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this video is brought to you by story blog whatever you guys like Rc and welcome to where we recreate effects for famous movies and music videos and today we're having a look at three more effects from the music video seeker mode by Travis Scott featuring Drake but today we are going to do things differently because Jordy still on vacation together with his girlfriend Kim but I'm sure that they are missing us isn't that right mmm that hurts [Music] guys and that's supposed to be in this video I mean look around me I got better things to do anyway since there's a camera in me 

now I'd like to make a quick shout out to story blocks our channel sponsor sorry blocks is an online library where you can find Alight Motion  templates stock footage transitions video effects and a ton more I'm currently in Iceland making a beautiful travel video and a lot of the shots that I'll be taking here will also be published to their library so if you already have a membership you can just download them when they are available and if you aren't a member yet well then definitely make sure to check it out by clicking the first link in the description below walk further geordie as for today 

we're again having a look at psycho mode from Travis Scott and Drake because last week we showed you how to do two hyperlapse effects and a slanting effect in this video we are recreating in other three effects but this time it's all gonna be in Premiere Pro but first let's build a nice set so we're giving the cars an extra touch we're going to put these specular from spiffy gear under a car so you get that neon look like all those student cars from need for speed and fast and furious in the sync mode music video there is a certain effect named data machine this is an effect where the data of the footage is manipulated in order to achieve this kind of glitchy pixel transition now we are going to recreate its transition with Premiere Pro and an additional software if you want to create a good data mushing effect you have to create motion in your shot either do this with a camera movement or you can do it in post-production like we are going to do this way the motion will be in tensor and the effect will come out better in the music video you can also see two kinds of data mushing one we are averaging mushes and one where a person is cut out we are going to explain the one where the person is cut out because the other one works exactly the same for the one with a person cut out we are going to use a green screen in the same scene that you are putting your subject try to imagine lighting as good as possible so it really looks like he's standing in the scene to director in front of the green screen and should your background without the actor

 now let's get into Alight Motion from the project panel drag the clip from Janak into the timeline on this we are going to add a pre glitch so go to your effects panel and look for the turbulent displacement effect from the effects control panel you can set it as placement to horizontal displacements then scroll to almost the end of the clip and enable the animation for the amount and set this to zero go to the end and decrease it to 350 now we are going to set the other parameters so stick with me set-asides 253 the offset to 1080 2 by 366 it complexity 210 evolution to 187 and a random seed to 94 I know this was fast but normally you already got a kukri glitch after this you can put the background on track number 1 in a green screen shot on track number 2 and go to the opacity properties in the effects control panel you want to click on the pen tool which you can use to create a mask roughly create a mask around your actor to remove your surroundings after you have done this look for the ultra key effect in the effects panel drag that to your green screen clip and with the color picker you can then select the green to remove it now you have your actor standing in your scene simple as that nest everything together and add a simple zoom in to add some movements you can do this by animating the scale from 100 to 105 sadly you can dead Amash and Premiere Pro so we have to use a different software named data marsh studio this is a free software which you can use for data moshing and you can download it through the link in the description below before we can start with the moshing we have to have two clips to wash it all together and create a transition that's why we have to render out or two clips 

 we just made this has to be done one by one now you're probably thinking why the green-screen end well we'll come back to that later after you have two Clips you can start up the data March to do until ask you to open a project or create one just simply create a new one and create a new folder for it I'm going to do this on my desktop so we can easily find it back later when this is done adjust the width and the height to 1920 by 1080 and click Save on the top right you can then import your two videos you want to March this has to be done one by one when locating your footage it can be that you don't see your footage in your folder 

I had the same issue but that can be fixed easily adjust the format on the right bottom corner to do one from your footage now you will see all your clips select the one you want and click import double click on your clip that has to come first you can then insert it in the timeline through the panel in the right bottom quarter set the starting and end frame and press insert do the same for your second clip but check delete iframe check box from now on of course you can add as many clip as you want just don't forget to delete the iframes after you have done this set the beginning of the iframe box above the timeline to your begin clip now you can hit the export tab on the left bottom corner and press export effort it's done exporting you can hit the play button under export tab and check out what you have created fine-tune if necessary if not the program already renders it in the folder your special created for this 

let's get back into Premiere Pro and import your data Marsh clip create a new sequence with the data Marsh video on the first break now you have a data Marsh effect for everything glitches but we want to cut out Lorenzo so that he stops glitching earlier that is where the green screen shot comes in place the green screen shot on top of the data Marsh clip sync them both and trim the green screen shot to where you want it to start go into your effects control panel and to the opacity properties enable the animation for the opacity a let's start at zero go a few frames further in time and change it to a hundred another thing you can do is let the data merge background fade back to the regular background just place your background on the same track as a data Maj make a cut in the data merge background where you wanted to end and place a regular background against it and the cross dissolve if necessary whoo I hope you all got that because it will give a very cool transition effect if done right [Music] very cool indeed but now let's dive straight into the second effect which is going to be these moving overlays you can see right here in the sake of mode music clip you can do this effect on every shot you want but we are going to use our background and green-screen shot again to make it ourselves easier back in Premiere Pro you want to place your background on track number one on top of that we're going to place a star clip which we got from story blogs once you have placed your star clip on the second track create a small rectangle mask from the top to the bottom starting from the left side in the opacity property you can set its feather to zero and go to the timeline and make a cut after three frames in the clip after that cut you need to adjust your mask so that the left side is aligned with the right side of the mask of the previous clip do this until you reach the middle of your shop you can always make your shot smaller towards to end so it will end right in the middle then

 we are going to add a second star clip above the first start but what you now want to do is make all the cuts first and then one by one copy the opacity properties from the track below to the new star clip after you have done this you will offset the entire track 3 frames so that it starts when the first star clip is already one step further do this process another 6 to 7 times so that you can see a cool animation of moving masks I know it's a tedious job but it will give a very cool effect once you are done with this you can nest it all together and now you have one clip with the mask animations the next thing to do is duplicating your nested sequence as many times as you want position them on the timeline on the point where your previous animations of the mask opens up on the left side when doing this you'll create an endless loop of moving masks now again nest everything together make a duplicate of this nested sequence and in the effects panel search for flip horizontal add this to the top NASA sequence and now you have moving masks on both sides the only thing you now have to do is go to the effects control panel and in the opacity properties set the blending mode to screen you can also adjust the opacity to around 40% and before we forget add your green-screen shell to the top wallah there you have it a crew moving mask background 

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okay guys I know it's a lot of information but hold on just a little longer because the next effect will be a short and easy one but with a super awesome result we're going to recreate this 2d 3d effect from the music clip the most important thing of the effect is a camera movement they do this will determine the outcome of the effects we're filming on the wide-angle lens so you can go really close to your subject when doing this you will create a bigger parallax effect without moving your camera too much let your subject stand still except for one element like his hands or even its eyebrow then while filming do small movement to one side this can be up or down or to the sides easy as that fire up  again and now import your footage into a new sequence then look for the wanted starting position and make it cut there go a few frames further and time and again make it cut where your movement ends delete everything else when you only have your short clip of your movement duplicate this on the same track right next to the original right click on the duplicate and look for speed and duration check the reverse speed checkbox and that's it you can now nest these two together and duplicate them as much as you want to create a longer effect just like this [] and that was it for today guys I know it was much but I hope you enjoyed it and learned everything you wanted to learn Thank You  

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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Hi Guy's 

hi my name Rc Edits and in this tutorial i'm going to teach you some tips about exporting frames, and even being able to arrange your own youtube thumbnails all in premiere now typically i would suggest that you just do this in Alight Motion or some sort of design program if you don't have Alight Motion, but if you are working kind of in a quick moment in premiere there are little things that you can do that you can just make it in premiere as well just as well so i have a little book club playlist on my channel which is not the traditional type of thing

I do but when i upload the videos sometimes straight from my phone i want to get a good frame i don't want to get a frame where i'm looking stupid so what i thought to do was simply take the video in premiere find the book cover online so i have a couple different options, here and i can kind of arrange them in in premiere as their own graphic layers i can move them to where i need just like this or even scale them up and make them big enough to fill in the whole side.

 if i want and if you want an easy way to just move stuff around just highlight the selection tool make sure you're in the program window and highlight that position parameter in the effects control, panel and you can just move it around kind of very similar to Alight Motion, you can scale it exactly how you like and i can put it there in the corner and then i can kind of just scrub through find a good frame maybe where i'm looking thoughtful, or not stupid looking i can even add text if i wanted like with the type tool i can write out whatever i want and move those around and even in the essential graphics panel adding backgrounds and strokes for these.

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 Just a simple way to build text and titles if you did want again something that you might not need to go to Alight Motion or if you don't have Alight Motion, another tool for you something like this i do always like to remember that the timestamp right now is in the corner on youtube so maybe not to put too important information there in that corner and you also have all these different video effects, that you can generate so if i wanted to generate a gradient or a ramp i can do that as well on perhaps like a new black video so new black video add that on a layer in between maybe add a ramp and in this way i can add different colored.  

Alight Motion or if you want to just check out my tutorials i've made for making thumbnail tips and basics in Alight Motion, i would recommend you do that because 90 of the time i'm making them in Alight Motion but hopefully you enjoyed this little idea and got some tips from it whether that just be the export frame button, or you picked up some other tips as well if you did enjoy this video check out my channel for more subscribe to stay tuned for all my new videos thank you so much for watching and i'll see you in the next one.

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Introduction:

Hello everybody video Lancer is on in this video I will show you how to create such a zoom transition directly in Alight Motion, last time we reviewed how to create the similar transition and Alight Motion but as contrasted to After Effects Alight Motion, is rather limited in tools for creation of any effects so it is impossible to achieve, the same level of quality however we will make the most similar transition out of the available effects

Transition:

 so let's start create a new adjustment layer, and place it above the first clip shorten the adjustment layer so that its duration was no longer than a quarter of a second now we'll make zoom out animation, to do this it is necessary to add mirrored image copies in order to fill these holes it is easy to do in Alight Motion with the help of motion tile effect but unfortunately there is no similar effect in Alight Motion.

  so we have to use more complicated workaround rename adjustment layer, and to tile and use replicate effect set count parameter on three apply mirror effect place reflection Center accurately on the junction of two tiles copy mirror effect and make reflection for the opposite side you repeat these actions for upper and lower tiles you duplicate this adjustment layer, to the third video track remove unnecessary effects and call it scale in now apply.

Transform:

transform effect set scale value on 300 this will return image size into its original scale, due to tripling the image has lost its original quality but take into account that the transition will be quick and blurred so quality change, will be quite obscure set animation key for scale on the first frame of the layer set value 100 in the end of the layer let's add motion blur, to do this switch off this checkbox and set maximum value for shutter angle to do smoother animation edit keys graphs you.

   now let's create animation for the second part of the transition duplicate, the adjustment layer and call it scale out edit Keys graphs in order to make ending of the transition smooth you now let's add chromatic aberrations duplicate, the adjustment layer on the 4th video track remove unnecessary effects and call it aberrations extend the lair until it is a little longer than layers with scale animation, apply VR Digital glitch effect to this layer set zero value for parameter distortion rate animate parameter color distortion.

Keys:

 so that the peak was at the junction you make animation smoother with the help of graphs you now we'll add optical distortions apply lens distortion effect, animate parameter curvature so that the peak was at the junction you in order for animation to look better keys graphs, for scale and curvature can be edited a little it's ready in the final.

 let's add a sound effect you you it's ready as effects of this transition are distributed, on several layers it's impossible to save it as a standard preset however you can create nest sequence for it that can be used in other projects now you can drag this transition from project panel, into any sequence before doing this you have to switch on the option of inserting sequence from other sequences you that is all if you like similar effects.

Ending:

 you can get thousands of similar transitions ready for use all the transitions are professionally, animated and also they include a sound effect for convenience every transition has preview and is applied by simple drag-and-drop, method if you want to get this package please follow the link you can see on the screen I do hope this video tutorial was useful for you subscribe to my channel not to miss new video tutorials this was video Lancer see you later.

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this video is brought to you by story blog whatever you guys like Rc and welcome to where we recreate effects for famous movies and music videos and today we're having a look at three more effects from the music video seeker mode by Travis Scott featuring Drake but today we are going to do things differently because Jordy still on vacation together with his girlfriend Kim but I'm sure that they are missing us isn't that right mmm that hurts [Music] guys and that's supposed to be in this video I mean look around me I got better things to do anyway since there's a camera in me 

now I'd like to make a quick shout out to story blocks our channel sponsor sorry blocks is an online library where you can find Alight Motion  templates stock footage transitions video effects and a ton more I'm currently in Iceland making a beautiful travel video and a lot of the shots that I'll be taking here will also be published to their library so if you already have a membership you can just download them when they are available and if you aren't a member yet well then definitely make sure to check it out by clicking the first link in the description below walk further geordie as for today 

we're again having a look at psycho mode from Travis Scott and Drake because last week we showed you how to do two hyperlapse effects and a slanting effect in this video we are recreating in other three effects but this time it's all gonna be in Premiere Pro but first let's build a nice set so we're giving the cars an extra touch we're going to put these specular from spiffy gear under a car so you get that neon look like all those student cars from need for speed and fast and furious in the sync mode music video there is a certain effect named data machine this is an effect where the data of the footage is manipulated in order to achieve this kind of glitchy pixel transition now we are going to recreate its transition with Premiere Pro and an additional software if you want to create a good data mushing effect you have to create motion in your shot either do this with a camera movement or you can do it in post-production like we are going to do this way the motion will be in tensor and the effect will come out better in the music video you can also see two kinds of data mushing one we are averaging mushes and one where a person is cut out we are going to explain the one where the person is cut out because the other one works exactly the same for the one with a person cut out we are going to use a green screen in the same scene that you are putting your subject try to imagine lighting as good as possible so it really looks like he's standing in the scene to director in front of the green screen and should your background without the actor

 now let's get into Alight Motion from the project panel drag the clip from Janak into the timeline on this we are going to add a pre glitch so go to your effects panel and look for the turbulent displacement effect from the effects control panel you can set it as placement to horizontal displacements then scroll to almost the end of the clip and enable the animation for the amount and set this to zero go to the end and decrease it to 350 now we are going to set the other parameters so stick with me set-asides 253 the offset to 1080 2 by 366 it complexity 210 evolution to 187 and a random seed to 94 I know this was fast but normally you already got a kukri glitch after this you can put the background on track number 1 in a green screen shot on track number 2 and go to the opacity properties in the effects control panel you want to click on the pen tool which you can use to create a mask roughly create a mask around your actor to remove your surroundings after you have done this look for the ultra key effect in the effects panel drag that to your green screen clip and with the color picker you can then select the green to remove it now you have your actor standing in your scene simple as that nest everything together and add a simple zoom in to add some movements you can do this by animating the scale from 100 to 105 sadly you can dead Amash and Premiere Pro so we have to use a different software named data marsh studio this is a free software which you can use for data moshing and you can download it through the link in the description below before we can start with the moshing we have to have two clips to wash it all together and create a transition that's why we have to render out or two clips 

 we just made this has to be done one by one now you're probably thinking why the green-screen end well we'll come back to that later after you have two Clips you can start up the data March to do until ask you to open a project or create one just simply create a new one and create a new folder for it I'm going to do this on my desktop so we can easily find it back later when this is done adjust the width and the height to 1920 by 1080 and click Save on the top right you can then import your two videos you want to March this has to be done one by one when locating your footage it can be that you don't see your footage in your folder 

I had the same issue but that can be fixed easily adjust the format on the right bottom corner to do one from your footage now you will see all your clips select the one you want and click import double click on your clip that has to come first you can then insert it in the timeline through the panel in the right bottom quarter set the starting and end frame and press insert do the same for your second clip but check delete iframe check box from now on of course you can add as many clip as you want just don't forget to delete the iframes after you have done this set the beginning of the iframe box above the timeline to your begin clip now you can hit the export tab on the left bottom corner and press export effort it's done exporting you can hit the play button under export tab and check out what you have created fine-tune if necessary if not the program already renders it in the folder your special created for this 

let's get back into Premiere Pro and import your data Marsh clip create a new sequence with the data Marsh video on the first break now you have a data Marsh effect for everything glitches but we want to cut out Lorenzo so that he stops glitching earlier that is where the green screen shot comes in place the green screen shot on top of the data Marsh clip sync them both and trim the green screen shot to where you want it to start go into your effects control panel and to the opacity properties enable the animation for the opacity a let's start at zero go a few frames further in time and change it to a hundred another thing you can do is let the data merge background fade back to the regular background just place your background on the same track as a data Maj make a cut in the data merge background where you wanted to end and place a regular background against it and the cross dissolve if necessary whoo I hope you all got that because it will give a very cool transition effect if done right [Music] very cool indeed but now let's dive straight into the second effect which is going to be these moving overlays you can see right here in the sake of mode music clip you can do this effect on every shot you want but we are going to use our background and green-screen shot again to make it ourselves easier back in Premiere Pro you want to place your background on track number one on top of that we're going to place a star clip which we got from story blogs once you have placed your star clip on the second track create a small rectangle mask from the top to the bottom starting from the left side in the opacity property you can set its feather to zero and go to the timeline and make a cut after three frames in the clip after that cut you need to adjust your mask so that the left side is aligned with the right side of the mask of the previous clip do this until you reach the middle of your shop you can always make your shot smaller towards to end so it will end right in the middle then

 we are going to add a second star clip above the first start but what you now want to do is make all the cuts first and then one by one copy the opacity properties from the track below to the new star clip after you have done this you will offset the entire track 3 frames so that it starts when the first star clip is already one step further do this process another 6 to 7 times so that you can see a cool animation of moving masks I know it's a tedious job but it will give a very cool effect once you are done with this you can nest it all together and now you have one clip with the mask animations the next thing to do is duplicating your nested sequence as many times as you want position them on the timeline on the point where your previous animations of the mask opens up on the left side when doing this you'll create an endless loop of moving masks now again nest everything together make a duplicate of this nested sequence and in the effects panel search for flip horizontal add this to the top NASA sequence and now you have moving masks on both sides the only thing you now have to do is go to the effects control panel and in the opacity properties set the blending mode to screen you can also adjust the opacity to around 40% and before we forget add your green-screen shell to the top wallah there you have it a crew moving mask background 

okay guys I know it's a lot of information but hold on just a little longer because the next effect will be a short and easy one but with a super awesome result we're going to recreate this 2d 3d effect from the music clip the most important thing of the effect is a camera movement they do this will determine the outcome of the effects we're filming on the wide-angle lens so you can go really close to your subject when doing this you will create a bigger parallax effect without moving your camera too much let your subject stand still except for one element like his hands or even its eyebrow then while filming do small movement to one side this can be up or down or to the sides easy as that fire up  again and now import your footage into a new sequence then look for the wanted starting position and make it cut there go a few frames further and time and again make it cut where your movement ends delete everything else when you only have your short clip of your movement duplicate this on the same track right next to the original right click on the duplicate and look for speed and duration check the reverse speed checkbox and that's it you can now nest these two together and duplicate them as much as you want to create a longer effect just like this [] and that was it for today guys I know it was much but I hope you enjoyed it and learned everything you wanted to learn Thank You  

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hey everybody Nathaniel Dodds from Tuck vidcom and today we're gonna talk about some  Alight Motion, video editing specifically this blurring whip pan a transition it's so easy to make and save you can save it as a preset you're absolutely gonna love it it's so sweet and smooth and just right now if you do enjoy this tutorial, make sure you subscribe to the channel 

    so you can check out all the Alight Motion After Effects, video editing tutorials you're gonna love it in fact let's check out the transition right here right now as we transition into this tutorial hey so check that out pretty cool right now what we're going to do is we've got this clip of a lion and it's gonna transition,to this leopard now here's what we need to do first and foremost we need to come over here and choose the new item icon down here in our project bin and choose to create a new adjustment layer yep that looks great 1920 1080 that's the size of my sequence perfect. 

  what I'm gonna do is I'm gonna drag it out and I'm just gonna drop it here near the split in my Clips right and I can just drag it out again I can make it as big as I want we're gonna kind of specify how big we want this adjustment layer to be in just a moment what I'm gonna do is have my down arrow key now the down arrow key is gonna move the playhead, to the end of the currently while currently targeted tracks in this case V's 1 through 3 are all targeted so any clips on those tracks are going to you know it's gonna respect the end of a clip so you can see it moves us exactly to the end of the Lions clip right at the beginning of the leopard clip all right I'm gonna hold my shift key and I'm gonna hit my left arrow key and just bump the playhead backward 5 frames and then I'm gonna take the end of my adjustment layer, clip it to there and then .

I'm gonna bump forward so hold down shift and hit the right arrow key once to bring me back to the split and the click and then I'll probably go like 1 2 to put it ten frames past because the the transitional, kind of really slow down as we enter the next clip alright so this is how it's gonna work five frames before the transition 10 frames after let's add some effects to this adjustment layer we're gonna come here to our effects panel I'm gonna hit the little search bar here I'm gonna type in offset and you can see there it is video effects, distort offset 

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   I'm just gonna drag that out and drop it on the adjustment layer now this is a 1920 by 1080 document so the center X point is half the 1920 divided by 2 which is 960 now I want my offset to move a full like one frame see how this legree duplicates the frame and slides it over so I want this to get to negative 960 so I'm gonna type negative 960 just like that right and then I'm gonna, move my playhead over kind of to almost at the end of the adjustment layer you see there's the end of the adjustment layer, but I'm working up here in my animation timeline because right here on shift to Center I'm gonna select this little stopwatch which as Premiere Pro is telling me is the toggle animation button and that's going to drop what's called a keyframe.

 RIght out there great let's add another keyframe we're gonna do it before this because we we want this offset animation to take place over the course of the adjustment layer so just move the playhead back before that keyframe we just dropped and all we need to do is hit this reset parameter arrow that's gonna reset our shift Center to the default.

Ending: 

Adjustment layer you really can't go wrong save it as a preset be done with it and you know you lock in your keyframe so you don't to keep reanimating everything and it's just a nice compact tight little package for you if you really enjoy this type of transition so for creating this transition, in Premiere Pro and everything that goes along with it guys thanks for watching and that's it get it got it good Nathaniel Dodds InTouch vidcom I'll catch you in the next one and before you go make sure you subscribe to my channel for more great tutorials every day also by my course it helps us do what we do and this channel is supported by viewers just like you you can also just click the thumbnail and watch another video from this channel see you next time guys 

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