How to Edit a Travel Film with Just Wojtek - 2 of 2

[Music] so [Music] [Music] [Music] hello everyone welcome to day two of adobe live my name is james bonanno and i will be your host for day two uh for those that are tuning in welcome welcome thank you for joining us i am joined today by the talented wonderful voitech flicta if i'm saying that correctly wojtek uh please correct me if i just butchered your name i hope i did not it's all good it's perfect thank you so much um i'm happy to be here happy to be here again for part two absolutely we are we are super excited to be talking about uh what we discussed yesterday in uh day one which we will give a little recap too uh for those that are joining uh and on behance thank you thank you uh we had a great conversation yesterday um if you're just tuning in for the first time make sure to head over to com slash adobe live to follow along on the stream today and uh dot net excuse me sorry um and for those that uh missed yesterday's stream head over to the adobe live youtube channel and check out the recap um with that out of the way hello voodoo val hello andrew richie michael hello everyone it's so great to have have everyone here in the chat um that being said voy tech i know yesterday we got into a lot of the pre-production of making a travel film like you are so uh perfectly capable of doing here and today i think we're gonna dive a little bit more into the actual story and the cutting but before we kick it off just give us a little intro for those that are new to the stream today so we can get a little context into who you are and what you do thank you james my name is wojtek on social you will find me as just voy tech just that and i create mostly travel content something i call deep trouble stories the idea behind it is to on the one hand showcase the physical journey going to a place being fascinated about it but then also take the viewers on the internal journey into kind of my feelings and thoughts along the way so um what we are working on today and also worked on yesterday is another new travel film where i want to shift gears a little bit and shift content a little bit and um if you want to see what my channel is all about please feel free to visit me on youtube leave a comment i'll be happy to reply happy to get to know you and without further ado i think we can get right into editing today we will be making all things color and sound and i'm really looking forward to that absolutely yeah and i think we we kind of got cut short last night in the stream or just last night for me yesterday in the stream um so maybe we kind of take uh a step back a little bit and just do a little recap of what you're actually cutting i know we didn't really you didn't get a chance to really finish that sequence so um to kick things off maybe start there and then let the audience know uh you know the rest of what you're gonna be working on into color sound design final export that kind of thing yeah of course so let's jump into premiere what we are working on is a film i call why i travel and the idea behind it is to on the one hand figure out what is my personal reason to travel but um bring the viewers bring you guys along and figure out with me are those sometimes superficial answers we get to why we travel to explore to relax is that really everything or may there actually be more and we are working on the intro sequence of that film and yesterday we went over pre-production like the how it came from the idea to the script how i actually script but then also how i structure everything and what we did was we started to build a foundation and we started with the voice over um that i wanted to have basically as the base layer and i wanted the voice to lead the visuals and so i started building out the visuals kind of sorting them out and looking for matching visuals i excuse me and i did a little bit of homework as you can see we did not exactly um lift off or let off here yesterday but i actually built the intro sequence out so that we can really get started today and i think we should play it back at least one time so that we can see where we are about to start definitely yeah i noticed that there was some some newer clips in there and everything felt like the pace was was a little uh more clear today and definitely a little tighter so yeah feel free give us a little playback all right let's go to the start and um quick stutter warning i wanted the beginning to i wanted the beginning to um be a bit a little bit more interesting and i haven't built full film yet so this might change in the in the final edit but for now um this is the way how the intro sequence will look like we're like that why do i travel have you ever asked yourself have you ever been asked what usually comes to mind are short-lived answers we've heard somewhere from someone validated them as good enough and declared them for our own to relax to explore to learn to live yeah sure and that's it well that says it all doesn't it to relax to explore to learn to live what exactly does that even mean and is that reason enough reason enough to dream of it all your life reason enough to quit your job exhaust your savings and embrace continuous uncertainty without any prospects of a somewhat reasonable return i think a single verb does not really seem to satisfy but actually rather begs the question why i travel love that yeah i mean the you've done so much work in the time that we watched this yesterday to now um so maybe if if you can sort of go through the um choices that you made for the clips that you decided to include before we get into the rest of the edit um i would love to just kind of hear some of your thoughts there it's it's wonderful sure thanks thanks very much i'd like to do one thing in between before we um talk about the visuals so one thing i always do these days is i do not use the classical 180p ratio anymore um but i actually squeeze it a little bit so that if people watch it on the phone they can actually get full screen full screen on most phones these days and what is also nice about it is as you can see it squeezed everything um down a little bit is that it gets a bit photon vote more cinematic but on the other hand it also gives me a little bit of wiggle room too maybe this is something we'll do later um introduce a little bit movement into the shot so if i have a 180p clip i can actually move it up and down with uh with the digital movement in post and make some of the visuals that are standing along a little bit more interesting because um as you may have noticed most of the visuals are just fixed tripod shots like they're locked off shots there is not much camera movement except for the shots in the car i think where my um fiancee cat was holding the camera and um i think even though they're all locked off they still seem to be quite interesting but it can always get a little bit more interesting so i just like to have that option okay and i love that i love the conscious choice to decide to do that um and i also do want to put one note in here just just some commentary that i kind of have after watching that back the first time i think what's so great about this even just this first cut is it's inspiring and i feel like people that are watching this that maybe don't have access to a huge group of friends while they're traveling or other people that like we talked about a little bit yesterday if you had shot other people then maybe including that in there i think what you nailed really well is it's just you and your fiance and most of the shots it's just you and so there's not this huge lift to include a ton of people in there and for a lot of creators that's either that's sometimes impossible to do or just daunting to to if you're an introvert and to try to find other people so i think you tell a really compelling story that has energy and movement with very little you know interaction um with the two of you guys thank you i'm really happy to hear that and yes um we both know and i think everyone who's been traveling and trying to make film knows that you have to improvise a lot and i figured with time sometimes it's easier to just lock the shot off and not experiment too much sometimes you want to do that if you're in an interesting location but i just feel well i don't want to i say safe and steady but um sometimes the easiest shots are the best shots um speaking of the choice of visuals so in the beginning we have this starter effect you know we're basically changing between this shot of me this is a 4k shot and we're zoomed in all the way like i said yesterday i don't really hesitate to um actually do this do this and this other shot is this is basically the same lake it is literally the same place it's um just on the next day and it almost looks yeah that's just i would have thought that that's the exact same day just maybe like minutes after each other they look identical um yeah so this just on the right and this uh the image on the left those those are the same yeah excuse me i just hit the wrong oh okay gotcha i was like those look like the same shot that would have not made too much sense sorry that was my fault no um these are um literally the same place that's the same lake just um the day later in the morning and what i think uh is interesting about this um very first sequence is that i'm kind of um referring to um being in this in this um cloudy blurry situation where i try to figure out um what is the reason i'm traveling so i'm here and i want to get there where i reflect on everything and have a clearer view and basically this is what these first shots are telling and i also have here kind of facing off myself um that was intended i did not try to match them too closely and then we progress into our first visual um what i want to do and maybe i will do this just right away is i want to introduce a little bit of camera a camera movement a slight zoom and i'm not particularly sure if i wanted to just zoom into the center or if i rather would like to um actually zoom a little bit to my silhouette so i think this is why do i travel yeah yeah yeah that's just subtle don't ask yourself exactly and it's supposed to be subtle it's not supposed to go all the way in we can we can do that um at another time and place and here is the travel montage that i had intended in my shot list and what i'm trying to do with those shots really is so i i needed a transition and i'm turning my head here this kind of works for me and i want to show off some shots that will reward the viewer before they are actually watching the whole thing so the viewers are supposed to know what is coming there's a stone um in between two cliffs and i'm jumping on it there's a beautiful scenic view in the mountains of norway um we are driving in the sun so the van is involved we're sitting in the van parked right in front of a waterfall and these shots basically um just communicate the idea okay we are traveling we are out there and it's awesome and you will see those awesome shots again but you gotta wait a little bit yeah you can't give up yeah um but that's that's like also a thing in the beginning i always used to do this differently i thought like the best shot i cannot give it away in the beginning it has to come at some point later but um i don't think this is a game you should play on youtube on youtube put your best shots out there and um you know let people see the same shot but maybe lasting longer i'll see the full shot at a later point i think that's the better way to go about it that's a that's a good point too i think sometimes and i don't know if you feel the same way voy tech but you always i don't know when i shoot something i find that like there's always a handful of shots that i'm like okay those are the the money shots that's the that's the sweet like hero shot that i'm going to either lead with or end with or it's going to be some sort of climax but a lot of people don't see that if they're just watching it as a viewer and as trying to be entertained so i often forget like all the shots don't have to be mega perfect shots they just need to convey the message in the right frame composition and style that the viewer needs to see it and so sometimes you need to almost stand back out of being the creator and just look at it from uh is this video conveying what i'm supposed to be feeling and if that's the case then the shots are doing what they're meant to do yeah totally um we have to remain practical about it or be practical about it and this is also something i hold myself accountable to i also want to get to beauty shots um sometimes i don't get them but that's fine sometimes you just need something practical something that works basically uh i like the following shots right so we have this um relax to relax explore to explore to learn to live i didn't have a perfect to to-learn shot so i thought okay walking up to the glacier there there is kind of a learning experience there's also this video that i um introduced some of you uh yesterday too um and and there's a big theme to it but um basically this shot is just me walking up to something and usually that leads to learn something um so it's not perfect but it's basically like you said james not everything like not every shot has to match the words perfectly because that's easy to do it sometimes can be a little bit abstract and we have another shot on and that this actually uh conveys perfect conveys perfectly too and um this is the same scene this is um the lake again and here i want to make clear okay i'm speaking to the viewer i'm aware there there is this meta situation um i'm aware that you are here and i'm communicating with you and this will happen um at a few times in the film but you will never actually see me speaking to the camera it will still be voice over um well it certainly comes it certainly comes through too especially since that is the first time that we're seeing you break the fourth wall and look directly at the viewer here it's it's nice to see that because the viewer i mean you know immediately like oh okay like he's he's speaking to me you know and right after that i mean we had those shots to relax explore learn live and i'm repeating this um just like i do in the voiceover what does that actually mean we have a nice little match cut that it matched nice so that was one reason to actually use it um but the other reason is um that i wanted it to be a little bit more dynamic like what does that even mean and there's supposed to be a little bit of a surprise so that makes sense um and here we have another shot that is also crucial for the story but will be introduced later in the video um this is me um sitting at the lake and uh really thinking about why i'm traveling and then we go into this montage with many match cuts where i'm moving to a place and i think um so this is something we also talked about yesterday i did not get every shot that i wanted to get and i'm also like we spoke about shot list and how concrete it actually needs to be how specific it needs to be and i didn't think i would use this shot in this case but um i'll play um the voice over and it will all make sense in a bit life reason enough to quit your job exhaust your savings and embrace so quit your job exhaust your savings and i did not really have anything that was at least kind of matching this idea but here we have a scene where i'm trying to hit the brake quitting the job and then i'm actually going back and put the pedal to the metal uh which is exhaust my savings and i think it works i think the idea works because it's the struggle of what should i actually do okay let's go full speed and that's interesting yeah i i think i'd have to watch it back a few times to pick up on that and of course you explaining that like you can see the visual symbolism behind that that voiceover which i think is really interesting and and even you know additional ways to even take that foot pedal if you choose to like speed ramp just the end of the foot pedal to like drive that home and depending on what you choose to do with sound design maybe that like hits even harder but that's a really that's a really interesting clip and a conscious choice as well yeah and i think um people or viewers like even me when i watch a new series or a film um i don't think we need to um pick up on everything so i lately watched arcane i loved this one and um it's such a good series such incredible animations and i think i've basically missed the most but that's like how a good film or how a good series feels it just feels like it makes sense we don't need to pick up everything consciously and on the other hand the other side that's like the creator the filmmaker the storyteller i think we should work a lot with intentions so um like i said it doesn't need to be perfect all the time but in the best case it's close to it right i've always found that i think we have very similar styles but i've always found that the the films that i'm the most drawn to are the ones that have seamless they seem see like effortless because in the because the way they're created and edited but that takes a lot of work to get to a seamless place and so you're watching because you're engaged you're entertaining what you're watching you understand the story and you're not necessarily like picking apart and studying every shot because i've found other times i'm doing that if i'm bored or like there's there's a there's a good balance like you have to be able to strike the story first the entertaining part first and then of course what you're doing is there are shots each of these shots is chosen with intentions so when you go back and look at it the viewer can say oh wow like there was more thought put into this than i even realized watching it but i was so entertained that i didn't pick up on it so i think that's the best balance to have would you agree that's true yeah totally and i mean in the worst case there are in more than enough people on youtube that will actually dissect the whole thing if you're so interested in that yeah i i totally agree you're spot on uh yeah and um there's there's actually not much of visuals remaining so um if you look at the whole timeline um what i think is important is that i um switch the rhythm up every here and there so we don't have too much monotheny and um here this is a lot of movement and we're moving fast and then at the end we have those shots where i'm kind of going back to my thinking um this is the part where i speak about no reasonable return is it actually like when you think about it from a quote-unquote objective point is it really that nice to live in a car depending on the context it's a good thing or it's not that much of a good thing um so you can see it either way for us it is awesome other people would never want to do that in their life so i think this shot also works and this is again event shot me thinking um also at the lake people don't know that yet and then we go back to our basically um starting visual which is the lake with all the reflections on it and just as i'm about to turn we cut to black and the film is about to begin so that's the idea behind the visuals was that um was that second to last shot where you're sitting on the edge of the van can you just uh flash back to that one was this one here a conscious choice to i can't tell are you looking directly at the camera are you looking off camera there i am looking directly to the camera and just like i said i'm not particularly sure um where the other shot is but um this sequence that is taking place at the dawn i think um is also a crucial sequence to the film and um i didn't think beforehand that i would place this scene at this place but it just worked for me so i've put it in there and what i'm actually doing is i'm communicating with the camera with the viewers without saying a word so um the thing that i'm also doing here and yeah this and this is the same place the same day the same time and what's so cool about those three shots is and really all your shots that's you mentioned it but i just want to kind of give you some kudos on the uh variety of framing and composition that you have in here in a very short amount of time and i think that's why it tends to not feel it doesn't feel stale it feels like it moves it feels like it's energetic because you're switching up composition very deliberately there's symmetry there's you know following the rule of thirds like you're doing all of the right things as a filmmaker to guide a viewer in and and start this you know start this film in a really strong way thank you i'm happy to hear that and yeah thank you so much for noticing i'm yeah it's just a nice thing to hear that we have hey well i i will continue to give you uh kudos where they're due because i do really respect and appreciate that style of filmmaking again i think there's a lot of similarities with with what i create and what we do as a business and i think it's important when you're creating stories like this to really focus on like we've talked about yesterday like focus on the shots being very deliberately thought of of course you can't control everything but in this case not only is the composition a conscious choice but the way that you're cutting them together so that every shot doesn't look exactly the same from the same place or same lake or you know same scene yeah i have one i have one question here from the chat for you um and again thank you everyone for joining but voodoo val welcome welcome always a pleasure to have you here uh you were talking about arcane and so she um is asking you if there's any other films or shows that inspire you to create ooh lots and lots um i think one very inspiring but also hard to watch show was um when they see us okay yeah that that just had a very interesting visual style i think um another thing i like i liked to watch or i'm just remembering from the top of my head is um oh what was the name of the series with with the chess playing woman oh queen and the queen's game queen's gambit yeah right yeah i also enjoyed that one yeah i also think it's an interesting film because there's actually not much happening they are literally playing chess it's not like action film or anything and still though it was just so so interesting to watch and i was so drawn in um yeah other than that it's hard to pinpoint um single films and series because i just like to actually consume a lot and i do not have so many preferences but i also like to experiment um with different genres and films but what i draw my most inspiration from i think are actually books because they kind of force me to uh imagine things and not just see them not just consume them so um that's that's kind of the route i'm going and do you have any uh favorite books that you're reading right now or anything that's kind of inspired your writing i i also am a big big reader and i can tell in your writing that you are drawn to just good writing and and being educated so anything that you're inspired by right now um inspired by right now but not at all that actually um links neurology to um a lot of findings um in psychology and history and um it's it's it's a quite long or huge book um but it's worth the read though it is not always enjoyable sometimes it's very hard sometimes it's very technical but there's just so much wisdom in this book to absorb and another book i find i find really really interesting is thinking fast and slow uh from daniel kahneman um i heard many people say that it's so so complicated but i do not really feel that way about it i think it's understandable you have to get a little bit into the um vocabulary into the lingo quote-unquote um but um it's it's really valuable to read um in terms of biases and fallacies in everyday life and like how statistics actually differ from our subjective perception as human beings yeah absolutely well i mean it seems like you're into like the psychology and really understanding the mind and understanding excuse me uh you know behavior um and between non-fiction and fiction i find that i have difficulty sometimes really getting into something that's a little dense but i know it's important and when i end up finishing it i do feel like it was worth it in the end and but i find myself flipping back and forth between like immersing myself in something that is a made-up story just for the storytelling aspect and then going over to something that is non-fiction that's you know statistical or factual so but very important to read very important to immerse ourselves in you know in knowledge because like like traveling like filmmaking it that's what it is and and uh i don't know for you if you feel that reading is sometimes like a meditative uh break from a lot of this but that's how i tend to feel anything away from editing is a nice is a nice break but um yeah it's it's always a always a good thing to do yeah totally um i actually developed the habit of um reading about 30 minutes sometimes well actually more like an hour each morning and this is um just to have a good start into the day and i'm not productive but i'm learning something so um that just makes me feel good about myself and uh yeah um actually so it's so interesting that we're speaking about this because one idea i actually had about the future content on my channel is to kind of um use these findings or convey these findings into consumable videos because i for the longest time didn't read at all i just picked up that reading habit like two years ago and before that i i even said like there's i i see no reason in consuming books there are videos there are podcasts i can also consume that but i uh convinced myself otherwise um there is a lot of wisdom that these days is not out there in um podcasts and videos and also the way we consume books or i consume books um has just something different about it you can take notes you can go back at it and yeah it's so interesting that we're speaking about this i could go on and on i know we're gonna we're gonna have to sit down over a beard and chat off of uh when we don't have four hours to do this but i i agree i think it's i think one of the things i was going to mention uh before we talked about books where you're talking about your favorite films and what you're maybe inspired to watch right now i think nowadays and this this plays into the whole idea of there just being so much content to read to watch just there's we can immerse ourselves in everything every single day which can become a little overwhelming but from a filmmaking standpoint and for being inspired from like tv or film i find myself being even more drawn to short form and like youtube creators now because like we mentioned yesterday youtube isn't just a platform for these it hasn't been for a long time for just quick viral videos like there are there are real films and documentaries and and beautiful content being created on youtube and so i find a lot of inspiration there where i used to find that inspiration watching a feature film and so i try to continue to do that i try to keep my my you know inspiration in both places but just for quick education and quick inspire i feel like youtube has become that place for me i don't know if you if you feel differently about it i feel the same uh i get laughed at um from my fiance all the time about how many tabs i have opened and most of them are youtube and this is what i consume mainly yeah so um i guess a lot of inspiration actually comes from youtube and the creators out there but another interesting source of inspiration actually is music and um this is also the next step in this edit so i've already selected a few clips and i want to play this to you with different um tracks just just to um make an example of the power of music because i think it's really important to um choose the right track and like um one mistake that i think a lot of us make in the beginning is that we're choosing way like way too epic music for our edits and um i have an example for that so um let's listen to the first track okay um i i pre-selected those so i know that this is a track i think i want to use um but let's see about this one okay that is interesting so let's drag this underneath um it will not match perfectly right and i know that because um i didn't cut it to the music which is all right i like that little like stutter static effect that is just in the song already especially with your little those uh stutter shots that you have in the beginning so that's kind of yeah i also think this will work quite well and um i think another thing i want to do is because we're um cutting from my face to the landscape and then or there's not much landscape there's there's just mist there's just fog um to uh the lake i wanna add a little crossfade so that's shift d for me as a shortcut and i know there are some people who don't like fades but i say don't hate the fade don't hate the fade yeah i'll just go with it sometimes it works so um just have a very very long lasting transition here sometimes i do it with numbers oh jesus okay yeah sometimes find that those those dissolves in those fades when they're drawn out really for a really long time like they seem a little more deliberate than if they were just slapped on in between a clip as a cross dissolve like that to me sometimes looks like amateur imovie even if it was a choice but what you've done there i think will look really really nice yeah and i also think um i mean if you watch um netflix series and new films new movies they very often um they still use fades like it's not like fates do not exist anymore but i think it can be an interesting constraint to push your creativity when you say okay for the next year i will not use any fades that can actually push you to try other things out so there is also a good way and what i'm doing now is um i don't want to um affect the whole track for now but i'm just gonna not silence but put the music a little bit down i wanted to be present i wanted i want to hear it but it should not be like overly loud so that we just get a feeling of okay how um does this feel and working combination so let's have a look at this why do i travel have you ever asked yourself have you ever been asked what usually comes to mind are short-lived answers we've heard somewhere from someone validated them as good enough and declared them for our own to relax to explore to learn to live yeah sure that's it well that says it all doesn't it to relax to explore to learn to live what exactly does that even mean and is that reason enough reason enough to dream of it all your life reason enough to quit your job exhaust your savings and embrace continuous uncertainty without any prospects of a somewhat reasonable return i think a single drop does not really seem to satisfy okay actually this is where it's breaking apart yeah okay there's always there's always a part of the track where you're like holding your breath you're like okay this is gonna just be timed perfectly and then it happens you're like oh you're like so close almost almost yeah but um so the interesting thing about it i think this track mostly works so um we could work around a little bit with it uh with that and make it work um and also the interesting thing is i did not cut to the music but we have a lot of match cuts we had a lot of uh kinetic cuts um where we have one movement introducing uh the next scene uh the next clip with a similar movement so it connects very well even though it's not perfectly matched this is something we could work on later on so let's have another clip now uh another track now excuse me and this will be kind of funny because i know what's coming and this is basically what i was just speaking about okay and let's see how this all feels now why do i travel have you ever asked yourself have you ever been asked what usually comes to mind are short-lived answers we've heard somewhere from someone validated them as good enough and declared them for our own to relax to explore to learn sure that's it well okay i i'll just stop it right this instant so this one the one thing i did like there is i i the only thing in that track i actually did like was how there there was this crescendo that happened right before you turned to the camera so that like that part of it actually works but yeah you what you were saying is spot on yeah it's um i mean it also works in terms of um the cuts and the visuals it could work but this is not the mood i'm going for and this is um not not the feeling that i actually want to enhance or provoke vote um so uh let's try another one um this is something i really like this is a track that's like very classical and speedy [Music] probably the right moment to um [Music] tell everyone that i actually do not know anything about music and i'm really really really sad about it actually um but i have to feel my way out in most cases and um it works so um it's a lot of trial and error are you are you getting this these tracks uh from uh art list or epidemic or where are you sourcing all the music from yeah it's it's art list and audio those are um the two sources i mainly use um for for music and also one thing that keeps bugging me a little bit is um so on the one hand i um hit shift d um to um well it's not audio fades it's what is it cross power i think um it's what the effect is called to um we have a little bit of gain in the background and i'm not sure if everyone can hear this but it is bothering me so we're going to change that and the photon photo audio fade is just there so that it's not that obvious that i'm about to start speaking and the way i will get rid of this is go to repair and dial in 0.2 at reduced noise i've done this a few times and this works for me also reduce the reverb a little bit maybe also do 0.2 in the essential sound panel and then you know what when we're already doing this we might as well put up dynamic for a little bit more clarity i'm not sure how about to feel about this dynamic slider but it kind of works for me when you use it subtly and i like the podcast effect so um we are actually getting out a little bit more of the voice and um yeah let's play it back with this one and again we're not going for perfect we're just going for does this actually feel right why do i travel have you ever asked yourself have you ever been asked what usually comes to mind sorry it's lagging a little bit the short-lived answers we've heard somewhere from someone validated them as good enough and declared them for our own to relax to explore to learn to live yeah sure that's it well that says it all doesn't it relax to explore to learn to live what exactly does that even mean and is that reason enough reason enough to dream of it all your life reason enough to quit your job exhaust your savings and embrace continuous uncertainty without any prospects of a somewhat reasonable return i think a single bub does not really seem to satisfy but actually rather begs the question why i travel [Music] okay this is something i would say works for me but it does not work for everyone um just one thought uh what i find interesting is that classical music very often works better than um epic music um just in the way that it does not feel like lord of the rings and we're gonna draw swords and swords and and storm into battle but it's more like okay there's also a journey there's also speed and emotion in it but it feels a little bit more natural a little bit more calm um but i've i'll be honest i've decided beforehand for another track and i will not play them all to you um just for reference this is for instance a very ambient track that would also work that has no highs and lows um but um totally works so um i really i do i do really like the other one you played so i want to listen to this one and then yeah i'll add kind of any opinions i have but i think the one thing the one thing that makes these tracks that you're selecting good choices whether you go with one or the other is the fact that the the track the music track especially since you've led with voiceover you made that decision to lead the story with voiceover and then music follows whereas sometimes there's creative choices to lead with music and then follow voiceover um the music should not take away from what you're trying to do and that epic track certainly was doing that and it didn't really seem like it fit what you're going for excuse me whereas something classical or something a little more ambient just kind of complements everything that you're you're seeing and drives it forward a little bit better yeah totally i mean in the end we're aiming for a cohesive piece right it would be totally different if this was a music video or if we want to actually build a powerful montage um i think in those cases you can totally um put all the focus on the music but in this case it rather should support everything else like the visuals the tone um yeah so this is a little bit more ambient track and you'll see in a sec what i mean with um that there are no there are no beats or hits i would necessarily cut to but it also works because um we've put already in the work with our visuals and matched them correctly right [Music] why do i travel [Music] have you ever asked yourself [Music] have you ever been asked what usually comes to mind are short-lived answers we heard somewhere from someone validated them as good enough and declared them for our own to relax to explore to learn to live yeah sure and that's it well that says it all doesn't it to relax to explore to learn to live what exactly does that even mean and is that reason enough reason enough to dream of it all your life reason enough to quit your job exhaust your savings and embrace continuous uncertainty without any prospects of a somewhat reasonable return i think a single pub does not really seem to satisfy but actually rather begs the question why i travel [Music] okay this works um it's not that exciting and i actually have i think another track i will eventually decide for but for now let's work with it i have a quick question for you so in the the intention of this film is to be the intro to a longer film correct or is this okay so like would you do you have a thought of if this track continues playing out into that part of the film or is this track kind of like this is for the trailer intro and then something else would drive that next part this this is um this is just for the intro so um by now i um i really got into the um idea of pacing or like i'm trying to keep track of the pacing of my films and um like we went over it yesterday i um when i do my script i have those different chapters right i have the intro i have chapter one character introduction chapter two conflict deduction chapter 3 um the struggle and chapter 4 resolution and then the epilogue and for each chapter there will be a different track because each chapter tells a little bit of a different story and has its own pace to it so um in in this case we're just working on the sequence isolated right but when i will be working on the whole film the whole rough cut and um i know where one chapter ends or how i may mark those even and then i will um select different tracks for those also so that i keep the full interesting so um i think in the beginning um there should be a little bit of a journey so on this ambient track that we're selected maybe it's not perfect um because there are no real lows and highs it's it's like one pace more or less um so in the beginning i would like to have something stronger maybe starting a little bit slower than getting faster and faster or the on track we had before that i think um chapter two was it called um where we have um this fast-paced classic music where we're feeling that we're moving towards something and then after that i think we should slow down a little bit explain what's going on and then we need to pick up a little bit of speed again to keep people engaged but not too much not for too long because people are going to fall off eventually and so uh that that's my idea of pacing if that makes sense absolutely yeah and thank you for explaining that i think um to get inside of your mind and see how that's laid out i i do i i do something a little similar where i'll i'll find maybe i'll find 20 30 tracks that might be like a stretch but a lot of tracks for a longer film like you're creating where i know okay like this track has the right pacing the right highs and lows the right mood for this specific section so let me use that or i might not even think i'm using that i might just say i really like the song somewhere in this film and so you save it and you kind of use it and because you're starting where you want to create a little bit of energy and then maybe you know tone it down a little bit you have some options in there so just always a always a good good thing to go over the process of how you select music and why that part of it is so important yeah it definitely is it definitely is we spend a little bit time on playing different tracks now but i just think like music is so so powerful and i think there are worlds beyond what i've played in the beginning where there was just voice over and visuals and now we actually added real mood to the whole film and um this is literally how i go about my process i have um voiceover roughcut music and then we're gonna do color and that's what we're doing now um we've we've spoke yesterday a little bit about log footage and um how i work with that and i want to basically do um two things i would like to um use a correction lot and work a little bit from there but um apart from this maybe try to create um my own lut in a way or on my own grade by mainly using the sliders so um i use the lumetri color panel um i usually do not change workspaces so we're going to stay right where we are and there are basically two ways to work with color grading arm not two ways but you can work with sliders or curves and i have to admit i mostly use sliders even though i know curves are more flexible can be more intuitive and i think you can do way more with them but this is also kind of what i'm reserving curves for if i know that i want to do a little bit more with them than i can do with sliders then i'll start using them and otherwise you will find me here about these curves curves can sometimes be a little bit intimidating i i do have to agree i mean like they're they are super powerful but you can you can especially if you're just starting out color grading like you can really use these slider tools in the same way that you would use curves they essentially uh adjust the same properties the shadows the highlights the mid tones the dark the blacks the whites the grays all those kind of things but yeah curves you do have a little bit more flexibility once you get into some more advanced color yeah absolutely i mean there's there's way way more to it than just the classical as-curve um okay so for now um let's uh try putting on the lut on on our footage and would you would you typically add an adjustment layer for your color correction or do you throw the uh the lut and the color grade directly onto a clip oh that was wrong uh excuse me uh i was just speaking to myself i'll just choose to run a lot um so normally and as you can see this was what i was speaking about yesterday this is so so contrasty that's what i'm thinking about maybe using my own life there's nothing wrong with the lot that maybe actually the way i'm shooting um just to put that on the record and excuse me um to answer your question um i most of the time go clip by clip and what i actually use is the source field or the source tab so i know when i have visuals that i will be using more often i will actually um i may start working in this clip and then paste my color effects into the source tab so that it will um basically like a master clip affect all other clips like um we have this one here returning at another time and um i might use adjustment layers more in the future and i will do this for this edit definitely um but just to start out i've um put it onto one clip um the reason i think i might use more adjustment layer in the future is that my shooting got better and way more stable um in in the past like with with the old new zealand footage i'm still working with um i showed most things on auto or um did not really know how to shoot manually so i basically have to correct every clip by or i have to correct clip by clip because it's it's a mess and with with these uh newer clips and this newer footage there's more stability to it and i kind of know what i've shot and what the conditions were and i know to what part i can influence it's an adjustment layer would probably make way more sense thank you for reminding me james actually oh i i i'm just curious i don't think there's you know right or wrong way like i i tend to use adjustment layers more if uh let's say i'm shooting an interview or something where the lighting hasn't changed much in five six steps where it's consistent and so it makes a lot easier but i am interested in this process the way you do it because i've never actually really done it that way where i've added the lumetri color effect to the source clip but that's actually that's a really that's almost like using an adjustment layer too because then you are in in essence affecting that clip when it is when it does appear again in your film which here it seems like you obviously repeat a lot of the same scenes but different shots so um just a preference and i guess you know for those that are in the chat uh please like let us know what if you're editing whether you use adjustment layers whether you're using lumetri color it's always interesting to know everyone's process and when is you know the best time to do it i think with color it all comes down to preference of how you choose to lay this out and also time you know like what's going to save you the most time and not keep you bogged down in rendering and and all those sorts of things yeah abso absolutely i'm very very interested to hear what other people think and how they do it um for for us for now um just to uh maybe also for those that just joined in um show a little bit of the difference um this is our log footage as you can see there's a lot of details here that we all can regain if we want to then we put it on boom that's a lot of contrast so crazy yeah and i'll be honest when i use um the correction nut i most of the time eyeball things so i'm looking at this and i think the shadows are a bit too dark there are some people who who claim shadows never can be too dark but in this case i want to um have a little bit more detail push them up and then i'm gonna take a look at how i'll affect the highlights a little bit less it's a little bit more for me in this case and also i'm going to reduce a little bit of the white and we are going for color correction so we're not trying to create a style or a mood and for that you actually should use um the lumetri scope but like i said most of the time i will eyeball it and these days i rather like to use vibrance than saturation vibrance is the a new saturation for me i feel like vibrance vibrance usually just hits maybe more of the mid tones and the skin tones and the saturation seems like more of a global adjustment i don't know if you feel the same way yeah i feel vibrance is a little bit more subtle than saturation i mean so i've increased the vibrance here if i do this to saturation it will get quite nasty in a little bit as you can see here in the clouds i don't like that so um let's return here and oh i just put the situation to zero that's but that looks also nice it looks cool it looks very cool yeah we could do a black and white phone okay um i like where it is about 30 and i like to um so a thing i still don't do is i usually do not dial in the color temperature or um right white balance before shooting so this is something i have to almost correct all the time but uh it's not that bad because i know that i want this shot to be a little bit warmer anyway um okay i find that that's where um you know you mentioned kind of eyeballing a lot of this rather than always going to the scopes i find that the temperature and the tint is where i end up eyeballing the most like i use the scopes for those shadows and those highlights just to kind of double check and the temperature becomes such a creative decision whether you want to cool something down warm it up and as long as you're not pushing it to the extremes where it looks like a mistake like an amateur mistake then i think eyeballing that's completely fine yeah absolutely like i i agree 100 percent um also a thing that temperature-wise i use sometimes are the color wheels they are quite subtle and um so in this case for instance i just warm it up a little bit and also warm up the shadows a little bit i think i'm happy with how dark the shadows actually are and just for fun we might put up the lumetri scope it sometimes um bails a little bit on me okay um so uh the shadows and the blacks look good for me um i will later add a creative look that is a bit more filmish so we're gonna raise the blacks a little bit crush them i think it's called and the highlights do not actually go all the way up to uh 100 which is totally fine for me because um we don't have pure white in this shot and i don't need to um go that bright one thing i might experiment with is maybe a little bit of the exposure but actually i'm super happy with that are quite happy with that a thing i might add to but um that is already um one step further is um i think that there's like the focus for me is um very much in in the top of the image so what i'll do is add another lumetri color effect on this and then we can do it here we can do it there um so are you adding a mask now to that part of the sky that was my idea exactly cool so very cool we're dragging this here all the way out um yeah and just like it's a little bit of a different process in lumetri color than it is for those that are maybe more familiar with lightroom and photoshop but once you get the hang of it as long as you're duplicating your color you're essentially doing the same thing you're masking out a specific part of your image and in this case you're looking to you know tone that down in the sky right so that the the viewer's eye is drawn more to you rather than the sky yeah and this is basically what i did now i've introduced a mask i feathered it out like crazy 872. okay why not i guess um but it kind of works yeah so now there's a little bit more focus on my face and this is how i would correct it with um with a correction lot and now for fun let's um duplicate this clip and i do this by holding down the option key and dragging it up or to the place that i want to on the pc it's supposed to be the alt key i think and let's delete both of those and now we're back to our flat clip so this is the clip below and see where we land if i correct this footage from scratch so um what i know is that we definitely definitely need more shadows right about here that looks good for me and we need a little bit more of highlights and now it totally makes sense to put up the lumetri scope right because i want to correct it to a point that actually um makes sense and as you can see it just shrunk down if i would change this we can see um how much different this is now so i also need exercise just for uh just for sake of justice experimentation and for those to see what it would be like to to clip those whites can you just drag the highlights and the whites all the way up so you can see it's beautiful yeah you can score it but even still like you actually still have even though that's not the look you're going for like you still have information in there again because you shot in a log flat profile so you have that dynamic range and you can see at that lumetri scope like where that hundred mark is peaking um so even at a highlight all the way up like you're still you're not smacking the ceiling um it's it's also i think a very important part of this is also to know how to actually um expose your log footage for me for instance it's i know that um the highlights and whites and v-logs um are not allowed to go over um seventy percent or or seventy um because then they're basically bad that they're unusable there's no information left so i have to always expose my my v-log clips a little bit less or um yeah just not expose them as hard so that i in the end have more detail and that usually leads me to brighten them up in the end um yeah so the first thing i basically did is to pull down the shadows to um create a little bit more contrast and looking at my lumetri scope i want to drag the blacks down to about zero but i don't wanna like smash them down there but i'm just actually have them barely barely touching the line i think that's that's about all right um sometimes i will also dial in like that that's that's the thing i have maybe a bit neurotic i like to type in the hard numbers i do that too i do that too it's like a slight ocd but that's okay a little bit um okay and and now we have a quite dark picture but a little bit contrasty and the next thing i want to do is um bring the whites back and brighten it up a little bit so i already knew that [Music] in the case below we were aiming for about 90 and just um let me erase that a little bit and see where i feel comfortable yeah i think i like this and now let's see how we can work with the highlights i always like to um drag the highlights down quite a bit and um okay so i'm about happy with how this looks but i want to brighten it up a little bit so i'm going to erase the exposure like so okay again i have to do this i apologize it's great and um so it's it's still looking um pretty flat or or it's it's not looking at this slightly more but um we need a little bit more color in there right and this time i'm actually going to use [Music] saturation and also introduce vibrance okay this is getting way too colorful i don't like it anymore um let's maybe go for this yeah that's nice and just a little bit more warm so what i want to experiment with sometimes is um the contrast slider just just to see how it effect affects things i mean i could basically create more contrast with um sliding the shadows right and the highlights and whites back and forth that also works but um i don't know i just feel that sometimes it does the job quite well okay and again now those now those scopes over there voy tech those are um those are just for the highlights the shadows the blacks the whites right and the exposure that's not necessarily showing you the range of where your saturation your color might be and i believe there are some other if if you click that little wrench tool in there i think there's other scopes in there that would show you that so if you got super technical and you wanted to really see rgb then that would be how you would do it yeah for some reason i don't i eyeball this but yeah that would be the right way to do it so well again absolutely there's i i brought that up not as a right and wrong way just as a you know for anyone who's interested in getting like that technical and seeing it i think scopes they're there for you know just to make sure you're not clipping and you still have all that information and again like your style you like to take those highlights down so the scope you're not necessarily following it to a t to make sure that like all your highlights are right under 100 and your shadows are at close to zero like some people don't want to be in that way that's not their style they might need to be in the gray area so scopes are just a way to use that as a measurement and then the creative decision is really up to you yeah you are absolutely right there it's no right or wrong um i guess the thing i was trying to say is um it is about rightish or it is a conventional way to do things oh and just to um update you on what i'm doing i'm basically just copying the mask from down below there is no need to um do that um a second time um i just think that sometimes it makes sense to learn the classical or conventional way and once you feel safe with that experiment a little bit more and start eyeballing eyeballing more and um you know work this way out your own process because and then at least you have a starting point um i used to not do this in the past and it was a lot of trial and error and now i've just adopted this habit of if i'm learning something new let me first see how others do it what's the conventional way and then once i feel um safe and comfortable with that um i'll try my own things in my own style right just like we did with the colors now right yeah yeah well and it goes back to what we were speaking about yesterday with repetition and and just creating more and more of these videos and each time you do it you're going to learn and you learn your style and figure it out and color is is really that final layer of the style that everybody ends up seeing and it could become you know a creative style choice that you choose to do so again repetition practice uh that's all that's all part of it and again that's why we're here kind of going over this and seeing your process and for those again in the chat please chime in with any questions you have for voitech we have about an hour uh just under an hour left and uh if anyone is tuning in now for the first time uh voytech is a amazing filmmaker and storyteller and he is working on this uh this project called why why we travel why you travel um and it's it's uh we're in the stages now of going over color correction and the final steps of audio so that's where we're at everybody yeah and we just um have created so i've worked with a correction lot in the layer below and now i've now i've corrected basically my own um grade for um the vlog footage and let's compare that so um this above here is now what i've worked out myself and down below is um the v-log footage excuse me um correction light yeah and now that i'm pretty close yeah now that i'm comparing it and there's definitely more contrast and i'm starting to ask myself if i would like to actually um also darken this up even a little bit more yeah that feels good to me and um just just because i'm very in love with with my own grade um we're gonna use this one yeah so um like what was it here i think it was about six seconds oh that was six frames um just correcting the fade here um just uh like we um talked earlier about it um let's use an adjustment layer to um make this a little bit quicker i might actually edit clip by clip if i do it myself there was a time where i didn't know knew what adjustment layers were and that you could use them so i had to tediously i had to work clip by clip which is something i these days would not necessarily do i would copy and paste use um the master clip function or the source clip function or create an adjustment layer so that's basically right click new item adjustment layer and click it boom there we have it and then we drag it on sometimes it does get a little cumbersome like i i do love using adjustment layers but i now that i use them in most of my projects like it's just another it's another layer that i'm competing with and i'm like oh man sometimes it is a little bit easier just to go right on the clip even though it might take a little bit longer yeah that's true and i mean you cannot totally save yourself depending on what you would like your your um clip to look like you you have to go back in there and make some changes so i'm just going to rename this to um color correction so that um when i build this out i might later not necessarily confuse with the color grade i could also put the color grade onto the same adjustment layer but um these days i like to keep things tidy and i'm going to hit command x to paste this out and paste it in and now we are basically affecting all our clips and we can work from there and what i left here is the mask because i want this mask to affect mainly this clip and not every clip and now let's go about these clips and make some quick changes so for instance i know i'll be using this clip a lot just because it appears here a lot so instead of going into each and every clip i will go to source and i need to cool this down a little bit all that's a little bit much um this looks about right okay cool and as you can see now every time the clip appears we have about the same color temperature i want to do the same thing for this clip not forgetting to go back to source boom it's actually very cold okay no but but i wanted that cold so you're still adjusting everything underneath that with the adjustment layer but you're just changing the source clip you're changing just the temperature of those ones because you know you want that's that adjustment layer but you also want that color temperature just to affect those clips right and and we have our basic correction with the adjustment layer here on top so i'm happy with this if i think so in this case for instance it could be a little bit darker and um i will actually do this did i do it on the source clip no i did not so we're gonna go here and -15 looks somewhat good to me um maybe brighten it up just slightly and now we also affect each and every clip and that's just and it's the same for this one right so um once i turn this off all other clips are also affected and whoopsie there we go once i turn it on again we are back um but now i see that it is a bit greenish though so i might just slightly slightly raise the tint here and this is again sometimes i like to i sometimes like to work with tint then on the other end sometimes i just like to use the color wheels and i'm going for a cool natural look that works fine to me yeah that looks really nice yeah okay do we need to do the same thing here i think so just also slightly and moody foggy mornings just look so good cool down i mean that's really like what they end up looking like and i just don't think they look very good warm even if that's how they're shot so it just it even just that looks awesome yeah absolutely and um i've slightly fallen in in love with them it'll be interesting to hear how you think about this about these shots where you um basically place um a subject mid-frame but in the lower part of the image instead of like a full center and i i don't know what it is about it but um i really like this stuff because it makes a lot of room for for even landscape in this case there is not much of landscape but i can actually communicate okay there is a subject in the image but there's also something around it even if in this case it's empty space which also again communicates some kind of idea right yeah yeah i i agree we were actually i had a stream last week a photoshop stream and i was talking to an artist we were discussing negative space and i think that applies to this perfectly and i think that's why like this was actually one of the shots that was like stood out to me the first time you showed it because it just it was a i i noticed that shot and i was like oh i like the way that he kind of cut the lower lower part of your body off and then you left that negative space which um especially for something like this like that could be a perfect title shot where if you wanted to put a title right above your head or if you had a location tag or you wanted to put something like you can implement that into that negative space you don't have to at all but it's it's just a really interesting shot and um i i always like shots like that i'm a big sucker for yeah good good composition yeah i i think that's also like a part of being creative just just seeing new things and experimenting with new things and then just trying something differently or in my case not getting the white balance right as you can see um so this is a classic example where i um will not actually correct everything from scratch when it's in the same environment but i'll just try to paste um the effects from this clip onto this clip and see if it works totally works and can i can i ask one question on composition separate from color for a second just because i wanted to ask you this yesterday but i forgot um in getting these shots are you shooting we didn't really talk lens like we didn't we talked a little bit about camera but what are your focal lengths that you tend to like to shoot at to make sure that you're getting the composition you want i like to use zoom lenses which i think is a treble related choice when you're traveling and sometimes you're on the go and you want to capture something quickly you don't always have the time to actually step up or necessarily switch out your lens so zoom lenses make this a lot of a lot easier i find myself using like 90 of the time the sigma 18 to 35 which with a speed booster translates to roughly um a 24-50 mil equivalent on the gh5 okay and on the second lens i'm using and those are the only two lenses i'm using mainly is um 24 17 but then again um when i put it onto the gh5 it becomes like almost a 500 uh excuse me 500 that would be a little bit much um a 50 uh 100 or so gotcha and the reason for that is because the gh5 is a ap sc crop sensor camera right and not a full frame microphone it's actually micro four thirds okay gotcha yeah so so there's a lot of crop um and it's it's the only thing that annoys me about the gh5 i mean it's not only the crop but it's actually like the depth of field because these lenses are um they're producing such such beautiful images but even at like 1.8 there's not that shallow depth of field on the other hand with the speed booster i can go down to 1.2 if i have a 1.8 lens um so i get a lot of light back um that helps but on the other hand it's just like it's sometimes sometimes i'm a little bit sad but i currently cannot decide on another camera and i'm still very happy with the gh5 like it does what it's supposed to do very very reliably yeah yeah that was going to be my next question i mean i know a lot of people who are happy with the gh5 um i've never owned it myself but i know it's a great camera and i was going to ask you if you had any uh future plans to move to something full frame so that you can you know you can get the most out of those lenses and that depth of field i would be also fine with ap apac or super 35 like the um canon c70 is um super 35 and i mean um the images it produces are just incredible they're just awesome i just picked up one in january and that's what i've been shooting most of my most my films on and i i've loved it i really enjoyed the look coming out of that camera yeah so so i guess what what i'm thinking about is um yeah for some reason i'm currently staying away from sony but i don't want to be i don't want to be that guy that like chooses brands over practical reasons um i'm i'm rather drawn to canon at the moment but um i don't want to work with the r5 and that that kodak that people seemingly don't seem to be having very fun much fun with um so maybe it's going to be an r6 because i also think i do not need all the features of the r5 and there's no need to spend that extra money on it um but the c70 also is like such a great camera but i think i'm not sure if it would actually be perfect for my travel purposes just in terms of size really yeah yeah i i've kind of i know i know we're taking a little tangent here but i feel like this is important too and if anyone in the chat most people always have questions about cameras i'm a big camera nerd as i'm sure you are with your own um so i just i feel like the c70 it's great for what it is but i've been traveling with it and i'm constantly finding myself reaching for my other mirrorless camera which is right now just the eos r so i haven't upgraded to the r5 yet and kind of like in this middle period and i i know what you're saying like you do want to find something that you can travel with and serves your purpose for photography and video and so uh for those in the chat if you uh if you have any suggestions we probably know what's out there but uh throw them at me throw them at us but that being said i think what you're doing with this gh5 the the image quality that you're getting out of that and and what you're creating there is really no reason to switch unless you feel like maybe you want to push push yourself a little further to that full frame place but you're creating beautiful work with what you have so keep it going man thank you so much and uh we always should be pushing i think and i just realized that i um did a little oopsie um i think on the adjustment yeah i think on the adjustment layer yeah color temperature which is something we don't want for every clip but we just wanted um for our leg scene right so um we may go up to that actually looks good to me i'm going to leave it at that um okay and this is a little bit too warm so we again gonna cool it down but not as much um maybe like so yeah that reflection is so perfect yeah that night actually um i saw that for the first time for the first time in my life i saw um stars mirroring in the in the lake like i've never seen it before i i thought that would that would be something you can photograph but i didn't knew i didn't imagine you could you could see it with your own eyes but apparently you can and it's it's awesome it's it's incredible thank you so much sweden for this experience it looks yeah so not not a lot of light pollution out there it looks like a gorgeous gorgeous place yeah it's incredible okay i think maybe this is a little bit much and this is something you will find me doing very often going back and forth between subtle adjustments that some people may not even see a difference in but um i think you you also need to feel okay with what you're um voting for producing or are creating okay here i definitely want more more contrast and my skin looks a little bit orangey i don't like that so i'm not sure if i want to play with the tint here the whites look good um maybe a little bit more yeah okay that's more likely what if we drag just a little bit down okay this looks a little bit more natural yeah i like this and these are just just slight tiny adjustment which really um in the most case make it but i have to say that um the the the most important part of color correction in post is how we actually shoot it before before you have to import it i'm so glad you said that i was just about to say something like that but i'm glad it came from you because you can't really fix a bad a poorly shot or a poorly exposed clip you can only you cannot you can make these better than what they were but the reason they're looking so nice is because they were exposed properly and shot really well yeah that's uh something i i had to learn the hard way um this is an interesting shot so um i like how this looks but i do not necessarily like that the sky is as blue don't get me wrong on the day we were doing this hike it was um absolutely incredible and i would not have traded this weather for anything less but for filming purposes i'm gonna go to um the curves tab the lumetri color panel and then um i use the uh pick to um select the sky the sky color and what i'm doing now is um slightly desaturating it this is um what i'm going for and i actually might extend this effect a little bit more so this is not when you're pulling that curve are you extending the tone of that or like the hue of that blue essentially so that it covers more of that sky there yeah it's um it's actually i'm dragging just the saturation down so if i uncheck this you can see there's um it's it's way more saturated it's way more more um stark and um the changes or the adjustments i've made is i've dragged the curve or the line actually in this case down to um lower a little bit of this saturation i don't want it to be um as present and what i could also even do is but this is rather i think for color styles on the tab below is very interesting because i could basically now completely change colors here that looks trippy um which is something i will we will use at some point um yeah but in this case i just wanted on the sky to be on yeah ss as much of a contrast or give as much of a contrast um i love that cut there that's perfect oh thank you i don't know i have a thing for match cuts but that maybe because i have a thing for movement and for kinetics so um um i just like i think it's my favorite kind of cut actually yeah you mentioned when you were going over the first uh first time you showed us you mentioned like a transition where you move your head to the left or the right as being the transition or being the cut i thought that was a really interesting point and we hit on it a little bit yesterday with like the overuse of effects and transitions and zooms and spins and all the things that have become really popular and i think match cutting in my opinion i mean people can disagree with me uh requires a little bit more uh effort up front to decide like for you you had to decide okay like this clip is going to be here i'm going to match these two together in the edit and they're much more seamless like we were talking about earlier so what are your thoughts on on that that's some that's an interesting question um i think it really depends on how your thinking works if that makes any sense so um i think a lot in in visuals and the movement but i've realized that even amongst creatives not not everyone thinks the same way and if you are rather thinking in transitions and apart from that and very very hard cuts or if you're thinking in long long sequences that need a certain transition at the end i think that's totally fine it just translates and translates into your style i think if i would give my footage to you you would make something different out of it and if you would give it to some somebody else he or she could also make something completely different even with fancy transitions it can be interesting but then again i think um it is rather important to not overuse it so in this first sequence i'm using using so many match cards that i'm actually that i actually started thinking myself okay it's maybe getting a little bit much um for an intro sequence it's all right but i'm also thinking okay for the rest of the film i cannot rely too heavily on it but i can reintroduce it to um have an um an element of stylistic resemblance uh if that makes any sense um in the later part of the film that the viewer will unconsciously most probably recognize so i'm kind of uh repeating elements right no absolutely that makes does that answer the question yeah it makes total sense and and again i think you hit it on the head where it's a style choice right like it doesn't again we're going back to it not there's no right and wrong this is this is we're creative we're we're expressing ourselves and i think uh these kind of streams and what you're doing inspire in me and inspire others to maybe uh pull from a style that you're creating and you're right like if i were to edit this maybe i would do it a little bit different because that's that's the way i see the world but you see it in a certain way and and that's what makes this art and makes creating videos such a just it's awesome i love it so it's true i think i think it's just a it's a form of expression so everyone is entitled to doing it their own way yeah absolutely um i'm trying to go over the clips and really um for those watching um all the adjustments i'm making are just slight slight adjustments and from time to time i'm having a clip like this that is pretty pretty dark so i might actually um get a bit more um heavy here but i mean we've just talked about even though i've used an adjustment layer i see myself going back to um correcting each and every clip but we got to move a little bit faster that we can at least work a little bit on sound design here yeah you got about let's see i'm keeping an eye on the time for you you got about 30 minutes so i'll give you like the little 10 minute warning so we know where you're at but um would love to love to see i can finish this for for everyone watching here yeah i think so too and um i think we will get there we will just in terms of sound design like build a basic sound design and not go too heavily on it um because sound design is something i love to spend a day on um if i'm making a film or a video like i mean like a 10 minute or 15 minute video i can definitely spend the whole day on it and it doesn't feel wasted just because it's such an interesting process you know that you're basically taking clips that don't have sound and you're putting sound underneath that does not belong to to this footage or those clips and it totally works when you watch it back because your brain just kind of connects everything together um with i mean it is um so fascinating and interesting how how the brain and our perception works i mean um even so much that i didn't notice that there is a real-time latency between um sound and visual waves so um what is happening is that our brain kind of reconstructs this and syncs it up but if we would actually um perceive sound and visuals real time everything we see in our world like even talking to each other would um seem off sync and i just think that that's interesting and funny because um i mean sometimes you have those discussions about like what is true filmmaking and how much can you manipulate something um and i mean if you really look at it um our brain does way more manipulation to us than we would ever be able to think hard so um most of the manipulation is not done by other humans to us but actually um by our brain to ourselves uh sorry i just went on a little geeky rant there but um yeah um those are the things i'm like just so curious and interested about me too me too hey keep these geeky rants going like because i really i agree i i think sound is always is always such an interesting part of the process um because you're either you don't it's subtle enough where you don't even realize what you're hearing or if you're recreating drone clips that don't have audio or even clips that you shot where that diegetic sound was not in there you are rebuilding what you feel like you heard and i think that becomes a whole other creative field in itself that um just allows your mind to be open and you don't necessarily have to you know in this case like the sound of the waterfall would be a realistic uh choice that you might hear or the sound of some distant birds or things like that so you can start to really like your mind goes on a journey on its own to try to find the sound design that matches that clip and um yeah yeah i can spend i could spend a day two days on just the sound design depending on how long the project is so i'm with you sometimes sometimes i wish i uh would be less experienced again i mean not that i'm super duper experienced now but um it's just it was so funny and interesting when i didn't even know about sound design that then found out about it it was it just changed my world it was like what you you you can actually add sounds and work with that and that that's totally fine like that's that's not off that's not weird um you can use this to actually make your things better i was just so struck by this and i found this so great and interesting um and i think a little bit of the fascination is still still there still left but eventually it might reach a point where um it just becomes part of the process and i think um as a creative it's it's also like i think a hard part of it is to stay curious and um not get bored with um certain processes yeah um like like color grading for instance um and some what i'm what i'm doing just right about here i'm sorry if i'm cutting off just to explain this now i'm actually and now i actually want to change the color a little bit because the color is just throwing me off so um now we're talking um more manipulation but unfortunately it doesn't do much even though i'm dragging it around so um let's extend that a little bit and see um yes i probably hit that space okay um this doesn't help so um let's maybe go saturation and see what that does hmm it should be mostly the yellows and greens but that's also an interesting um fun fact that um you would think that what you see in nature uh what we perceive as green is green but most of the time it's actually yellow i'm going to leave this clip for now just just for the sake of moving on yeah i'm always interested by that too when i try to i always tend to try to take the saturations of the yellow down or the green down and i'm like where is this what is this tone on this scale right now and it's never really green it's always a yellow or an orange and and then you'll look at your skin tone sometimes and if you're getting cast like let's say there's a blue cast or a green cast from hiking in the woods a lot of the time that skin tone is not going to show up as orange you know or like a red you're going to see more of that as a green so that's why that color picker is such a powerful tool there because you can kind of sample it and you just got to play around with it sometimes yeah and i mean just just as you were saying i'm sometimes so so off like like in this case i would need to experiment a little bit more i don't know what i just not totally um gut about these colors but sometimes it's just like i'm thinking the wrong way i guess i i'm not thinking um perfectly um straight if that makes any sense um just since so far that uh yeah colors colors are an interesting thing and you might sometimes think like oh that's a blue but actually it's a gray um or um you you might think it's a blue and then it's a purple um of sorts um yeah it just happens where is that location that is really like that looks like a volcano or something um it is or it felt pretty on the unreal almost like um like another planet but it's um the same place where is my rock um i'm looking for it this one is that's the same oh wow wow okay um and this is also the same place but looking into the other directions wow direction yeah so diverse like i wouldn't i wouldn't even yeah i wouldn't have even pegged those three clips to be the same place one because of how you shot them but it seems like a really diverse environment and landscape and absolutely beautiful yeah it is oh i want to go back i want to go just yeah i'm leaving i'm leaving this stream i'm going to norway see you guys was this such a good idea to actually edit this i don't know okay um it it is all not perfect but um we're not going for perfect we're looking to get this done eventually and again voytek is here uh doing this live everybody so he is trying to not only teach how to do this but color correct at the same time and listen to me and be present so there's a lot of variables and moving parts so sitting down at your computer without being on a live stream is a little bit easier sometimes okay what i'm doing now is i've um turned on the uh dd guides here below and i just wanna see that in this case my foots just about match up okay let's have a look if the same goes for the hat just just about roughly okay now i actually need to scale this up just a bit so about here excuse me okay this looks good and if you don't see if you don't see that guide uh in your program panel uh you'd add the plus button right and then it's somewhere in there yeah and you can try and just drag it okay yeah yeah i mean there are some very useful tools here and you can basically decide what to use for i mean that's another thing i just love about premiere okay digging the blue jacket too love the contrast there gotta have a blue puffer on it on a green background and cloudy day this is my new jacket and my new hat my new outfit i just i just love those i'm really not only into minimalism but like minimalism comes kind of with travel and we um keep our travel mindset alive in a way so um we're very thoughtful with our purchases and um like even with clothes like most of the time it's like i don't really need new clothes but this time i excited those are things i really really want from a brand that i really really support and uh yeah so i'm really happy about those and even happier when people tell me that they look good yeah you wore them just so i would compliment the the jacket but i i agree i think the uh you know living in a van my wife and i uh lived in a van for two years here in the states and we traveled travel all around the country so i'm very familiar with the van life um and we i tried i won't say i succeeded but i tried to go the minimalist route with the clothing uh choices and and it's my deci i had decision fatigue and i don't think i had the exact right puffer or right jacket but um yeah like a lot of thought goes into just that you know the it's more than just a jacket it's serving a purpose as the contrast and the color that's gonna pop in a lot of these shots and for you guys it also you know serves many purposes that it's keeping you warm so you got to think about all those things this is such good advice that i for most of the time did not take too much care of i'm so used to to handle the camera and be behind the camera that i sometimes forget how i look in front of it and this turns out terrible so listen to jf's guide well i'm uh my my wife is always was always in front of the camera so a lot of our videos and photography it would be like she'd have 10 different outfits that we would curate and then i would forget about what i would have i'd be like oh okay i'm showing up with this jacket whoopsie yeah and i'm like well i guess i guess i'm not going to be the shot i just as a quick side tangent when we got engaged i planned how to ask her in maine like up in acadia national park on this really beautiful uh part of the ocean and on these rocks and i planned out what she was going to wear and i totally dropped the ball on what i was supposed to wear because i was so nervous about asking her to marry me so i wore these like really nerdy shorts and like crocs and so in this one photo we have on a cell phone of the moment everyone always makes fun of me they're like what were you wearing i'm like well i wasn't really thinking about that at the time there were more important things yep but all that is to say as uh thinking about composition i think that's one thing that can often be overlooked is the the outfits the attire what you're what you're wearing the colors you choose to wear play a really huge role in creating a dynamic uh shot you know whether it's a photograph or in this case video this is so so true and it also helps with your personal branding just saying absolutely yes okay cool um so uh for the sake of flowiness if that's a word i'm um it sounds like a word it's gonna be a word right now though it's gotta be a word i'm gonna try and render this out so we um have a little bit more of a seamingless workflow with um our sound design and this is just um basic color correction it's not perfect but it's fine um we're also gonna throw a grade on it um when we have some time at the end just because uh yeah i mean um doing the color grade is one part right but um giving your films and videos a certain kind of look and feel to it um is uh like it's just stepping up the game a little bit um and it again it's it's so subtle and when you don't know it you don't see it i mean the joker the matrix for instance have such a stark grade actually but if you're watching the movie you cannot see it still though it adds so much to the tone and mood of the film um so i consider it very important well i want to i want to hit on that too like the difference between color correction and color grade and a lot of people think that color correction is just like that's all i need to do or that and that's true like you can just do that but the color grade is really like you said that one step further so um why i mean why is that so important to have both you're asking me why it's important to have both um i think so i don't know if there's a right or wrong to this but i think like the the right or the better way to do it is to start with the color grade so that you achieve a at least natural look or on an image you'd like to be as close as to perceived reality or imagined reality um if you wanted for instance to be um a little bit warmer for instance than it was like um in in the case of the slag um and once you are there then you should apply a look to it i mean i imagine it a little bit a little bit like like my own outfit or my my own looks um in order to look good and fashionable in a way um i have to take care of myself and then i could can put different clothes on and different styles on and this way add to my auto appearance um but if i do not take care of myself i can put on the most expensive or the most stylish clothes it might not look as good does that make sense yeah that's a i think that's or do i sound like totally superficial no i don't know that's introducing everything to our looks that's a great yeah this is this is what we're here for guys is just how we look uh no that's that's a great metaphor i think that's i think that's true and it's again like we said it's all stylistic choice but you know the color correction is to really get the the shot the way that it was supposed to look in camera the way you saw it and then that that extra bit of style maybe that color grade or that lut that you're putting on at the end is another additional creative choice that is subtle but it's there and uh plenty of people you know that's how that's how you build a reputation and you become known for a certain style yeah i think so too um should we play this what back one more time now that we've graded yes absolutely oh that's cool i didn't know you could do a global uh mute like that yeah but it's oh there we go this is where we started this is where we ended up okay and let's watch this from the beginning and actually um let's use the music i think i will eventually go for this is um a good chance to play this back it's not the perfect ending here but um g is the shortcut for this um sometimes i um if i want to reduce the volume of the music sometimes i will use your track mixer sometimes i will do it inside the track sometimes i will build curves i'm just literally doing what i feel like makes the most sense in the moment okay so let's watch this back with another music track and here we go okay excuse me i am sorry but i want this first so i want the music to start there there we go why do i travel [Music] have you ever asked yourself have you ever been asked what usually comes to mind are short-lived answers we've heard somewhere from someone validated them as good enough and declared them for our own to relax to explore to learn to live yeah sure that's it well that says it all doesn't it to relax to explore to learn to live what exactly does that even mean and is that reason enough reason enough to dream of it all your life reason enough to quit your job exhaust your savings and embrace continuous uncertainty without any prospects of a somewhat reasonable return i think a single bob does not really seem to satisfy but actually rather begs the question why i travel all right yeah i think i'm gonna go with this track i'm pretty sure it's awesome it's really good it hits on it hits on everything like in the right and there there's still some some pace and and uh highs and lows to it that i think some of the other ones were lacking but i really like this one yeah i think so too and it's interesting so um this might be like um how do you call it if you believe um like um if you believe that things that are not scientifically proven like in ghosts and stuff i'm liking the word here um so this might be a belief of mine but i sometimes feel like if i cut the rough cut without music um to a certain style and tempo and if i find music that matches this rough cut very well that's the right track yeah yep i agree i agree and uh and i mean you can you feel it too like when you i think when a track works you feel it here and then there's parts that hit the way you anticipated them hitting and no i don't think there's any track that's going to fit so perfectly in every single moment that it's just like okay this is the savior of the entire film here but when it but it works just that right amount then you know you have you know you have a winner and that's that's a really great start i like that a lot i think so too so um one thing i'm readjusting here um while you were speaking i'm sorry is um i still hear that gain and i think so i think it's actually maybe not the noise but i think i've just raised the levels way too far in the parametric equalizer we did that yesterday um just let me play it back and listen one more time to it what usually comes to mind yeah there's still a little bit left of that but um it's all right it's not that noticeable i think um let's leave it at that and let's start with sound design so um i will leave the beginning sequence mostly out here i'm not sure if i will use this instead i think i might use like a flashback of all our old travels because basically this is also what this film is about um so this might end up in the actual film but i will keep the sequence an idea and what i would add sounds here would probably just be mostly glitch sounds and maybe maybe some natural sounds um so let's go to our um sound effects folder and i have sound effects from everywhere i have some from art lists some from audio i um i have some some other sound effects that i collected here and there from from different packs and i also have this immeasurable singularity pack these are um there's nothing i really use the most but i'm trying to be um quite effective here and the first thing i want to build out or establish is the natural ambience and if i'm looking for leg ambience i might actually type something in like lake into the search bar and then find something that is called lakeside i think this would work this is that one's nice yeah this one actually sounds like there's a waterfall or something not so much like a lake but i think that's that's a few birds too much for me um let's go with this one okay and we don't need all of this so we just gonna take a portion of it oh and yeah what we will need are layers layers lots of layers so i don't want to add one track i actually want to add many tracks and let's go like five maybe yeah okay let's put that up here and we're gonna drag like side in and just tune it down like so g minus 15. why do i travel [Music] okay this um works for me okay um and what's next that's a waterfall very clearly so and that would you do a hard a hard cut obviously that you're changing changing shot to shot or would you carry that carry that audio very subtly fading it into it or just kind of leave it as a hard cut i'm almost always fading it in so um the way i'll go now just because i want to go fastest i will place them there with hard cuts and then readjust at the end but what i want to actually do are you know now that you're asking let's actually do it for exactly this cut so we're going to choose a waterfall sound okay this sounds great it sounds like we're quite up close um let's whoopsie drag this in here and then we're gonna go command d to add what i call an audio fade but not really is one and um i'm just going with like a one minute transition duration and what i want to have is um i don't want this um leg ambience to end abruptly but i also don't want on the waterfall to just um i mean let's do it kind of um appear in our ears well that's that's not sensory correct lingo but i don't want it to feel like this what usually comes to mind that's a bit sudden yeah that's not too bad yeah i think with with carrying that in between the clips what's nice is you set you set your ears up as the viewer for the next clip and you sort of like you're l cutting the audio before you're going into the next one yeah and i always call those things rewards for the viewers because it's like you're watching a film and you're hearing a waterfall so you know what's coming and um i think this is a viewer experience that is actually nice that you feel like oh i think something is happening or i feel something is coming you don't want to give it away but um what usually comes you want to lead to it that's still a bit loud so let's put it down a little bit um that's up in the mountains so there's probably going to be a little bit of wind um i probably should not be too thoroughly on this but i am okay subtle we got about it is four-ish five-ish minutes left so we may run out of time which is okay but okay yeah so let's let's just build um basic basic sound design so we're going fast here okay cool that's awesome mountains so um we might actually extend that and there is a little lake but that's robot water so do we have something like a pond here oh i apologize for this this was a very loud sound effects that's okay not really okay let's leave it for now we're just gonna use the backside again and here we have a car i know that i have an um car interior sound effect that's with a lot of wind that's not what we're going for maybe this yeah that one's good i think it is this one yeah yeah i like that one sometimes you can't put your finger on why you like a sound more than another it's just personal preference or it's just like oh yeah that sounds better yeah it is also um when you like deep deep deep in the edit um sometimes you feel like every sound effect you choose is not right it's not accurate it sounds off and then you go back to it one day later and you don't even know what you were thinking yeah that's also interesting yeah i agree so this is a waterfall but apologies a bit more distance okay i think i'm gonna go with the seven i don't know why just because i feel like it um we've just spoke about this yeah this is what you're allowed to do it's your film yeah and this needs to be um that's good enough yeah i think even more than that yeah and um i think i want to keep the validated that is good enough and the wind going um but it's gonna be not as loud in this case and that's a lot of water show so we might actually go for something like shoreline this is yeah this one it is oh okay just works for those as well um i always love this part of the process just like things are starting to they they come together the life is built fall into place it's the best um okay i'm searching for a little heavier wind might be this one yes this is what i was looking for yeah and you could always if you want it if you still like some of that low pass like you could always add that on to that wind yeah alex okay um these are footsteps i do not necessarily want to put underneath now because that would just take a lot of time i'm one of those people that actually wants each footstep to match perfectly yeah and i think that's the way you should actually do it right yeah or just some actual foley i remember taking a foley class in college and like being fascinated by the amount of work that goes into that specific element of sound design it just that's probably the most time consuming part but it does it sells it all that is that is so so interesting yeah all right so i got i got about i got a couple minutes two minutes before i gotta wrap you up so i just wanna if you wanna maybe put as much into it as you can in the next minute and then we'll watch a final playback i think that'd be cool yeah i think so too unfortunately we're going to run out of time it looks really really good yeah but i think um we've went over um everything important and um we covered the basic steps i mean everything i would do now is add more and more layers of sound and more and more details um unfortunately in this case we did not have a particular example um to uh to show off like an accent sound so i think for instance where i um uh step on the gas pedal that would be one um but uh [Music] what was i saying okay multitasking is getting really difficult now yeah but but for instance here the steps that would be that would be a few more accents that will also be very subtle um yeah but uh as i've said um let's keep this for now and maybe just should we add add a final grade just to um i think we're gonna run out of time but let's yeah maybe let's let's throw one on there because i think we're gonna only have a little bit of time to watch those last 10 seconds left back 20 seconds back and then we're gonna have to wrap it up here and we're going to the creative tab in the lumetri color panel i created a new adjustment layer gonna hit browse and like i said i um i like tyler babin slots very much um steel teal film is one that i enjoy and at one hundred percent it's obviously way too much but if you get out to 50 you can do that yeah i'm more a 25 guy okay i like that and let's try and render it out if it takes too much we're gonna ah that's looking good and let's play it back and we will have at least a little bit of sound design in there but um i mean in the end this process will just um continue to go down exactly this route and um it's just it's just work in the end it's just i'm working on the little details and i'm always so amazed by um vfx and motion designers um since like even i used to think that there's got to be a program or an app for what they do like it it can it cannot be people working on small tiny little details but it is it is out there working this all out yeah no i i mean i think i think i'm gonna have to wrap up here way tech i think we're gonna run out of time unfortunately but um i just want to thank you again for really running us through your process it looks beautiful and i'm sure this film when it is finished uh they can head over to your youtube just wojtek and again to those in the chat thank you for tuning in with us today a quick little housekeeping before we wrap up here don't forget to stay tuned after this stream for the premiere daily creative challenge with shireen uh and adobe live will be back tomorrow at 7 30 a.m pacific time way tech it's been a pleasure man thank you so much it's been a pleasure i can't wait to continue to follow your work you inspire me and hopefully you inspired everyone on this stream so thank you very much hopefully i'll see you in germany thank you james thank you and thanks for everyone joining it was awesome it's always a pleasure to be here thank you take care everybody bye guys bye [Music] [Music] [Music] [Music] you

Channel: Adobe Creative Cloud

Views: 2,412

Keywords: Adobe Creative Cloud, Creative Cloud, Adobe CC, Adobe Cloud, Adobe creative suite, #MakeAdobeCC, #AdobeCC, #ACCTags, Editing video, editing audio, motion graphics, how to make a video, video, and audio, sound mixing, Adobe Audition, Adobe Premiere, Premiere Pro, After Effects, editing tips, one, Wojtek, James Bonanno

Id: 7iO-nMgOJ0w

Length: 116min 48sec (7008 seconds)

Published: Tue Dec 14 2021