Lesson Info
36. Adding a Keyframe
Lessons
Class Introduction
09:31 2Putting Ideas Into Motion
05:51 3Client Profiles
25:45 4Choosing Your Subject
23:06 5Scouting Locations
28:28 6Researching the Client
11:44 7Choosing Equipment
22:21 8Waveforms and Scopes
12:38Shooting Strategy
14:53 10Interview: Setting Up for Success
24:44 11Prepping for the Interview
08:28 12Capturing Audio
18:20 13Capturing Room Tone
05:00 14Audio Q&A
23:35 15B-Roll: 3 to 1 ratio
19:57 16Planning for B-Roll
09:38 175 Rules to Capturing B-roll
08:51 18Using B-Roll to Shape an Edit
30:27 19Introduction to Footage Review
06:18 20Asset Management
10:40 21Edit Setup
29:28 22Edit Audio in Adobe Audition
21:56 23Syncing Your Footage
16:41 24Conceptual Storyboarding
19:23 25Editing Choices
10:33 26Selecting a Soundtrack
25:12 27Building the Rough Cut
31:13 28Refining the Story
30:16 29Adding B-Roll
09:07 30Rough Cut to Final Cut
18:50 31Color Grading in DaVinci Resolve
12:00 32Three-Way Color Corrector in DaVinci Resolve
19:02 33Export from DaVinci Resolve to Adobe Premiere Pro
08:21 34Add a Title in Adobe Premiere Pro
05:21 35Export Project from Adobe Premiere Pro
04:19 36Adding a Keyframe
05:44 37Creating Multiple Projects from Your Edit
13:16Lesson Info
Adding a Keyframe
So the audio track is kinda tricky, because it involves using key frames. Okay so there's a moment here where his voice drops off, in the edit. Okay and you can see here what I did was I increased the level to make sure that, that wouldn't happen okay. So let's listen to that one part. Play it really quickly, let's just listen to that one part. Effects controls, okay so we're gonna take this down to zero (silence) Alright, come on. Alright so here's that part played back. You're gonna here it significantly drop off. I've had a range of different type of personalities and people who come through here. They give it depth and I enjoy it very. Okay let's try it one more time, so you can here it in the studio. A range of different types of personalities and people that come through here. That give it depth. So now what we do is, I'm gonna add what's called a key frame. So the way you add a key frame into this thing. Is I'ma pick that part that had a little bit of a drop off. I'm gon...
na click here and I'ma turn on the levels and I'ma just click that little button. It's gonna give me my first key frame. And then what I'ma do is run to the end of the clip. And I'm gonna click another key frame. And then what I'm gonna run somewhere in the middle, click another key frame. Okay, one second. (silence) where'd they go, sorry. (silence) sorry about that I lost my clip. Okay here we go. Okay I'ma run to the end of that clip. (clip being fast forwarded) Hit that other key frame and then what I can do is between those, what's going on. Sorry, ah my fingers aren't working right, right now. Okay and what I can do here, is between those key frames add another key frame in and then drag that level up and over, so that it increases the level of that statement. So you're dropping in key frames, basically to create a handle and then you're gonna drag that handle up so that you can kinda gradually do that. I did that exactly here at the end of the edit as well. To kind of have the music taper off a little bit, so watch here. (silence) see how I did that, I added a key frame here (music skipping) and then I added a key frame here (music skipping) and then what I did was I just dragged it down to have that kind of descend now. (tempo music) that's just a, it's an easier way it's a little bit more of an advanced technique. Instead of just using like an audio dissolve, because you can actually burn key frames and actually manage your audio just a little bit better in that track. Do you, you meaning you, use some compression and limiting to master the audio track, so you can boost your levels and make em all nice and even throughout the entire project. You know I don't have a lot of experience in mastering an audio track, right and I'm gonna admit that right up front. Any time that I've tried to use compression and any time that I've tried to master that audio track it always ends up sounding tinny to me. You know and always ends up sounding something and I always end up spending so much more time than for me to be able to kind of just know what I know, get my edit out and deliver a piece of content. The thing that I've discovered is when I boost my levels as they are without compression and then lay my soundtrack in there and I've done my noise reduction and I've done all of that, the piece that I deliver always delivers on it's promise. The minute I try to get into the nitty gritty of like audio at this point I now have done the editing, I now have done the color corrections and the grating and all of the round tripping, and now I'm working on the audio aspect of it. I know it's good enough at that point. If there's something that I really, really, really need help on, I'm just gonna send it out at that point. Okay that's when I say enough. Okay, you've got to know when to say no. Right, so I'm not an audio export, expert so I'm gonna send that out, I'm gonna ask someone to help me with it, because I need some help. But typically speaking I can get my audio to the point that I need it to and I typically don't use compression, because any time I've used it in the past I get really weird tinny sounds and that's because probably just my own inexperience.
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Ratings and Reviews
Cheryl Winkles
You're awesome, I learnt a lot from you, this is like a must-have first course for anyone who wants to step into video or filmmaking world. Highly recommended and thank you a million Victor Ha.
a Creativelive Student
Fantastic course, Victor is one of the finest instructors I have encountered. Great stuff, I would highly recommend this for anyone who wants to work in video