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Hello, welcome to this new tutorial dedicated to  Alight Motion , one of the best video editors you can use to make professional videos by combining media files and adding effects, transitions, adjustments and great pieces of text. It is part of the Creative Cloud bundle for both Windows and MacOS under a subscription plan. As you open Alight Motion  its Home Screen shows up with the list of your latest projects made. 

On the left side click on Open Project to browse for others you have or go to New Project to start from a new one. At this point the Import page opens, where you can set the project name and its location on top and select the first media files to import on it. Click on Create to switch to the main Edit interface, as you can see from the top left corner. This is the place where you build your video with the timeline at the bottom and the several panels that change depending on the workspace chosen from the top right corner. In this video we will stick with the default Editing workspace, but you can always retrieve any panel from the Window tab. Any Alight Motion  project collects several independent pieces of videos called Sequences. In this video we will work with a single one for simplicity. Make sure to set the correct video and audio options from Sequence, Sequence Settings... Pick the right template from Editing Mode or select Custom to set the options on your own including frame rate, frame size, pixel aspect ratio, sample rate and much more. 

To import other media files just drag and drop these inside the sequence or switch to the Import page to select these and import them from the Project panel on the left. All these files are collected within the timeline as blocks called clips. Videos and images inside Video Tracks (with V letter) in blue and pink color respectively. Sound files inside Audio Tracks (with an A letter) in green color, complete with their sound waveforms, such as one per stereo channel. To check your timeline content use your mouse wheel to scroll in time and hold down the ALT (or the Option) key to zoom in and out around your cursor. 

The Program panel above shows your sequence content where the blue playhead is placed. Click once on the timeline to check different frames or drag it to show frames sequentially. Whereas use the player to playback in real time, adjusting quality with Playback Resolution in case this results laggy. Now let's see how to edit clips with the Selection Tool on the left. Click on any clip to select it. Drag it to move it in time or in another track. Video frames and audio are linked together by default - to make these independent just right-click on these and go to Unlink. In case clips overlap in time the Program panel above shows the clip on the top video track in front of all other clips lower in position. To adjust the duration of any clip just drag its edges. This cuts content from video and audio files unless you enable the Rate Stretch Tool (or R key). With this tool you extend or shorten any clip freely by changing its speed rate instead of its content.

 So extended clips will be played slower with a rate lower than 100% and shorter clips will become faster with a rate more than 100%. To split any clip enable the Razor Tool (or C key) and click on it! You can cut, copy and paste any selected clip by right-clicking on it. Go to Clear to remove the clip definitely. Use CTRL (or CMD) and Z to undo. You can also open the History panel to manage all your actions made. On the left side you have several buttons to manage each track. 

With the eye button you can hide and show the track content; with the Mute (or M) button you can mute any audio track and use the Solo (or S) button to play the current audio track solo by muting all the others. You can also click on the Record button to record from your microphone. From Edit, Preferences, Audio Hardware... set the input source to use and then click on the Record button to start recording on such track. With the lock button you can prevent any modification on the current track so that you can't move or edit any of its clips inside.

 With the Mix track at the bottom you can tune the master volume such as the audio level coming from the entire sequence. This is very useful in case the Audio Meter on the right shows red levels of distortion. To add or remove any track just right-click on any empty space on the left. To adjust the clip content you can open the Effect Controls panel on the left. This lists all the properties for the clip selected, depending on its kind. Images and video frames show Motion to set position, scale and inclination as well as Opacity to set any transparency level. In particular you can uncheck Uniform Scale to correct the aspect ratio of the clip and remove its black bars if you have them. On audio clips you can adjust volume level and channel panning between the left and the stereo channel. Click on the fx button to hide or show your changes and use the Revert button on the rig

XML LINK HERE

So you want to add camera shake to your next video, I'm gonna show you how to do it right within Alight Motion in this new Alight Motion tutorial.

 I'm going to show you two different styles, of camera shake one is more of this earthquake sort of dramatic effect and the other is more of a handheld look, and I'm going to show you two ways to do that one so first with this more earthquake stylized effect this is created by an adjustment layer and the transform effect.

So I've got this basketball clip right here and if I drag this on to my timeline it's a pretty smooth shot nothing's really happening and I've added the camera shake,  whenever the basketball hits the ground so first things first I want to create an adjustment layer and add that to track two so click new item and choose adjustment layer select okay and then just put it on top of your video track.

now I'm gonna zoom in here and you want to zoom in and have the adjustment layer, start right when the ball is hitting the ground and then maybe go for another seven or eight frames half a second or so and then, I'm just going to trim the end of this adjustment layer now adjustment layers, apply whatever effect is applied to that layer to everything beneath it and the reason we use adjustment layers is so that we can easily duplicate this camera shake effect to any clip or throughout this same clip go to your effects bin and type in transform, it should be under your distort properties and place that on the adjustment layer and the effects controls bin will now edit this effect notice though one thing is that you can't apply this sort of movement and rotation effect.

 we're going to do just with the basic motion properties of an adjustment layer, see if I move this around or rescale it up or down nothing actually applies to this clip beneath it and that's because only effects that are applied to this adjustment layer, are applied to this basketball layer and that's what this transform effect is so if I move the position around see how I do this now this video clip is moved so the first thing I'm going to do is set a keyframe, for scale at the very beginning of this clip this is tellingAlight Motion that at this point we want the scale to be 100% and we create a keyframe by clicking this little time watch right here while you're at it go ahead and create a keyframe for rotation position, as well then up here in the effects controls go to the very end of this clip and then create a new keyframe for each of these properties as well with this button add or remove keyframe so in between here we're going to add some changes to create this effect but we want the beginning, and end of this adjustment layer to be at the normal settings so let's go right here in the middle and we're gonna do sort of like a zoom in zoom out and then rotate in rotate out so let's scale it up to 115 and you'll notice that when I put my timeline indicator right here in the middle and then I type in a new number for scale it adds a keyframe same for rotation let's go to 2 so you can see this starting to work that it zooms in and then out zooms in and out now.

 let's just add some position animation, and this is just going to be moving it down moving it around this is just trying to make it feel a little bit more organic so maybe 5 or 6 keyframes in the middle here you might want to play around and that's pretty good so let's play through it nice so you could go in and tweak those to see if you want more or less shake the other thing I did with this original version, was I added a subtle bit of blur to it and that was with the directional blur so type in directional direct and you'll see that the directional blur pops up we're going to apply it to the adjustment, layer again we're going to set keyframes at the beginning and end at 0 and 0 and then go to the end and apply these keyframes as well and then in the middle we're going to create our blur so first I'm going to increase the blur length just so I can see what its gonna look like and then adjust the direction to something like 77 degrees or something and then.

 I'm gonna bring back my blur length to 15 again it depends on how dramatic you want to be pretty cool huh neat so now the beauty of this is we can just go to the next spot where the ball bounces, right there and then copy and paste this adjustment layer or simply hold the option key down and drag this clip that's on a Mac on a PC it would be can I believe alt clicking and dragging and we can just duplicate this camera shake over and over boom boom boom cool huh awesome so that's more of that earthquake style.

 let's look at the handheld style I'm gonna show you two ways to do it one is basically the same thing with adjustment layer, so I'm actually not gonna walk through this entire sequence of what I did but you can see here that I've added this adjustment layer I've added the transform property and I've added position scale and rotation keyframes, the key is to be subtle so here you can see that there's just the subtle movement it's not like in the earthquake one and it's very very minimal adjustments, to all of these different properties so that's one way you can sort of custom manually do it but there's an easier and more organic way to do it that I got from my buddy Curt Anderson over at Adobe masters so what we are going to need is a stable shot that we want to add motion to which is the street shot.

 so I'm just going to duplicate, this over here see how there's no motion at all and then 

I'm going to need a shot that has motion so you do need that separate shot I can use this basketball shot and I'm just going to place it above this clip and I'm gonna, just make it the same length as that clip so see how this basketball shot has movement the camera movement already I'm basically going to use the warp stabiliser effect and reverse-engineer, it so it applying the movement that's being removed from this shot to this shot okay I know that's a little confusing but let's just show you how to do it so if we go to our effects type in warp we find warp stabiliser put this on top of the basketball clip and now it's going to analyze it and then we're going to change some settings so we actually want to change the method here from subspace warp to position you can also try position scale, and rotation but I've found that position seems to work best for this handheld motion style for framing.

we're gonna leave that stabilize crop and auto scale and then smoothness this will actually increase or decrease the amount of shake you have so the more smoothness the smoother, your footage is on this clip the shaky er it's going to be on the street clip that I'm adding camera shake to so now if I play through this while there's still movement it tries to do a little bit of stabilizing it doesn't matter if there's a if it's stable or not because what I'm going to do is actually copy this warp stabiliser effect selecting it command C on a Mac that'd be control C on a PC I'm gonna move that basketball clip now notice what happens I play this clip nothing's happening if I select this clip and then paste the warp stabiliser, effect notice how there is now movement so you get this more organic natural movement.

 so if that's a little bit too much movement, we can go in here let's drop this down to like something like 10 percent copy this again go to this other clip oops not delete the clip but delete the effect and then paste it so now you see that's a little bit less of hand movement now, this organic movement is going to depend on what clip we are using to add the warp stabilizer to so you can use different Clips to get different kinds of handheld movement but again this is a quick way to create that organic handheld motion without having to go through and manually keyframe it yourself.

well I hope you really enjoyed this too toriel and if you did please like and subscribe to the channel for more if you have any questions or comments, you can leave them below in the comments and if you're looking to take your skills to the next level make sure you head over to video school where we have premium courses, more free tutorials and articles guides and all kinds of stuff that will help you become a better creator thanks so much for watching and have a beautiful day.

So you want to add camera shake to your next video, I'm gonna show you how to do it right within Alight Motion in this new Alight Motion tutorial.

 I'm going to show you two different styles, of camera shake one is more of this earthquake sort of dramatic effect and the other is more of a handheld look, and I'm going to show you two ways to do that one so first with this more earthquake stylized effect this is created by an adjustment layer and the transform effect.

So I've got this basketball clip right here and if I drag this on to my timeline it's a pretty smooth shot nothing's really happening and I've added the camera shake,  whenever the basketball hits the ground so first things first I want to create an adjustment layer and add that to track two so click new item and choose adjustment layer select okay and then just put it on top of your video track.

now I'm gonna zoom in here and you want to zoom in and have the adjustment layer, start right when the ball is hitting the ground and then maybe go for another seven or eight frames half a second or so and then, I'm just going to trim the end of this adjustment layer now adjustment layers, apply whatever effect is applied to that layer to everything beneath it and the reason we use adjustment layers is so that we can easily duplicate this camera shake effect to any clip or throughout this same clip go to your effects bin and type in transform, it should be under your distort properties and place that on the adjustment layer and the effects controls bin will now edit this effect notice though one thing is that you can't apply this sort of movement and rotation effect.

 we're going to do just with the basic motion properties of an adjustment layer, see if I move this around or rescale it up or down nothing actually applies to this clip beneath it and that's because only effects that are applied to this adjustment layer, are applied to this basketball layer and that's what this transform effect is so if I move the position around see how I do this now this video clip is moved so the first thing I'm going to do is set a keyframe, for scale at the very beginning of this clip this is tellingAlight Motion that at this point we want the scale to be 100% and we create a keyframe by clicking this little time watch right here while you're at it go ahead and create a keyframe for rotation position, as well then up here in the effects controls go to the very end of this clip and then create a new keyframe for each of these properties as well with this button add or remove keyframe so in between here we're going to add some changes to create this effect but we want the beginning, and end of this adjustment layer to be at the normal settings so let's go right here in the middle and we're gonna do sort of like a zoom in zoom out and then rotate in rotate out so let's scale it up to 115 and you'll notice that when I put my timeline indicator right here in the middle and then I type in a new number for scale it adds a keyframe same for rotation let's go to 2 so you can see this starting to work that it zooms in and then out zooms in and out now.

 let's just add some position animation, and this is just going to be moving it down moving it around this is just trying to make it feel a little bit more organic so maybe 5 or 6 keyframes in the middle here you might want to play around and that's pretty good so let's play through it nice so you could go in and tweak those to see if you want more or less shake the other thing I did with this original version, was I added a subtle bit of blur to it and that was with the directional blur so type in directional direct and you'll see that the directional blur pops up we're going to apply it to the adjustment, layer again we're going to set keyframes at the beginning and end at 0 and 0 and then go to the end and apply these keyframes as well and then in the middle we're going to create our blur so first I'm going to increase the blur length just so I can see what its gonna look like and then adjust the direction to something like 77 degrees or something and then.

 I'm gonna bring back my blur length to 15 again it depends on how dramatic you want to be pretty cool huh neat so now the beauty of this is we can just go to the next spot where the ball bounces, right there and then copy and paste this adjustment layer or simply hold the option key down and drag this clip that's on a Mac on a PC it would be can I believe alt clicking and dragging and we can just duplicate this camera shake over and over boom boom boom cool huh awesome so that's more of that earthquake style.

 let's look at the handheld style I'm gonna show you two ways to do it one is basically the same thing with adjustment layer, so I'm actually not gonna walk through this entire sequence of what I did but you can see here that I've added this adjustment layer I've added the transform property and I've added position scale and rotation keyframes, the key is to be subtle so here you can see that there's just the subtle movement it's not like in the earthquake one and it's very very minimal adjustments, to all of these different properties so that's one way you can sort of custom manually do it but there's an easier and more organic way to do it that I got from my buddy Curt Anderson over at Adobe masters so what we are going to need is a stable shot that we want to add motion to which is the street shot.

 so I'm just going to duplicate, this over here see how there's no motion at all and then 

I'm going to need a shot that has motion so you do need that separate shot I can use this basketball shot and I'm just going to place it above this clip and I'm gonna, just make it the same length as that clip so see how this basketball shot has movement the camera movement already I'm basically going to use the warp stabiliser effect and reverse-engineer, it so it applying the movement that's being removed from this shot to this shot okay I know that's a little confusing but let's just show you how to do it so if we go to our effects type in warp we find warp stabiliser put this on top of the basketball clip and now it's going to analyze it and then we're going to change some settings so we actually want to change the method here from subspace warp to position you can also try position scale, and rotation but I've found that position seems to work best for this handheld motion style for framing.

we're gonna leave that stabilize crop and auto scale and then smoothness this will actually increase or decrease the amount of shake you have so the more smoothness the smoother, your footage is on this clip the shaky er it's going to be on the street clip that I'm adding camera shake to so now if I play through this while there's still movement it tries to do a little bit of stabilizing it doesn't matter if there's a if it's stable or not because what I'm going to do is actually copy this warp stabiliser effect selecting it command C on a Mac that'd be control C on a PC I'm gonna move that basketball clip now notice what happens I play this clip nothing's happening if I select this clip and then paste the warp stabiliser, effect notice how there is now movement so you get this more organic natural movement.

 so if that's a little bit too much movement, we can go in here let's drop this down to like something like 10 percent copy this again go to this other clip oops not delete the clip but delete the effect and then paste it so now you see that's a little bit less of hand movement now, this organic movement is going to depend on what clip we are using to add the warp stabilizer to so you can use different Clips to get different kinds of handheld movement but again this is a quick way to create that organic handheld motion without having to go through and manually keyframe it yourself.

well I hope you really enjoyed this too toriel and if you did please like and subscribe to the channel for more if you have any questions or comments, you can leave them below in the comments and if you're looking to take your skills to the next level make sure you head over to video school where we have premium courses, more free tutorials and articles guides and all kinds of stuff that will help you become a better creator thanks so much for watching and have a beautiful day.

Hy that's going on youtube jake here with venturevisuals and today i couldn't be more stoked to be showing you guys these three easy transitions to recreate in  Alight Motion  

so i use each of these transitions i'm about to show you guys in a variety of projects like music videos creative edits weddings commercials you name it these transitions are very practical transitions and look good with most projects 

so if you're excited to learn about these transitions hit that like button down below and let's get right into the video so this first transition i'm going to show you guys is just a simple wipe transition here in Alight Motion  as you can see here it's a pretty simple transition so on my timeline here you can see this first clip is him wrapping in the bedroom and then the second clip is kind of him standing in the doorway so the first thing you got to do is come up to your top clip and go ahead and hit the p button on your keyboard just keyframe the position right where it is so this clip is perfectly aligned with this composition now we're going to come all the way to the end of this clip where we want the transition to end 

we're just going to go ahead and move this clip to the right and you do want to make sure that this first clip is lined up pretty close with the edge of the composition just like that so now we have two keyframes we have it right where it belongs and then we have it wiping to the right the next thing i like to do is just turn on motion blur for both layers motion blur just adds blurriness to whatever it is that you're moving around the frame it just makes all the motion look a little more natural so the next step is just come to your second keyframe here where this second clip is totally revealed and 

    we're just going to take this parent pick whip tool and connect it to our top clip now this is going to go ahead and move the second clip with the first clip so you see that happening now we have the first clip moving but as it's moving the second clip is also moving into the frame it's not just moving out of the way and revealing the second clip both of these layers are moving together now to add some extra sauce to this i'm going to right click this first keyframe come down to keyframe assistant and hit easy ease out and i'm going to do the same thing for the second one except i'm going to hit easy ease in and now we should get a really dope wipe transition now you can play around with these keyframes and shorten them up or make them longer depending on how long you want your transition to happen so technically we could make a really short transition like this you know very quick or we could elongate it and make it you know a little longer a little bit more time consuming so there's a slower wipe right there it's a pretty customizable easy transition to make

 let's jump into the second transition so the second transition is a mask transition and what a mask transition is is basically you're taking a clip and something is moving across the screen whether that be a light pole a building structure a tree could be anything but you have something that's moving across the frame so for this example you can see here i have this first clip on top that is my two buddies drinking some beers and as we go over to the right we see this light pole that starts to creep in to the frame over here on the left so as that light pull creeps in from the left it reveals the next clip underneath so as you can see it's a combination of camera movement and having something slide across your screen and also creating this mask right here to get this transition effect

 now we're just going to recreate this from scratch 

so i'm going to go ahead and reset everything quickly here okay so as you can see our top clip is lying above our bottom clip we want to scroll over to where the object starts to move across the frame so as you can see this light pole is really moving across the frame right at this moment so with that clip selected we're just going to go ahead and hit this rectangle tool now you can also use the pen tool to make a mask but for this example we're just going to use this rectangle tool and we're just going to make this rectangle across the entire frame just like that so that's gonna be our first mask point so now with our mask one selected underneath our layer 

we're gonna go ahead and hit a keyframe under the mask point like that and 

                   XML LINK HERE

now we're just gonna scroll to the very end where the light pole is basically out of the frame we're going to come up here to our selection tool we're going to move these points that we've created for this mask on the left we're going to move them all the way to time up with the lamp so you can see now we have the mask moving with the lamp across the screen now it's not perfect and i can see here it's definitely not connected to the pole as good as it could be so what i normally like to do is spend some time on this masking process where i'm just going to all these ind