks it's a little bit offset from the first light leak that we created right 

so i'm going to drag it maybe over here to the right side and then you know here in the middle we can you know maybe have it stay on the right side go down a little bit so it's kind of in the opposite corner of the orange and then here at the end you know it's fine if it kind of goes across the screen a little bit maybe a little bit less maybe just to like the middle part okay so yeah now i keyframed,that second film burn that second circle a little bit differently so we have it you know on the other side of the frame it doesn't look identical to our first film burn and that just helps give it that more authentic look and feel the effect is pretty much done all we need to do is add in a little bit noise give it some texture we're going to come over here to our effects tab type in noise and we're going to find it under noise and grain right here we're just going to throw that onto our nested sequence as i increase it you can see this is like very very high percentage here 100 noise we don't want that we just want something a little bit more textured than just like your your normal clip right so we just want to add a little bit of texture in there so i'm going to hover around 10 percent on this noise you know you can see these little noise particles here over the frame so that just helps give it some texture makes it look a little more authentic so i'm just going to hit i on my keyboard, to mark the in point and i'm going to hit o on my keyboard to mark the out point i'm going to come up here to sequence and i'm going to hit render into out this is going to pre-render what we have so far so now you can see this green bar here on top means this sequence is fully rendered out to maximum quality it's not going to lag at all so now when we watch it back check it out [Music] yeah so pretty cool one thing i would change is just how this transition starts and i would actually easy ease out this first offset keyframe so i'm going to right click on that keyframe hit temporal interpolation, go to ease out right there and so now it's going to ease out of the original frame a little bit smoother instead of just going straight into the transition

 it's going to kind of like ramp into the transition okay so that's going to make it look a little bit smoother as well and now i've rendered it so that it's full speed so let's watch it one more time here  yeah so that went a little bit better with the beat right there especially because the kick drum is kind of like offbeat so i do have a few clips here from another music video so we're just going to go through this pretty quickly so i'm going to start at this uh cut right here that hits right on this kick drum i believe or this base yeah so it's like the it's like the drop of this song right there okay so i'm going to go to that cut i'm gonna hold shift go to the left five frames go to the right ten frames i'm gonna cut where both those clips are right click on them nest them so that they're their own clip what's our first step it's offset right so we're just gonna go offset throw that on there keyframe the shift center we'll just throw these numbers around until we're satisfied let's see how fast this offset is we're just going to easy ease out that first keyframe add the circle so we'll throw that circle on there increase our radius let's get really big with this one remember we got to feather it so let's go like a thousand feather and let's change the color to like a red blending mode to add right let's just drag it over here to like the left side a little bit let's keyframe the opacity of this one a little bit let's make it kind of like flicker a little bit on this one right so we're going to keyframe this light leak opacity so when i play it back now check it out it's it's not that noticeable when you watch it in full speed but when i scroll over here frame by frame you can see it flickering that red and now what we're going to do is just throw on that blur so let's just do gaussian blur for this one we'll throw on that gaussian blur and this time let's do vertical let's see what that looks like okay.

so we're going to keyframe, the blurriness starting pretty much right in the middle of that transition so the blurriness has got to be pretty good right away and you know it's going to stay pretty blurry until the motion slows down right so it's going to be pretty blurry so we're going to make a keyframe right there, and then right here at the end it'll get like pretty much back to normal right so now we got like that blur back to normal i actually do like the vertical blur with this gaussian blur maybe even a little bit more than i liked uh the horizontal blur on my first example right so there's the horizontal and there's the vertical the vertical actually goes with the motion more for this specific film role and now what do we need to do we need to add that noise right.

 so we're going to throw in that noise right on top turn this amount of noise up to like you know 20 maybe for this one and now we kind of get that texture that makes it look a little more authentic so pretty cool looking as i scroll over it you know maybe you want to add that other film burn in after all so maybe we'll take that circle hit command c command v change the color you know let's change it to like uh let's change it to the orange again you know let's take the center over to the right side so it's just on the right side maybe drag it up a little bit so it's kind of up in that top right corner [Music] i really like it the one thing i wish was different with this one is that if it ends pretty much on the frame of the very next shot so you can see it kind of ends and the next frame is kind of off-centered uh with the next clip so what we're going to do is just find where that center is so you know right about there you know that looks like it's about centered up so maybe like right there looks good

 so now we got it and then it just kind of stops there at the end and it aligns with the next clip right so that's how you keyframe the offset and kind of get it to look a little smoother now when we watch it back we can see what it looks like in regular motion  awesome, way to kind of make the beat drop slap a little bit harder and if you're a video editor out there who's interested in adding some sauce to your edits definitely check out my website i got a free pack on there where you can try all my products completely for free i got overlays transitions about to add in some overlay textures and some titles for photoshop some cinematic titles i really appreciate you for tuning in thank you so much for watching, this entire video it means the world to me and it helps my channel grow faster so thank you so much for that and until next time guys i'm jake benner peace out you