HitFilm Express 12 Composite Shots & VFX Tutorial (2019) - Part 2/2

hey guys and welcome to the second part of my hitfilm express beginner tutorial no it's not in your mind you're actually a little bit closer and the reason I keep changing my setup is because it also feels a bit too formal like I'm giving the presentation to an audience rather than just talking to friends so if I gotta bring in a little bit closer I make this a little bit more personal and if you feel strongly one way or the other feel free to let me know down in the comment sections below in the last part for this hitfilm express beginner tutorial I covered most of the basics from importantly media files to editing adding effects transitions all the way through to exporting your final video however one topic that I deliberately left out altogether is composite shots now composite shots and hit from Express is where you create all of your advanced visual effects your video compositing your motion graphics your animated text templates and it is an entire topic a huge topic all in itself therefore I decided to create a part two and a dedicated video for composite shot rather than trying to stuff the topic into the last video so in this tutorial I want to show you how to create and work with composite shots in hitfilm express and by extension hit film Pro because the two work exactly the same way now this is going to be a low intermediate tutorial and I will assume that you have watched the last part my absolute beginner tutorial for hit from Express if you haven't yet I'm going to drop your link to that down in the video description so go and check that out first if you haven't watched yet and then come back here but now I feel like I've waffled on for long enough let's jump right into the tutorial welcome to the exciting world of it women Express this is where we ended up at the very end of the last part for this tutorial which was my hit from Express 12 for absolute beginner video link for that is going to be down in the video description but don't stress if you didn't watch the tutorial or follow along all the way just to show you this is the edit we created which is a small walk through of the Jackalope Hotel down here in Melbourne Victoria and it's actually a fairly complex edit as different video layers on top of each other different tracks for music and all sorts of other cool things however now let's talk about where composite shots come into the mix now the editor timeline or video editing is really about laying out your content left to ride sequentially to kind of put together the actual video right so there's all the different shots that you go through to tell your story or convey the message that you want to convey video compositing on the other hand and we're composite shots come in is all about layering different visual materials on top of yourself and kind of merging them together into a single shot so variety at the beginning of I edit we essentially have a very simple video composite we have this little video insert composited and lay it on top of our base footage there's even some blending happening here because with the transition so this is essentially video compositing but on the editor timeline itself you are quite limited in what you can do if you want to create advanced motion graphics advanced visual effects cool things like cloning and morphing effects text work with 3d motion tracking all of that stuff all of that happens inside a composite shot in hitfilm you actually have different ways of creating composite shots the easiest one is actually to click a video clip that you have on your editor timeline so you can be right-click it and select to make composite shot and that will convert this simple video into a composite shot which is a container that then contains this video but within that composite shot you can then add lots of other visual elements and create some really cool effects and motion graphics so usually you convert individual clips to compsat shots so they sit within your main editing may have some visual effects that you want to add so you may want to convert one to a comes a shot but because I don't want to assume that you followed the previous to trial or that you have this edit already available we're going to start out from scratch so we're going to come into the media panel and simply click on new in here we're now going to select outre a new composite shot this is going to bring up the comms and shot properties where you can give your comms a shot a name maybe let's call this one vineyard comp and then you can pop open the template and again select your resolution and it's going to go with 1080p full-hd at 24 frames per second right now it's set to 30 seconds duration let's just make it 10 seconds long will be plenty long for this tutorial then your resolution 1920 by 1080 24 frames per second because that's template I had selected square pixels all these sample right we're going to leave on default and then simply hit OK here we're now inside our comes a shot at the bottom you find two tabs right now we in this vineyard come our cups a shot you can easily click back to the editor time on at any point in time let us return to the vineyard comp and then under the media in the miscellaneous folder let's bring this open you'll find two clips a vineyard or in vivo art I mistyped that mp4 and a creepy bunny dot mp4 and again if you do want to follow along with this tutorial you'll be able to download these clips from our website so simply go to surfaced studio comm port slash downloads and you'll be able to grab these files to follow along now in this comes a chart we can now layer and stack different visual elements and blend them together and merge them and apply effects to the map text and motion graphics and the first thing I want to do is want to add some video materials so let's grab this Vinnie Vinnie rods dot mp4 and grab it and just drag it into the comes a shot and let go here this it's one video layer so this is now our visual layer you can scrub through cool it's just a very simple handheld shot shooting out over the vignette that sits behind the Jackal orbital then let's also grab this creepy bunny dot mp4 and let's drag that into our vineyard comp and you won't actually be able to drop this clip on this vineyard mp4 layer because it's not an editor you're not creating a video edit so you can't sequentially easily arrange things so for example if you drop this right here and try to drop it it's now split Malaya's it actually didn't it didn't do what I wanted and our two visual elements or two little layers because it's not an editor it's not meant to be sequential so ctrl or command Z let's undo that grab the creepy bunny bring it into the comes a shot and I'm going to drop it above the vineyard dot mp4 so this is going to sit right on top if you scrub through there is that's now our creepy bunny but this layer now covers the layer up that's underneath it you can disable this is I I can here on the side so you can view the layer that sits underneath it but let's blend these together to actually make use of the fact that we insert the composit shot where we have all the power first however let's go up to the main menu go into view workspaces and i actually going to switch this over to the compositing workspace just because I prefer the layout for when I'm working within a composite shot so let's switch that over so it's going to rearrange a few things going to make the panel on the left hand side a little bit smaller which is by default on your controls panel where you control all of the effects and settings for your layers you have an effects panel big view on the side and then down in the bottom you'll see the timeline the controls panel on the left-hand side gives you access to all of the layer properties it in here you'll find a lot of the same options that you will see on your editor timeline but you have a whole bunch of additional options here for different alignment modes you can set up parenting you can set up checks masks effects you have only editor timeline as well you can add behaviors that can control the movement of your layers in a composite shot using physics no obviously some audio controls the first thing I want to do with this creepy bunny selected let's change the blend mode from normal over to screen so now you can see the vignette through this creepy bunny clip the one thing I might do it is for the purpose of this recording let's select the vineyard dot mp4 let's go to genomes gonna rename this this is bugging me let's call this vineyard let's come into the layer settings and let's just mute this because I think it's a bit too noisy I'm also going to do that for the creepy bunny because I think it's just interfering with the recording if you now scrub through cool so that's kind of the composited effect now you can control all of the settings in your controls panel but you can actually also expand the layer directly here in your composite shot so let's expand it the creepy bunny expanded the transform and you have access to things like opacity anchor point position and scale right in here let's just bring the opacity down to maybe around 50% and within the viewer panel same as you can do in the editor timeline you can actually just scale this down control her down shift the scale is in a little bit kind of position the bunny just a little bit higher up so it's kind of an ominous omen in the sky maybe I'll bring the opacity back just a little bit so now I've kind of got our two video layers composited right here let's collapse the creepy bunny again and one powerful thing you have with incomes of shots that you don't have on your editor timeline is you have a whole bunch of additional helper layers that you can add it's not just visual material like images and videos and all use you can add you can create new helper layers those ones you can create by pressing this little new layer button right here and you have the option to create plain layers which are solid colored planes that you can use and blend and merge and mask and do all sorts of cool stuff with you can create text again similar to your editor timeline you can create a great layer which is a layer that will automatically apply any effects that you apply to this layer to all of the layers that sit below it then you have a camera and a light for when you're working with 3d though working with 3d is going to be a bit outside of the scope of this tutorial if you want me to create a separate tutorial for that just leave me some comments down below just so I can see how many people are actually interested in that and then you have a point layer and the point layer is just a placeholders just a point within your Cubs a shot but you can use it for cool things such as parenting other elements to it or motion tracking which again might be topics for other tutorials for now let's just create a simple plain layer now you can give you plain layer name let's just call this one blood moon resolution 1920 by 1080 matches our comes in shot let's just change the color to like a dark bloody ish red hit okay now we have this plane layer now comes a chopped up because it's covering up everything that's selected and drag it below the creepy bunny so now the creepy bunny is visible but we still have this red plane but before we blend this a bit nicer onto our vignette let's just apply an effect to it so in the effects panel and this is why I like the compositing workspace because the effects are all right here let's just come open to gradients and fill and let's maybe apply a color gradient to it so lets us drag and drop this effect onto the layer in our comes a shot in the viewer and our two controls to control the start and the end of this gradient might actually switch this around to kind of have the dark red and then the bright at the top so half this blends into white what's the top in the controls I can pop this open I can change to start and the end color as well as well as how it's blended together now for anything that has a gradient what can happen very easily I don't know whether you can see this you can get these ugly banding and really really quickly the easiest way to not have banding in your gradients is to scatter the ramp so let's check up this ramp scatter here a little bit let's go to add a bit of noise and people go that looks ugly but a little bit of noise actually looks quite organic and it reduces that banding those banding artifacts really nicely so that looks okay let's just zoom back out to fit and now with the blood moon layer still selected let's bring open the layer properties let's change the blend mode from normal maybe we'll go over to overlay yeah cool so just kind of at a little bit of ominous red color again for this tutorial feel free to tweak this in any way that you want I really just want to take you through the cool set that you can do within there comes a chart that you can't do on your editor timeline so you understand the value of why you want to use a composite shot over just you know adding things on top of each other directly in your edit the one thing I might do I might actually select this creepy bunny dot mp4 and change the blend mode from screen I kinda want it a bit darker to be honest maybe I'll just set this to darken and maybe I'll just make this a little bit smaller still and kind of position the bunny right there just kind of it fits in just a little better I kind of don't like this camera move down here though so what I'm going to do I'm going to right click the layer right here come up to speed and duration I'm actually going to slow this down to maybe a quarter I just want this to be quite slow to be honest so that it plays oh it's almost too slow right click speed duration let's try 50% I think that should be slow enough just we get still a bit of the movement of the bunny yep cool that looks arrived but it's very obvious that it's still a really ugly insert of an image right so what I want to do now is actually kind of want to cut out just this bunny head here so that you only see this creepy bunny head and you don't get the buildings coming in or other things happening and for that you have probably the most powerful tool in your toolbox available within ecommons charts and that is masks on the left-hand side of the viewer you will have the familiar selection hand and text tools but then you have three tools for a rectangular mask an ellipse mask and a freehand masking tool masks allow you to draw areas onto your layers that define where the layer is transparent or opaque let's for example to select this rectangular masking tool make sure you have the creepy bunny selected and let's just click onto the layer and drag over to the right hand side and you can see I'm now revealing this layer I'm applying a mask that defines where this layer is visible the subtract is over - maybe roundabout here and now I've essentially cut this section out of the layer by just using a mask you will find different options for the masks down in the layer window for you comes a shot under the masks you have this mask you can actually rename these as well if you wanted to and you have options for defining the shape let me just puff this out a little bit and in the settings for the shape of a mask you will find an option for expansion so if you look at the mask right now if you increase this it will essentially push out the boundaries of the borders of this mask you can also bring these in to contract what you're defining with this mask and all of these properties can be animated let's just bring this back to roundabout 0 then you have feathering and a feather strength most of the time when you're compositing video layers together having these harsh edges looks really unnatural right it's really obvious that it's just a really bad compositor just a square block inside this video feathering softens out and blends these edges together and for most of the time when you're using masks you probably want at least a little bit of feathering like for example if you're creating a cloning effect and you have one shot on the right hand side and one shot on the left side you apply a mask to one of them so you're in both shots and you use a little bit feathering to blend that edge between them so it doesn't look so natural so if you jack up this feathering can you see how now this layer blends a lot nicer into it and this optionally a feather both just means that the feathering is applied both to the outside and the inside of that mastered spreads both ways you can change this to only be out so now the feathering amount is 227 pixels is outwards if you set it to in it feathers it inwards but I'm just going to leave this on both it's gonna bring this in a little bit maybe to about 150 to 200 but I'm going to bring the expansion some candles pulling this back a little bit I find a get a bit more control that way so maybe you set the expansion to about zero feathering to about a hundred and seventy and roundness is just it's the roundness of the corner so wherever you have an edge you can kind of round this out so it's not so harsh again it's more obvious if you don't have any feathering but let's just check this up to maybe a hundred fifty or so let's assume out a bit and play this back cool that looks pretty nice now there's a whole bunch of wobble at the beginning of this shot we can see where I'm kind of manhandling that camera pretty badly so let's come to where the shot action stabilizers probably roundabouts here so let's collapse this creepy bunny take the vineyard mp4 I'm going to click on the left side of this layer and just pull this over to the right-hand side to bring that in so I'm cutting off trimming off the beginning works very similar to what it does on the editor timeline I'm just going to drag this over to the left-hand side because I really just want the clip or the part of the clip where it's kind of smooth yep I think that that actually works quite alright there's still a little bit of movement so you can either trim this down further or maybe I'll slow this down just a little bit as well maybe you go to 75% just to make this a little bit longer yep I think that works alright and now the creepy bunnies composited a whole lot nicer into the shot let's reselect the creepy bunny you may notice you don't actually see the masks currently applied to the lair if you want to do that coming to the controls or expand at the layout just make sure you select the mask again so you can see it in the viewer now let's grab the elliptical mask tool and now what I'm going to do is I'm going to draw a quite vertical long elliptical mask all the way through and you can see how that is adding content to what I've masked out right so let's drag this right over the center and this elliptical mask now is add it to what we're masking out with the first one so they applied in order first we're applying this soft rectangular mask and then we're applying this elliptical mask the cool thing is that masks actually have a mode right now the mode of this second mask of this elliptical mask is set to additive so it adds the content of that mask to what you've already masked out you can change this over to B for example in intersection now you can only see the intersection of this mask with all of the previous ones you could also set this to subtract so you're going to cut out this mask from what you've already masked out and this gives you a huge amount of flexibility to do some pretty intricate masking work let's change this mode back to at and what I'm going to do is I'm actually going to delete the rectangular mask we already have let's just zoom in on our viewer go to the selection tool and with the mask selected all masks you can modify directly in the viewer the elliptical ones and the square ones have just the number of points that you can push out I'm just going to push this out a little bit make it a bit smaller cut the strap right around the bunny head I don't really wanna include the cutoff that happens down there just kind of make it nice and round just so we kind of see the center of that bunny head let's expand the shape for this mask I'm just going to add a bit of feathering just to make it a little bit softer and now if you play this back yep that looks quite good but you can see that the mask does not actually follow the movement of the bunny right the mask is kind of just stuck to this layer right in the center and because the footage in that layer moves the mask doesn't actually follow the movement of the bunny however masks can be animated and this is where the true power of a composition of masking comes in even though it's a very basic tool for video compositing it's also really powerful so let's select our elliptical mask expand the transform and in here you can animate the opacity the position the scale rotation but also the path itself so the shape right now is just as ellipse you can animate the path of this mask so what I want to do is let's set a keyframe on the path and the position and maybe even in the scale on this mask let's just come back a little bit to maybe here and I'm going to grab the mask in the viewer I'll just drag it down to it follows kind of the bunny head it's not going to be perfect but they'll kind of just follow along somewhat to kind of stay on target right now all I'm changing is the position but if it was to bring this in you'd notice that it'll also changes the scale so let's just make sure this falls along as best as we can so now you've got this ominous bunny head composited into the sky now the free head masking tool works exactly the same way but before we apply it let's reselect the bunny layer you can't select a mask you have to have the layer selected if you want to apply mask and then you can freehand draw a mask shape it won't get applied until you close the mask so right now this mask would not get applied but if I close it off in the end now this mask gets applied but it's it's nothing new so let's undo a couple of those also if you click and hold it one will convert those mask points into Bezier points you can actually create really nice rounded shapes and then close your mask and there you can see this is now being added by this additional mask and again you can animate it name it do whatever you want for there but let's just delete that mask for now let's come up into our layers collapse everything let's add a new layer and this time I'm going to add a great layer and I like to do that a lot at the very end I like to add some color gradients to everything that sits below it so either wherever you use this comes a shot you can apply an effect to that as a whole like if you go on to your editor timeline and now in your media panel you should find your vineyard comp composite shot if you drag and drop that onto your editor timeline and this works like any other video layer or any other video element such as drop this off you're on the right hand side so this is now our comes a shot it's kind of nested everything we've built up all of the visual effects and everything is nested inside this comes the shot so you can now use it on your data timeline and hit one we'll treat it like any other piece of media on your timer so you can trim it you can edit it you can animate the opacity do whatever you want with it apply effects to it and the moment you want to make changes you can actually either double click onto the composit shot in your media panel or double click onto the composite shot directly in your editor timeline so if you now double click this vineyard comp on our editor timeline we're just going to go straight back into this panel also useful if you accidentally close this panel just double click on to the composite shot in your media panel and you'll go straight back into it now we've added this new great layer and a great layer will apply any effect that you apply to it to all of the layers below it in order to get good use of these I personally always like to apply some color grading and color correction to all of the clips in my comms it shot it's kind of like when you're making a sandwich you have all of these different layers that you place on top of each other but it's the act of putting them through a common process a common transformation like when you put that sandwich into a toaster all of those layers get bound together they'll stick a bit better together and it looks more realistic so I always like to apply some color grading or color correction to all of the layers so great layer at the very top let's come into maybe color correction and in here you will find a curves effect which again is free with the Express version let's drag and drop that onto the great layer now you could try to open their settings down here in the layout window for your comes a shot but you have limited options here I prefer go to the controls expand the curves in here and you actually get to see the proper curves and now if you push a little more calm trust into it you can see that this actually effects our entire shot let's just come into the red channel maybe I'll turn the red down a little bit but I'm only going to tone it down in the dark areas so the dark airs are going to go a little bit more green blueish so it just doesn't feel so overly red it looks pretty sinister pretty dark so this great layer here if you disable the visibility it won't get applied if you enable it you'll see the grading layer being applied to everything and it does make everything Javel together a whole lot better just to apply some common effects like color grading color correction some tins or other things to all of the layers below it it will just merge everything together so much nicer now the last thing I want to touch on very quickly is parenting and for that let's just create some text in our scene so in the left side of the viewer let's select the text tool click into our compasses shot and let's type some text let's select everything with ctrl or command + a let's try to find where's the text tool s the text panel let's just find a nice and creepy font yep I think that looks alright let's just bring the font size up a little bit come to the selection tool and let's just drag this over and there you go creepy bunny is watching you I might actually give this text just a little bit of an outline as well but I'm going to make this black I just kind of want the text to stand out a little bit stronger so it's just a little bit easier to see let's come to the very beginning I'm going to expand the creepy bunny mp4 and the transform property is going to set a keyframe on the opacity and start that out at 0 so there's no creepy bunny just yet let's select the text expand that expand that the transform set a keyframe on the position I'm going to reduce the exposition it's going to move this over you can also just use these arrows here directly in the viewer let's just pull this over all the way to the left and let's just animate this to come in so maybe a couple of seconds in let's just come down to our creepy bunny the opacity is zero so maybe I'll bring this keyframe over to the right hand side you can just click and drag these keyframes around and this is where the power of the comes a shot comes in again you have a lot more detailed control over animations and keyframes and all of the different properties and effects within a composite shot and you have on your editor timeline because again editing is really more a left-to-right sequential workflow of laying out the clips where comes a shot of really just blending it all together to create something really interesting so this has come forward a little bit I'm going to Jack the opacity up to about 80% so this creepy bunny school to start fading and right about there let's come up and I'm actually going to animate the text as well again I'm going to bring this keyframe over a little bit so we're starting to animate the text here and then by then let's just push this text over to the right hand side I want to kind of have this text kind of shooting him let's rewind a little bit and play this back yep that works alright now let's enable motion blur on this layer here and for that you've got a switch over here on the right hand side this little looks like streaked ball just a few blobs are now enabling motion blur on that layer so you get this really nice motion blur of the text coming in and let's just quickly talk about parenting let's say I wanted to have a bit of a subtitle here so let's grab the text tool click into our comes the shot and let's add a subtitle and select all of the text make it just a little bit smaller I think I'll get rid of the outline as well let's just position this where we want so maybe you right about there now this subtitle doesn't animate right so we could now get the keyframes from our main text and again let's rename this one let's rename this text to title and the other one will be our subtitle and I can now copy those positioning keyframes and kind of attach them to the subtitle as well but I can also simply parent this subtitle to this title layer so any animation any movement that happens on the title will automatically applied to the subtitle parenting kind of works like imagine you're the parent and you have a bunch of children wherever the parent goes the children will follow in order to do that let's select the subtitle over on the right-hand side here this is a drop down if you pop this open you'll find all of the other layers selectable but you can't select yourself because you're defining who is your parent the subtitle we're going to say your parent is the title layer so now this title layer is the parent of this subtitle what this means is that if you move or animate this layer you can see if the child the subtitle always follows along automatically the same applies to all rotation as well to any scaling the child always follows along the cool thing is you can move the child freely and you can animate this independent of what the parent does but the moment you move the parent again it just follows along and even great really long chains of parenting to create some really cool things like solar system where one planet depends on another so you can do some cool stuff but let's just undo that maybe I'll actually give this just a little bit of rotations to make this seem just a little bit more disturbing let's actually open up the title just yeah I've actually created a new position keyframe here let's just collapse those come back right on to that let's just move it down maybe a little bit and so now what's happening they kind of both move in at the same time now let's also enable motion blur on this subtitle right here collapse this layer the grade layer you may want to move it to the very top but I don't actually want the text to be affected I can't want the text to stay on top of everything else and it's actually looking really good like it was really simple we've got lots of visual material layered on top of each other and there isn't really a limit on how many videos or images or animations you want to add on top of each other just merge them together using masks and different effects and different animations now the last thing I want to do let's just add like a lightning strike to this bunny just as the bunny has finished appearing maybe at this point we'll just get one lightning strike for that let's create a new plane layer I'm going to call this one lightning let's change the color over to black here okay and okay let's drag this below our grade layer so only the grate and the text is visible let's come into our effects panels let's search for lightning and you'll find the free lightning and electricity effect let's grab this and apply it to our Lightning plane and if you scrub through you can see this is this really cool lighting effect I actually really like this effect looks really cool let's just drag this over to the right-hand side and the impact point right down there right now the plane is opaque so we can't see anything underneath it so let's bring open the layer properties for our lightning layer and change the blend mode from normal it will change it over to additive yep that works quite well but it's hard to see top right here so what am I do let's reflect the lightning and electricity effect let's bring the starting point over to the right hand side I kind of want to striking downwards straight through the image so it's just a little bit more obvious if you scrub through the lighting is visible all the time which is not what I want maybe I just wanted striking right here and you can either trim this layer down to be a single frame or you can just animate the opacity I prefer just animating the opacity but it doesn't really make much of a difference so let's expand the layer expand the transform set the keyframe for opacity at 100% go a single frame backwards with comma on your keyboard set it to 0 . moves your frame forward let's move three frames forward and let's set it back to zero so we kind of got like a two-second strike of that lighting coming in right and the title is there so that looks pretty cool and maybe I'll add a glow effect as well so in the effects panel let's search for glow and again there's a few paid add-ons but there's also a glow effect and lights and flares let's grab this effect and drag it into our composition on to the Lightning layer and again I can determine whether this effect happens before the lightning and electricity or after I obviously wanted after because otherwise the glow won't actually affect anything other than just a solid black plane because that's all in this until we apply the lightning so let's drop that in right after again you can come back to the control to just expand the effect right in here and subject' the intensity up a fair bit maybe to almost 5 and I'm also going to push the radius up I want a very large very intense but very large diffuse glow kind of going over most of the image so just it just makes the Lightning look a little bit more intense and now if you rewind and play this back now that's a pretty intense bunny the cool thing is that we've done all of this work inside our comes a shot if you now go back to the editor timeline where we are using this composit shot all of the changes all of the animations everything we've added into it is now available directly on your editor timeline so you didn't have to update anything because you're using this comes a shot which by double-clicking onto it contains all of this visual material it contains all of our composite elements all of these cool effects and videos and animations is really easy to create it comes a shot within your edit somewhere for a special effect or a motion graphic title or the outro and then just tweak it in the Cubs a shot it stays in your edit exactly where it was before and you can just reuse it as often as you want to it's just a piece of visual material so I can come to my media panel grab another copy drop that in anywhere else it's the exact same shot and if I made a change to this composite shot it would affect both copies because they both contain the same material they both the same comes it shot it just it makes it really easy to create reusable motion graphics title sequences and there's a bunch of other cool things that I haven't talked about yet like publishing properties that allow you to create text templates which are kind of like these composite shot presets but you can tweak the text with every copy that you drop on your editor timeline again topic for another tutorial same as things as working with 3d and motion tracking and some of the advanced stuff but do let me know down in the comments below what you would like to see next with hitfilm express or with hitman pro stuff that you keen on I really like making tutorials for this product especially with version 12 it's taking such a huge leap forward I'm really excited about what's coming up but I really hope that you enjoyed this tutorial and I hope that he now understand what comes at shots are and why they are so important why you want them use them in you edit to create some really cool motion graphics or advanced visual effects and that's all there is to it if you enjoyed this video please hit that like button if you're new here and you wanna watch more content more videos like this one don't forget to subscribe and because YouTube is a bit weird also enabled a little Bella I can soon actually get notified if you have any comments questions feedback you want to support me check the links in the video description leave everything else down in the comment section below and finally thank you very much for watching and until next time I will see you later

Channel: Surfaced Studio

Views: 46,418

Keywords: HitFilm Express 12, Tutorial, Composite Shot, Advanced, Grade Layer, Colour Grading, Film Look, Video Compositing, Intermediate, Motion Graphics, Film Making, Video editing, Visual Effects, How To, Free Software, Beginner, Basic, FXHome, VFX, Surfaced Studio, How to Create VFX, how to create videos, best free video editor, film making, video editing, software, discount voucher, hitfilm, video effects, special effects

Id: e-LdXH1yTUI

Length: 32min 38sec (1958 seconds)

Published: Sat May 04 2019