Learn EVERYTHING About Adobe Dynamic Link | TUTORIAL

what's going on people my name's jack welcome back to another video here on my channel this is the dynamic link master class but first if you're new to the channel I'm Jack like I just said I produce weekly content based around video editing videography and how to make money making videos subscribe now if that sounds interesting to you the dynamic link master class this will teach you how to use Adobe Premiere with Adobe After Effects this is something that creates extremely advanced projects people who were obviously a little bit more on the professional side coming out of amateur are using dynamic link if they're creating sort of like higher tier projects and personally is a freelancer I'm using dynamic link to make more advanced projects you know what I mean so without further ado we're gonna be teaching dynamic link with the dynamic link master class how to use the Dobby premiere and After Effects together there's a whole bunch of different lessons in this video but if you want to Zone in on one specific lesson the time code for each lesson will be linked below in the description so if you want to jump ahead and go to a specific class or there's something exactly that you want to learn you can go to the description read the title of the lesson decide you want that click it and it will take you to that point of the video without further ado the dynamic link master class let's do it hi what's going on guys my name's Jack welcome back to the dynamic link master class real quick we're going to jump into a brief explanation of what dynamic link actually is so I assume of course this will more or less just be kind of a refresher or a lot of you will probably understand the basics of dynamic link but if you do not or if you just understand a little bit let me put it into perspective dynamic link is essentially it's in the title it isn't linking two different programs so we are gonna be exploring using Adobe Premiere Pro and Adobe After Effects two members of the Adobe Creative Suite the Creative Cloud if you will and we're gonna explore how to link these two so that what we do in program a aka Premiere Pro effects what we're seeing in After Effects and also what we do in After Effects effects what we're doing in Premiere Pro so essentially there's a link between the projects what we do in project a aka program a Premiere Pro will also take effect in program B aka After Effects without further ado let's jump into the dynamic wink master class hi guys welcome back to the dynamic link master class we are jumping into how to create a dynamic link from premiere to After Effects so going from premiere and actually opening an After Effects composition and then coming back so how would we do that very very simple first off load up Premiere Pro and we're just gonna go ahead and create a brand new project now there's a couple key things when you create a new project one of them arguably the most important is the actual location so let's make sure to keep consistent with the locations what I'm gonna do is I'm going to go to my computer and I'm actually going to go over to my dynamic link master class and I'm just gonna select folder and it's pretty important to use a root folder when actually using After Effects and Premiere Pro together just for organization and also for peace of mind later down the line when you're using you know an influx of clips or or files or whatever and you know overall just for peace of mind you want to have one specific root folder let's actually call this the premiere pro dynamic link project alright so we got the premiere pro dynamic link project I'm pressing enter I'll be letting this actually start up and first off what's actually go ahead and press ok for sure so I'm using the different pair of headphones or something that was a that wasn't very relevant it's just different audio device from last time and what's actually go ahead and import a clip so I'm actually gonna go here and I'm actually just gonna go ahead and click and import this clip Co oh 27 this is from my my trip to Rotterdam last year so that's that's in the Netherlands it was a good little spot and basically if I double click this we can load this up in the preview window and I'm just gonna scroll long and fine to the bit where I would actually want it to start this is a kind of a pan of these really cool kind of cute houses as you see right here so this is kind of like a nice little motion here I'm gonna press I to add an endpoint so this is where my clip starts right there and I'm actually just gonna go ahead and drag and drop that down to the new composition button here which creates a new canoe sequence rather completely out of the clip and that is our sequence our Premiere Pro sequence sorted and to create an actual dynamic link to open After Effects it is an extremely simple process all we'd actually want to do is is literally click our clip and we would go up here to replace with After Effects composition and we actually click that and once we click replace with After Effects composition as we see After Effects instantly starts loading up and let's actually just have a look at what this looks like when we actually get in there just to familiarize you guys with this you know with this layout and it loads up when it'll do is it'll prompt us to actually save a new project because we're creating a dynamic Lake project and that is when we revert to what I was telling you guys a minute ago which is to go to data or wherever your your root folder is and actually find that same root folder and we're gonna call this the After Effects root project or let me have a look at what I call that one the dynamic the premier Pro dynamic link project so we're gonna call this the After Effects dynamic link project simple save and just like that our clip has opened in After Effects and anything that we do to this composition here once we press ctrl s save that will appear back in here and if we go back here now that that clip doesn't say CEO Oh 27 it says Premiere Pro dynamic link project linked comp 1 After Effects dynamic link project that means that these are two linked entities now and that right there concludes how to do dynamic link from premiere to After Effects alright guys welcome back to the dynamic link master class now we've just explored and we ended the last quick episode showing how to go from Premiere Pro to After Effects so we opened up a Premiere Pro sequence we created it using our clip from rotor dam and then we actually right clicked it and went to replace with After Effects composition and actually created an After Effects sequence now hypothetically speaking if of course we actually did not do it that method and we were in After Effects originally and we maybe didn't have a Premiere Pro sequence open how would we actually import that say we were creating something awesome in After Effects and that we wanted to quickly import a Premiere Pro sequence just to throw whatever we'd made into it that would be a slightly different process but it would be a relatively straightforward one as well it's nothing too crazy right so let's we explore that what section we go here to create new project and this is a fresh After Effects project right here with nothing here now if we add you know just imagine being creating something big here we want it to kind of blend it with our Premiere Pro sequence all we'd actually do to create that dynamic link from After Effects to Premiere Pro instead of from Premiere Pro to After Effects would just be to go to our project here right click and actually just go ahead and press import import Adobe Premiere Pro project if we click that we can actually find our root folder and we can get our dinah Premiere Pro dynamic link project and press open and it says select sequence all sequences we want everything to import but we could also just select our one of course we only have one but let's just go ahead and press all just for the the sake of importing an entire project press ok and it says that cannot be imported because it's not recognized file type that's absolutely fine what that right there is is just our link right our our link folder or our link file or whatever that's it doesn't matter we can double click our our clip and if we actually go here just delete that that right there doesn't need to be on the screen because of course that is kind of the remnant from what we've just done there but of course if we'd be doing this we wouldn't be importing a project that already has a link going on because we'd be creating it so that little error wouldn't pop up there in a live situation of course we are we just used the same project that we created a link before so there was a leftover thing of course I just need to explain that but basically here it is now anything we did here again if we were just to press ctrl s and then save this this new project we want to save it in the exact place as we saved our you know our primary profile project as well but of course we're not going to do that because we're just exploring a kind of another method to actually do the same thing but we've just done it in the more efficient way the Premiere Pro to after-effects is a more effective way to do it but of course for the you know purposes of Education we're gonna explore both potential ways to to do this however we got the little error because we were importing a project which it already created a dynamic link and that right there is how to create a dynamic link from Adobe After Effects to Adobe Premiere Pro I what's going on guys welcome back to the dynamic link master class we are actually gonna just do a little bit more kind of further confirming about the organization side of stuff this is I promise you something you want to get kind of on top of from the very start and you don't want to have to kind of go back and play catch-up so to speak but here is our Adobe Premiere Pro folder we've also got our project rather right we've also got our Adobe After Effects project and it's the same as I think we've created a dynamic link between however the actual key thing that's held both of these together is the fact that we have a root folder everything that we are doing to either of these because although each of them has a separate project file right and even though both of them are in a separate program entirely these are the same project what when we're looking at After Effects we're looking at the After Effects version of this project when we're looking at Premiere Pro here we're looking at the premiere pro version of these projects right of this project so this is one project in the same and what makes it one project is the dynamic link right the actual link between these two so that's something that's a little bit hard to get your head around from the start but of course once you do wrap your head around it makes perfect sense these are one project which means that of course one project you're not putting one project in three different folders know your organize everything in one root home folder so that you obviously know where everything's at and you know you don't run into an organizational nightmare later down the road when you feel is that you need to find something or whatever the case may be right whatever number of sort of standard problems which will inevitably arise if you're not organizing stuff from the start and organization has always been a kind of a key that I've talked about throughout the course of my tutorials and it's no different for dynamic links so let that just be you know stated from the start anything you do whether it be a graphic whether it be a project whether it be of clip anything actually put it in a dynamic link root folder that shares and houses all the clips for it not only the private Pro project but also the After Effects project because although they're two different files you see here there one project in the same so keep that in mind keep that as the way you're framing it throughout the course of the course course of the course funny little twist of words there and without further ado guys let's crack on with the dynamic link master class alright guys welcome back to the dynamic link master class what I've done on the screen if you have it a look is I've actually gone ahead and closed down our Premiere Pro project I've closed down or after effects project and I'm actually gonna do something just to kind of follow along with everything we've gone over so far we're gonna do an exercise right now which is essentially gonna let you guys download the clips that I was using from the start and we've added another one in there as well and together we're gonna import clips create a Premiere Pro project and then create a dynamic link with After Effects so before we get started with that let's actually just delete what we've done so far I know that might seem a little bit counterintuitive but it was really just to demonstrate and now I want to kind of you know officialize everything in your mind by doing it together so with delete those projects they're useless to me and go down to the resources and download Co 0:09 and see oo 27 these are two clips from rotor dam one of the clips is of me actually uh actually filming right so this is a my friend vedett who's obviously filming behind the scenes of me actually filming and then the other clip is is the clip though you know we went over together from the start which is the clip of for my camera of this kind of nice pan of the cube houses in the background and of this nice tree right here so we're gonna combine these two shots obviously they're shot the exact same scene at the exact same time and we're gonna create a dynamic link using them but first off what's press a new project in Premiere Pro and what's actually make sure our root folder is the actual folder we are actually using for this entire project so for me it's dynamic link master class for you it could be this folders the one on being organized in write whatever you deem to uh to name it that's that's the folder you should organize everything in from start to finish with press select folder and what's actually called this the the premier Pro dynamic link project simple same exact name as last time press ENTER and we'll wait for the project to generate itself and just like that the has generated itself now what's actually go over to our dynamic link folder or for you just go to your downloads after you've downloaded these four resources let's click and drag and click it hold and just go ahead and import them into our media down here once I should go ahead and double click the co o 27 and just scroll along like we did in the demonstration of find that bit where we're we're a nice pan starts just like that what's press I which is the actual end point and what's drag and drop that down here to the create new sequence so let's actually go ahead and press the spacebar just to play it for a little bit right and what I'm probably gonna do is just have 5 seconds of that clip so I'm actually just pressing the keys to go over to get exactly 5 seconds I'm gonna press C to get my my cut tool right my scissor tool my razor blade if you will all of the above I'm gonna click to chop click the right hand side and just go ahead and delete that then I'm gonna double click the clip that I know is me and I'm actually just gonna scroll long or just go ahead and play it a little bit right until we actually come to a point where you know maybe I'm doing a movement that I like or whatever the case may be so it looks like here could be a decent bit um you know I'm getting the or my friends getting the over-the-shoulder shot we can press I again to create that end point and actually just press spacebar to play and it looks like that's a that's a decent little little motion right there because then he starts moving over to the left so I'll or the right rather so far is Oh which is the out point and actually just go ahead and click and drag that that button there which is the video only click and drag that here and if we go over to 9 seconds it looks like that's a decent bit right there so if we actually press the spacebar to play we have the kind of first-person shot and then me but it looks like he's shot in 4k so it's right-click that go to set to frame size move it back and let's actually just let this play out right so as we see here it's nicely playing and then it cuts the clip of me from from sort of the first hand perspective and in fact I think it could be cooler if that's first right so I'm literally just creating a normal Premiere Pro sequence something that's that's kind of normal it's filming me and then it cuts to the first person of what's actually coming out of my camera and I think that works out really nicely so it's oh sure we actually just and press ctrl s which saves the project nice everything's everything's tied in nicely right there and in fact we could even if you notice there's a slight different difference between these clips of me and the clips from my actual camera so we could actually go ahead up here to color and then just literally bump the the contrast up a little bit and and maybe bring the whites down a little bit and and the blacks off a little bit and now if we press play those are looking a little bit more similar and this right there is totally live you know a real scenario right now you know if I imported two clips and they didn't look together or they didn't look they would like to you know have consistency to it because it's obviously crucial in terms of color you know if the colors looking consistent from shot 1 2 shot B or shot a - ah B that's a absolute telltale sign of a you know something you do not want to do you want the nice seamless look but that right there is a formatted sequence right very very formatted everything is uh essentially how it would be in a live project I'm trying to walk you guys through a live project right now I have a you know color correct in my clip so to speak now all we'd want to do if we actually want to open these up is literally highlight them right click and go to replace with After Effects composition and just like that if you guys have followed through from you know start to finish right now or start to current stash that place then we are right here and we've actually just been prompted to create our After Effects project and again we can do the exact same thing or a similar strategy that we were following before which is to call this the After Effects dynamic linked project and just like that we have created our project in Premiere which has now become one one single file because that's a composition and our dynamic link has appeared down here in our Premiere Pro and in After Effects we have our composition that has been created using the using the dynamic link and as you see that anything we've done to this clip if we see here if we go up to effects it has the luma tree color effect added to it if we click that and turn it off the that stays on it so preserves all aspects of a clip if you if you're importing a clip to to after it's after-effects and you're afraid you know it's not gonna bring over everything that you kind of desired that's something you could put to bed real quick because the fact that when you actually create a dynamic link it is creating a dynamic link with all aspects it is replicating that Premiere Pro project and it's literally just throwing it into After Effects and of course because it's Adobe on Adobe everything works seamlessly and that's why dynamic link is something that is extremely overpowered and something you definitely definitely want to be utilizing for project project but that right there is our exercise of how to actually download the clips and create a Premiere Pro sequence and then right-click and create the dynamic link with Adobe After Effects that right there guys sums up the basics of the dynamic link master class course I'll see you guys in the upcoming sections it's about to get interesting hi guys welcome back to the dynamic link master class we are currently in our Premiere Pro project and essentially because we've created the dynamic link right here it is one big file now instead of two particular clips which is of course how we composed it now if we press space to play it it's me and then the actual first person shot of what you what you're saying directly for my camera and if we actually go over here to After Effects we actually have two of these clips and they are you know more easily editable of course in After Effects because it's given us the specific clips we can latch on to each specific clip and because of that what we're going to be doing is exploring how to create an advanced title sequence right so of course Premiere Pro you're relatively limited with your titles but of course at the same in the same breath as soon as I say that of course I'm I'm hit with the the massive you know library of titles that they have of course but in terms of super advanced stuff you are a little bit limited however you've got stuff don't get me wrong let me quickly show you the type of titles we were able to do in-house aka in Premiere loads of stuff and as you see right here it's got a massive kind of template library some of these stuff are pre-made and they're stuff that well of course it's a template so all of its pre-made but some of the stuff is pre-made by Adobe and it comes pre-loaded in the the essential elements or the central essential graphics right and some of them are premium are premium right which is stuff I've paid for or stuff that's been sent to me by companies whatever the case may be and again you could just load them up and use them and these are awesome in terms of pre-made title sequences these are these are great stuff however when you want to take it that step further the advanced title sequences premier does slack off a little bit however of course you know they're meant for all the kind of simpler stuff if we want to use those advanced titles we jump into After Effects and that's exactly what we're about to do so let's come over to our After Effects composition and pretty much the idea for this effect is I'm gonna press play and it's me on the screen and then as soon as it comes over to this clip I want a very cool advanced title to pop up an advanced title to me is something we cannot do in Premiere Pro something that's at least much harder to execute in Premiere Pro and to start that off what I want to do is go up here and actually click the rectangle tool and I want to literally just draw a rectangle in the middle of the screen just something like that right and the reason for that is because this is gonna be the kind of the outline the border of our of our shape essentially I'm trying to build a a animated graphic here so I'm gonna drag them into the middle and I'm also gonna hold Y and get the anchor point and just put that you know roughly in the middle alright and what I actually want to go ahead and do is scroll along a little bit scroll along cover for a couple frames so that it doesn't happen right away it doesn't happen instantly when it changes clip but it happens shortly after the clip changes and I want to press control shift D to actually trim that down and actually press S which pops up these scale properties and what I want to do is I want to actually go ahead go over a few frames maybe to about here and press a keyframe for scale which tells the program that obviously at that time and that place in the actual composition the graphic should be full and then I want to go to the beginning and I want to unpick the actual link between these two and I want to literally just scale down the right-hand side one aka the vertical axis and I want to actually just put that as zero so when we press play this has a kind of a you know animated effect where it animates itself on more or less and I actually maybe you want to speed that up a little bit so that it happens a little bit a little bit quicker maybe a tiniest bit longer all right so just like that we've got this graphic that animates itself on the screen and then what we can also do is we can also just quickly animate it off the screen as well just so that you know it obviously has some sort of progress if we press ctrl-c and ctrl-v we can copy that keyframe here and actually just simply go across a few and and actually just go ahead and click that so that it's highlighted press ctrl-c and ctrl-v and we've copied that keyframe as well and just like that if we go over here and press spacebar to play we've got this graphic that animates itself on the screen and then animates itself off the screen nice wonderful now can anyone guess where we're gonna put inside this graphic some text awesome let's actually press ctrl T to get the text tool click on the screen and type in rotor dam in fact I might even try just all caps all capitals it obviously gives us more of an established text and we can actually just go ahead and click and scale that down and I just want to go ahead and fit it into the particular title sort of graphic if you will and actually it's press control-c highlight that and I actually just want to go ahead and type in Gotham right I want to get a nice nice bold font just like that and in fact what we could do is we could even we could even scale that over a little bit right so in fact if I uh or actually I think it's probably easier just to bring the Rotterdam text down a little bit and and then we've got this title that clearly says Rotterdam and we can actually pop that in the middle right there it's looking pretty nice awesome if we go to the beginning right here of course we want to press control shift D and knock that off and then what I actually want to do is I want to more or less copy and paste the exact same keyframes but I won't copy and paste it I'll actually just go ahead and and maybe go maybe go here and actually press you know s click go to the beginning or maybe go it go a little bit in actually so that it doesn't start at the exact same time one tick and just go ahead and pop that on zero so if we actually go to the beginning now we have this this text but in fact I'm actually just bring that to beginning so what happens is it brings itself up but look how look how messed up that looks what we want to do here is actually fix the anchor point that right there how it doesn't actually fill the screen that's a typical anchor point mistake so as we see here the anchor points at the bottom if we hold Y and drag that to the actual middle we have successfully fixed this if we go to the beginning now it actually opens in a respectable manner if you will and I actually just want to do something real quick I want to go ahead and just tone down how big the title is so it actually goes to seventy right and we actually of course need to copy that variable over here or else it will get bigger pop that there so we now have this this graphic that animates itself open awesome wonderful look at very cool however the actual you know signature element hasn't even taken place yet and it will become very obvious but I want to literally just go ahead and click and copy go over here press control V to paste again copy the start keyframe come to the end press control V to paste again so that animates itself out successfully and now the advanced effect is about to take place what I want to do is I want to actually click the Rotterdam text I want to right click and go to pre compose and what we have here is a Rotterdam to comp 1 if we press ok we've created a pre composition so if we double click that we can go in and this is a whole nother composition and this is where it gets fun this is where I want to go over to this clip here press control C go to the different pre composition aka the text pre comp go here and press control V paste it and then I want to bring it to the bottom and I want to go here to track Matt and go to alpha Matt Rotterdam - and just like that if we go over here we now see that the video appears inside of the text and if we actually go here we can actually go ahead and you know even go ahead and right-click control not even right click just ctrl shift D trim that pre-comp down and now if we go here to the beginning of press spacebar to play we're gonna get the clip of me on the screen which is great and then it shops here and opens up the advanced title where you've got text that you could see through and the video is actually see-through we've created this graphic where it appears as though you know it's all like an optical illusion it looks like you could just see straight through this graphic and in fact we could enhance this even even a little bit more honestly if we go over here to two presets right and we actually just type in a drop shadow right and drag and drop the drop shadow onto it and and maybe it may be up that a little bit but actually my bad drop shadow was put that on the shape layer below I dragged it to the text if we drag the drop shadow to the shape layer below now what we're able to do is if we want to bring that opacity up whatever the case may be we're able to get a nice kind of a stand out ish effect using the drop shadow and just like that we've got that in fact we could even could even just bring it bring it down a little bit effect I might even do like a hundred and eighty degrees so that it's actually coming directly down and just like that guys we have actually created an advanced title sequence using the dynamic link that's something right there that you know would at the very least be much harder to do in Premiere and realistically it's just not something you want to really do in Premiere it's not built for that type of stuff you can much more effectively and much more easily do it effect like that in After Effects but just like that that right there is how to create a advanced title sequence using dynamic link and in fact we could take it a step further we could literally just keep laying or layering effects on top we could type in vibrance and go ahead and drag and drop some some vibrance to the actual you know to this layer right here if we turn the saturation all the way up we've got that nice glowing kind of more colorful text if we turn that all the way up you know if we go here now and press spacebar to play it we've got a very nice title right here that pops up and it looks nice and colorful and overall is very standout it and just like that guys that is how you create an advanced title sequence in Adobe After Effects in Adobe Premiere Pro using the dynamic link feature which essentially links everything together and enables us to create something amazing like this and let's actually literally just go ahead and press ctrl s save it and now let's go over here to premiere and go ahead and press play in Premiere aka space and just like that we are going to have the advanced title appear in Premiere Pro when we of course did none of that inside of primary Pro did all of it in after-effects but all we do is press ctrl s aka save and our hard-working after-effects transfers itself to private Pro via dynamic link alright guys welcome back to the dynamic link master class we're gonna now explore how to actually insert motion track text using dynamic link of course motion tracking is not something that's extensively available in Premiere Pro there's some minor semi you know resemblances of a motion track sort of effect but it's definitely not most interacting definitely not at all to the extent that you know of course Adobe After Effects offers emotions tracking so without further ado let's explore how we'd actually take a Premiere Pro sequence and make it motion trackable and actually you know perform the task of motion tracking it so we're actually gonna be using this particular clip right here which is conveniently named motion track let's go ahead and click and drag that into our sequence right now and that's gonna pop up down here at what sigh should we click and drag that into this button right here which is of course a new sequence will be moving past the other sequence that we obviously did in the last section right here which was of course exploring how to create the advanced titles which of course turned out really nice but let's have a look at this right here and you know let's put ourselves in the mind of doing a review video so I do a lot of review videos for my YouTube channel a company will send me a product and you know potentially I'm you know let's say I'm trying to make a nice title or a pretty cool you know dynamic title for this review video and you know I want to do something cool with it what I would do is you know let's have a look at this clip real quick but we can actually go ahead and mute that actually and what I do is I'd actually want a motion track this so I could actually you know have some text attached to this so let's just make pretend that I'm reviewing this iPhone right and this is a clip of me simply holding up the iPhone box and if we wanted to make a pretty cool kind of dynamic title that that actually you know follows this and actually you know gets bigger as I put the iPhone closer and then kind of shrinks back down as I as I pull it away over the course of let's say five seconds so we can actually go ahead and shop that at the five-second mark which means we've got this clip right here which goes up and then I just pull it back nice and simple clip let's have a look at how we'd actually motion tracked the text first off what we'd of course want to do is actually right-click go ahead and replace with After Effects composition if we go ahead and just press that replace with After Effects composition that's actually just got to load up our dynamic link after effect project right here because it's already loaded up and but what its gonna do of course is create a new damp dynamic length composition it's not obviously gonna throw it into the other one because that was a previous sequence and this will actually create a new dynamic link as we look down here the the files changed the Premiere Pro dynamic link with After Effects and it's changed obviously to the dynamic link kind of pink pink up clip if you will and if we come back here this is of course where we're gonna be doing our editing now so how would we go about motion tracking it's very very simple it's all actually to be done using the tracker right here but there's a couple key elements of course we got to do first which is uh create a couple things to attach our tracks to so first off let's go up here to layer let's go to new let's create a null null is just sort of like a blank object which doesn't really exist that we can kind of use just to you know attach stuff to and have some properties and stuff like that next what we want to actually do is go ahead and quickly design our text now this could be done before or after it doesn't matter but just for the sake of positioning stuff before we get started with the track what we'll just create our text and let's just create a simple text that says iPhone 32gb right i phone 32 gigabyte i I guess I guess that would be a relevant statistic or to throw in there but what I'm also gonna go ahead and do is is just see if I can't just pull this up a little bit and also make it a little bit smaller maybe and uh and uh just just go ahead and pull it up here right so I'm pretty much just sizing the thing up a little bit just getting it uh getting it sort of positioned how maybe a title normally would be in one of my review videos right here so we can actually go ahead and attach that right there which means that the very start the the text iPhone 32 gigabyte is gonna be there or maybe maybe down here or yeah we can go ahead and throw it up there alright so it's gonna be basically on the side and what we can actually go ahead and do after that is get the actual clip itself and we're gonna want to go over here to tracker and then we're gonna want to click track motion now this obviously creates a track point however right now we're doing kind of like a more advanced slightly more advanced track rather than just one track point so this is the position track as we could see right here but what we also want to do is turn on the rotation and the scale track and those will be created under one other point as well now with the actual position track what's click and hold and drag that into the middle of this so what we're really looking for the science behind it is two objects which are different from the kind of rest of the stuff surrounding them so that would definitely stand out as a point that is different that it can track the motion of because everything around it is red but that's black which obviously means it's gonna stand out and if we take the other point and put it around the actual iPhone Apple and obviously make it just a little bit bigger so that it is kind of a fully fully encompassing the whole thing that's also a different piece in the scene if you will because of course everything around is red and the iPhone logo is white which means it's uh you know a good a good kind of thing for the tracker to lock onto and it can kind of take the the properties from that being the rotation of the scale so obviously what we're looking for is just to kind of different positions or different objects in the scene that you know aren't the same as what's around them and then what we're gonna want to do is right click the Edit target and go here and actually select lino and press ok and then we're simply gonna want to just go ahead and fit that which is not not mandatory but I'm just gonna do it for the sake of it and then press the play button down here and what that's gonna do now is go through frame by frame and analyze the actual motion of this clip and it's gonna take all those properties and it's creating keyframes which all load up the clip in a minute and we will have created keyframes for every single one of these points and it's tracking that motion perfectly for us to then literally just sync up the text with the the drag of a simple parent link and we'll be able to actually attach everything together and sort of create the text to completely resemble or completely follow the track and just like that it finishes the track just like that and we can go ahead and click apply down here and press ok awesome that jumps us back here and we can actually just go ahead and see now all these different keyframes that have been created because of course we track the motion now imagine having to do all that manually it's a I'd be not impossible but just ridiculous you know I definitely don't have the stomach for it and then essentially we all we want to do is come back here to the beginning have a look at the text and simply click and drag the parent link to the null and then when we press spacebar to play or we can actually just go ahead and mute that real quick sides and volume on that text fully follows the motion the rotation the scale the position everything it's fully tracked to the actual box and you know we can make that text stand out a bit more of course it's white we could go over here and and get drop shadow a little bit of drop shadow drag and drop that on there maybe uh you know up the softness a little bit bring up the opacity make it a little bit more defined and just like that we've got the iPhone 32 gigabite you know text in fact you know on a review I I might even I might even go ahead and uh and and edit the 32-gigabyte down here and and make it you know the same colors as maybe the iPhone something like that that's definitely something I would do in a in a review video just to kind of match the aesthetic of it if you will or the the colors overall and make it look a little bit more together but just like that that is a advanced title and again of course we've done all that work here and all we do is press control less safe and we go back here into Adobe Premiere Pro now we press spacebar and just like that we've got this motion tracked you know title right here which is you know for our make believe review video that we're doing and it says iPhone 32 gigabite and just like that it is inside of Adobe Premiere Pro and of course we did none of that motion tracking inside Adobe Premiere Pro we did the entirety of it inside Adobe After Effects just like that that is motion tracked text using dynamic link between Adobe Premiere Pro and Adobe After Effects hi guys welcome back to the dynamic link master class we are continuing on with how to animate graphics and title sequences so this is gonna be how to kind of take a I'm gonna call it basic graphic if you will and turn it into an advanced graphic now of course in Premiere Pro that might that might not be giving them the most credit because Premiere have some pretty pretty advanced graphics for sure but I'm talking about how to take a a basic graphic not not a motion graphic right so I'm going to show you some preset motion graphics that they have in in Premiere Pro which are really good right you could go over here to the graphics and then the the template library and you are greeted with a whole bunch of cool stuff like for example if we play this this is a pre animated lower third for your name of course you could click it and and fully customize it you know put your name there whatever the case may be however this sort of stuff doesn't give you any further options so say we didn't want it to animate down here and we wanted it to be in the middle of the screen and then sort of just float around you know maybe that's the desired effect we're going for we actually don't have the ability to do that because this is a premade right it's pre animated however if we wanted to animate some stuff from scratch ourselves it would be a you know a slightly different process and overall again of course because a dynamic link it is far easier ahead far more effective as well to do that in after-effects so without further ado let's actually go ahead and import a clip this one right here is gonna be the first person camera we're gonna be continuing this you know this hypothesis this hypothetical situation that we're doing a product review so right this is a video I'll mute the audio layer but it's a video of me testing out a new camera monitor the the product in question is the the monitor on the top of the camera and more or less let's explore a live scenario right which which might be I'd be wanting to do an annotation for this right so for example we could press ctrl T create a text layer and for example you know say camera monitor monitor camera monitor review right just just hypothetically speaking say this was the the text right and this right here you're looking at a basic text layer so if we had this right here we had this this basic text and we wanted to put it in the top right or something like that and and and even maybe maybe get the the review and and change it to slightly red or something like that and if we had text like that at the top right corner it's not looking you know especially interesting right is it or even in the bottom right corner basically just like a lower third or or top third camera monitor review is looking like a very basic piece of text obviously there's no kind of motion to it anything like that and you know we could explore the the kind of the you know keyframes inside premiere you know by creating some keyframes and and then you know go into the beginning and animating it off but you can only really do basic stuff like for example that and of course if we sped it up that would be a quick or effect however all we have to do is create a dynamic link which of course we've already created all we have to do is literally highlight our project right here right-click it and actually just go ahead and replace with After Effects composition and we're actually gonna load up both of these layers both of the text layer and the actual video layer in After Effects and then what we can actually do going forward is actually just go ahead and select the text layer and we can go up here to animation apply animation preset and then actually just throw on any number of presets from the you know hundreds if not thousands of presets you can find in the Adobe After Effects preset library and you know for example what's got a transition a spiral in now all of a sudden the the text starts off the screen and two seconds let me go ahead and mute that again and all of a sudden animates itself on the screen also maybe we uh maybe we want some some movement you know what I mean some some position some position wiggle right which means we we want our text to have a little bit of life to it which means that not only does it come on the screen but it's also moving around a little bit to create the you know the look that it's not just a stagnant piece of text right there and of course you know that remains fully customizable because that looks like a little bit much right in a live situation let's say we might only want to handle wiggle them out which means that it's not going so crazy but it's moving around a little bit as you see right there affect all I'll zoom in a little bit and then of course what we could do is some stylistic kind of choices maybe some drop shadow drop shadow you'll notice throughout the course of this program it's definitely something I like to add to amplify stuff and this obviously a nice simple effect to amplify and make something stand out a little bit more just like that and you know just like that we've created an advanced title sequence where we've taken a basic title in Premiere which was you know pretty boring you know if I say so some I say to say so myself don't worry I'm not gonna get offended I was the one who created it but it's boring at the end of the day and we've opened that up in Adobe After Effects using dynamic linker we've been able to enhance it a little bit more right now of course this remains customizable we could double click this which of course in after-effects what it loads up it kind of presents it as a pre composition as you see right here but then of course to you know get inside a pre composition as we know all we do is double click and it actually presents us a fully customizable text layer so if we had some second thoughts about this red and we wanted to you know double click that and maybe bring that over to a green or something like that again all of that stuff remains customizable at any time also if we wanted to highlight everything and maybe turn it to Gotham right nice nice font or whatever the case may be or maybe we want to you know have a different font family for that one maybe that's just normal Gotham and the review you know what I mean little stylistic things like that everything remains 100% customizable because that is crucial if you you know have a little bit of a second thought down the road you want to be able to go back and customize that but overall that right there is how to actually create animated custom graphics inside of dynamic link aka I mean it's not inside of dynamic like inside of Premiere Pro and After Effects using dynamic link overall that right there is a brief overview of course it is the exact same for graphics of course that's that's a title sequence right there but if we wanted to you know have a logo or something like that in the bottom bottom hand corner right it would be the exact same process it would literally just be you know put that into premiere over here and of course if we come back to primary press control less and save the you know the graphic appears down here oh look at that it uh it comes in red and it jumps over to uh then jumps over to to green I'm not telling you why that is but it is what it is we'd fix that if this was a and this was a live project before for sure but overall as you can see right there it has taken effect in Adobe Premiere Pro we did it in Adobe After Effects we created a nice little bit more animation and you know the process to create a nice little wiggle like that would be just kind of ridiculous you kind of just have to get the lair and just have to move it around a little bit and just animate the the you know the keyframes manually which you know is quite ridiculous I think if we load up the effects in here right we've got the zoom spiral but we've also got that wiggle which I don't even yeah I don't even know if they necessarily even show us all the all the keyframes but you can rest assure there's plenty keyframes being used to create that wiggle effect but that right there is the animating graphics and title sequences using dynamic link hi guys welcome back to the dynamic link master class we finalized the last episode doing some animated text right now we got this text that pops up moves around the screen and overall it is a advanced text layer in the sense that you can't necessarily do that stuff or execute it easily at the very least within Adobe Premiere Pro we're essentially you know looking for the the flaws or the gaps in Adobe Premiere Pro and we're trying to you know complement those by using the dynamic link to actually be able to load up this more advanced program and you don't kind of do stuff that you can't so easily do it from your pro but right now we're gonna be doing an exercise and we're gonna be taking a clip and a logo and kind of doing a similar thing that we've just done right here but actually doing it together so you guys can you know stand a better chance at retaining that information so if you guys go to the resources you can download this clip right here which is just a clip of me sort of looking around and we're gonna we're gonna animate the logo over here on the on the left hand side so that it appears that I'm looking at the logo the logo is gonna be teaching that media by production company logos so if you guys go to resources download both of those I'm just gonna select both of them and drag and drop them into our Premiere Pro project then I'm gonna click the 89 co o 89 right just the standard Sony name for the clip drag that over here and press spacebar to actually play and what I want to do is I want to actually wait until I'm looking over here and then cut so as soon as I actually look about the five-second an 18 milliseconds mark I'm gonna chop that down look where as you look over there and then as soon as as soon as this sort of hand rub goes away which is a funny movement anyways I'm actually gonna cut that so I've just kind of spliced up this little clip which by the way Premiere Pro right away is where you want to do your overall cutting and kind of putting everything together right after effects is a much more complex cutting system it's not so simple you just get a little razor tool and shop something else so premiere 100% of the time is where you want to be doing your your overall you know chops and cuts now once we've actually done that I want to actually drag and drop the tq9 logo and all we're doing here is a little bit of positioning so when I look over here right when I look here we want to get the logo we want to hit the position we want to bring it over here scale it down maybe a little bit sort of just bring it over here so hovers around the center of the side of me looking pretty good not too shabby and another great thing that the Premiere Pro is useful for is a framing stuff so what we can do is we can go to sequence settings have a look and this is a if we go here we actually got a custom this is a 1920 by 1080 P sequence that's absolutely awesome great what we could do if we want to just create a little bit more space to work with is drop this to a 1280 by 720 p sequence ideally dropped from a 4k to a 1080p but seventh 1080p to 720p whew can't do 4k you can do four okay and if we actually scroll over a bit now what we've done is we framed me a little bit more so I'm actually more obviously on the screen now what we can do is we can get the T key non-media logo we could bring it over a little bit more scale it maybe scale it down the tiniest bit just so it it kind of fits in there and maybe even put it up here in this sort of blank space and now we can actually go ahead and play and and and and what we're looking at is a tq9 logo plus me that's been positioned now of course this is entirely the positioning side but what I'm trying to get you guys in the habit of is spotting the strengths of each individual program you've got Premiere Pro which is by far a much more easy and much more simplistic program to compile it frame stuff just like this so we could press ctrl s we could save that however now we want to hand it off to you know the bigger so to speak after-effects where we can load this same exact thing up the same exact sequence but we can amplify it much further so let's actually highlight it go ahead and right-click and click replace with After Effects composition and let's actually go ahead and just let that do its thing let After Effects do it's uh it's thing process and import everything over and just like that we have a you know a file which is you know formatted its frame than everything it takes all the aspect ratios everything like that so more or less this is a duplication essentially this is the the After Effects equivalent of the Premiere Pro sequence and what I'm actually gonna be doing is going up here is actually selecting our logo go on up here to animation going up here to apply animation preset and what I want to actually go ahead and do is just fly is throw a couple different I'm fly-in animations on it just see what's looking good so just like that within the drag and drop of something not even drag and drop the double-click really I'm gonna press control Z and undo that we're able to get that one and I want to just keep looking through until I could see anything that's that's really to my liking we've got some pretty cool stuff like this the three-d pixelation that's kind of looking cool so if we go over here we could do this 3d pixelation right here and then I do look over there so maybe if we press control D or if we select the clip and press control D that's duplicate if we actually maybe maybe bring bring that and make it smaller over here so we've got a little T key non-media logo forming up here so that it makes sense that I actually look up there you see what I mean I'm just doing a little bit of a sort of messing around with it but as you see right there there is another ticking out media that's thus forming up there at the top sort of just as I just as I have a look over there you could see it and then my my hood goes in front of it so I might want to make that a little bit smaller and put that there but of course that's just one demonstration of one animation that we've done it a couple seconds right so of course we could do any number of animations if we wanted to but it looks like I'm liking this one I got the Birdman hand rub going down right there and just like that we have actually successfully animated a logo in and out and you know it's it's very very simple I mean the word they might even be a little bit ambiguous here but of course what I want to do is I want to just further compliment the scene right so I want to go over here and I want to actually just type in a wiggle and I want to go ahead and grab some wiggle position drag and drop that there I want to drop the the wiggle amount to about ten and select that press control C go over to the other clip the other logo press control V which is paste and now just like that if we press spacebar to play we have this logo which is on the screen but also hovers around a bit as you see so it's got a little bit more life to it and just like that you know we've we've created something which is a bit more would you say dynamic or a little bit more it's got multi layers to it writes multifaceted it's got a little bit more life to it essentially you don't want just a boring plain old graphic that's doing nothing that looks a little bit you know artificial you want something that is you know embedded in the scene and overall has life to it and kind of makes everything tie in together but that right there is how to actually animate a graphic or logo so what we've done is we literally just imported that and we have actually gone ahead and you know further customized it to our liking and again like normal control s-save we come back over to Premiere Pro and just like that we have a you know advanced animated logo one of the one of the left one on the top right both of them are looking absolutely awesome and honestly this right here is the name of the game of dynamic link you build something simple or simple ish in Premiere Pro you throw it into After Effects you take it to that next level that right there is how to animate logos the exercise of the dynamic link master class hi guys welcome back to the Adobe dynamic link master class this right here is gonna be adding effects with dynamic links so we're actually gonna be exploring the process of actually taking this particular clip right here this clip on the screen here of me sort of pretending to look around and I'm sort of pretending that I'm in sort of like alternate reality or whatever if you will it's looking like a pretender that I sort of got teleported if you will to like an ultimate alternate universe and we obviously we have to make the visual match my reaction my reaction is pretty strong right here as you see I'm looking at the and I'm like oh wow as if I've been sort of teleported somewhere else and then I'm looking around assessing the landscape and then I kind of shake it off and and it looks like it was just a bad dream so we want to actually make the visuals match my reaction and this is always a fun you know sort of exercise if you will so without further ado let's get into it see ooo four is the clip let's drag and drop that into good old fashioned Adobe Premiere Pro let's let that load up down here was drag it down to the new sequence button which creates a brand new sequence matching the actual dimensions so let's just press space and play this so actually let's go ahead and mute it as well and as we see right here we've got this clip which I look around I'm assessing what's going on with that kind of shake it off and then and and then proceed to look around and we key we could sort of shop it right after there sort of sort of after I I'm done doing my little my little acting role and it is gonna be relatively simple to do this I mean of course you guys by now we're getting the hang of how to do dynamic link which obviously is the simplest part of it it's really the you know the effects and blending everything together to make it work together that that you know can get a little bit tricky but without further ado let's right-click the clip let's do what we always do let's replace with After Effects composition and what's let After Effects load itself up in a brand new composition there we go it's loaded up as we could see right there we can fit it to the screen we can actually press spacebar to play it we can actually go ahead and mute it as well because it is not kept the mute and right here we've got the clip of me reacting I I'm thinking of some cool stuff I could do right away to a you know to start complement in this first off is actually changing the environment color wise so what I want to do is I want to go over here and I want to type in CC lens CC lens is a very cool effect which I'll drag and drop and let you see it right here it's sort of this sort of like almost fisheye II our glassy type of type of magic ball type of effect but you can use it nicely the transition just like that if we're to animate it from out to in especially if we're doing it over the same layer it could be really nice so let's delete CC lens what's press control D and duplicate the clip and bring over CC lens bring it on top of this clip right here and actually just have it on zero let's actually play until I actually do the the movement so I want to go from normal which is right about there and let's turn a size keyframe on and then just over a few frames until the effect has meant to have taken place if you will so just like that the effect should have taken place which means I could scale this up and just like that we have this effect now that as soon as I I kind of react it looks like I react for a reason right I've clearly reacted because we've you know gone through this teleport or you know whatever you want to use your your imagination to say that this right here is right so I've gone through this wormhole or whatever and now I'm in an alternate reality however it still looks the exact same so we have to start doing some some drastic changes to the environment to make this a believable you know warp hole or you know that we're in space or something and the way we do that is first off get the colors right so what I want to do is I want to go over here and type in a color and the first effect ironically that it pops up colorized blue wash is gonna be perfect for setting the scene so let's drag and drop that to our top layer and instantly that changes the color of me and it changes the color of the environment so what we can do now is go to the beginning and we'll be actually you know press play we've got this effect now that it transitions us to a new kind of world as you see right here the the colors are all different and overall this you know already our minds telling us that this is like a you know a new place alien world something's going on right we're setting the scene that this is a different place this isn't the same place and we're trying to make it believable that we've been transported somehow to this particular place now what I'm gonna do now is just layer stuff on top of each other right and the layer of stuff on top of each other is good because one effect can't really do everything for us but right now we're operating with two effects we're operating with the CC lens transition in and the colorized blue wash sort of color grade color correction if you will so that's two effects so far let's see what happens when we start overlaying even more effects all right so what I want to go ahead do right now is actually just go ahead and duplicate this layer again press ctrl shift D and this will make sense in a second and what I want to do is I want to actually go ahead and draw a circle probably around or more or less around the middle right and I'm actually gonna select the mask down here and what this is is gonna be masking out the sort of my face and overall my my reaction right because what I want to do is I want to actually start putting in fact I might even fully fully cover my face with that yeah and what I want to do is I want to actually go ahead and click invert which means that we are not showing it's not taken effect over my face right whatever we're gonna do is not take an effect over my face and we can actually just go ahead and and turn the feather up a little bit and this will make perfect sense in a second because what I'm gonna do is I'm actually gonna go to the layer below this one and I'm actually just gonna go over here and I'm gonna type in CC light bursts and I'm gonna get CC light bars 2.5 drag and drop that to the layer below the one that we have the mask of and this will start getting very apparent what we've actually done once the effect starts taking place and just like that what we've actually done is what we need to do is we need to go here and onion vert the mask actually my bad I realized that I know it's actually dumb it's that you see what happens if it's inverted the effect takes place on my face I'm trying to make it take place around of my face so my face is not affected by the light burst we can actually go ahead and turn up the the the the mask feather of course right and now what we're gonna be doing is going down here and actually go ahead and find the CC light burst and let's just actually go ahead and first drop that 2/4 so we can actually deal with this a little bit more effectively and as you see right here if we want to kind of enhance the environment around us all we have to do is just bring these rays up and just like that we're able to create this the sort of effect where let's press ctrl s would save this and what's actually press spacebar to play but just like that the environment has taken an extreme turn now you can't even necessarily tell what's going on in the background because light rays the CC light rays and just like that we have transformed environment it's getting more and more believable by the second that we have actually you know changed changed worlds if you will as you see right here it literally looks just like a face and everything around me is sort of this like warp going on and that right there is you know you're starting to see the power of not just one effect not just two effects but let's say three four five different effects stacked on top of each other and you know it can start really creating some some next-level stuff and you know of course any time we could get our masks and we could uh we could bring that in a little bit if we wanted to right if we wanted to uh to get the face glow in a a little bit just so just so it's it's infringing a little bit on us right so so it's come a little bit closer you could still see me perfect but there's a little bit of light rays and now there's this bit right here where I shake it off and this is interesting so what we want to do here is make this work now right so we've we've got my reaction of introducing it and we've come to this crazy world but what happens when I shake it off we need to make the visual represent the shake as well so as soon as this shake starts happening what I want to do is I want to actually go ahead and and and press ctrl shift D on both of these clips right here and actually just go ahead and type in wiggle wiggle we want to give a bit of life to this and I want to type drag wiggle Ramla to that and also wiggle Rama to this so if we actually give this a play we're gonna see what this is gonna be looking like but it's looking like I'm gonna press control C control Z a couple times and undo that let's see what happens if we create both of these into a pre composition which means we've sort of isolated them into one layer which means they're they're more or less gonna respond the same way however of course we are gonna be dealing with something like that what we could do is we could get the wiggle Rama but what we could do is we could zoom in it a bunch and see what happens now and it's looking like that's probably not to our liking and again once you get a few effects say guys this is a good demonstration to show you guys that more or less what we're gonna want to be doing is well probably get a run into some sort of situation where we've got a thick something right that's pretty much natural and what's what's wait till we see this right here what's actually throw some scale on there some some rotation I'm thrown a couple different things that would be changing the size of the image the rotations looked like a little bit too much so let's have a look right now and if we press control shift D there so that's looking obviously like just far too much what we're gonna do is press control shift D a couple times get it gone get it gone right click these two pre-compose and let's see just if gelatine what's gelatine gonna be like so that goes insane but it could potentially work let's have a look it's really trial and error guys you know there's no like set you know guaranteed way to do it just like that as you see right there if we press play now it transports into this crazy world I'm looking around it's this alternate universe and then I shake it off and that was a nice little shake off effect but you see we failed twice it doing the shake off effect and the third time lucky we got something that looked pretty good in fact we could even maybe extend that a bit see what that looks like yeah you know so that right there is a perfect demonstration for you guys know he gets a perfect first time I mean somebody will I'm sure but overall it's more of a replicatable process to you know trial and error trial and error and then you know the second third time you get an effect that looks nice but overall right there within the course of 10-15 minutes we have taken a you know a clip of me just acting pretending in in my living room right here pretending to this something going along going around or you know over around me or whatever and then I've just obviously tried to replicate what should be around me or what my imagination can tell me should be around me and overall we've you know we've created a really nice effect using dynamic link between Premiere Pro and After Effects and all we have to do is save it and if we actually come over here to good old fashioned Premiere Pro we can let everything sink through conforming doo-doo-doo-doo it's doing this thing it's actually bringing everything over no pro what I'm doing is I'm currently waiting to see everything load awesome now we can press space and play this but let's actually just save it real quick because it's it's lagging a little bit of course we're dealing with a bunch of extremely advanced effects so let's drop that down to an eighth quality and see if we can't get a preview going just looking like Premier's being a little bit a little bit against us today with this preview right now this will definitely be a common occurrence you know if you've done some major stuff that right there is by far the most intensive stuff we've done so far in the program and when you jump in back over to premier a lot of the times it'll take a second to uh to obviously let that load up it's all in there because it's dynamic link but it might just stutter a little bit because it's new new information for the program to process whatever the case may be but what we're gonna want to do is actually go over here and just see if we can't get this to to pop up give that a minute come over here just just click on the clip give it a second to render I guess it's a processing what's going down under there and just like that it has started to present itself a little bit it's one frame what I'm gonna go ahead and assume is that premier is just being a little bit on the on the slow side today we can press spacebar play it and it's rendered a little bit it's processed everything over a bit as we see it's a bit glitchy but at least we got to see a bit of the start but just like that our advanced effects which we would not be able to do something as complex as this and as you know nicely executed in a short amount of time as this right here if we were not being able to use dynamic link dynamic link is uh you know at this point of the course I'm sure you guys are seeing all the absolute benefits from it but that right there is advanced effects using dynamic link with Premiere Pro and After Effects transporting us from my living room right into a whole new world thank you guys for watching this particular episode stuff's getting super interesting going forward hi guys welcome back to the dynamic link master class we're gonna be exploring how to improve a Premiere Pro sequence with advanced tools so this is where we left off right we we we created this absolutely awesome seen using dynamic Lincoln after effects and really beefed it up with some crazy effects layered a whole bunch of stuff on top of each other four different layers with you know five five to ten different effects going on combined between all of them and I think we're getting some weird graphics card issues right there but ignore that overall we're gonna try and take this another step forward I want to show you guys some advanced tools now After Effects has something called the rotobrush an extremely extremely helpful tool for singling anything out in a scene now Premiere Pro does not have that but of course Premiere Pro is the ability to create dynamic links so we can tap into again like the bigger brother which is After Effects who can help us out so let's actually go ahead and import see oo 36 into Premiere Pro I'm just gonna go ahead and pour that in and I'm gonna double click 'add I'm gonna load it up press play this is basically a review a clip from a product review I did the other week basically of this particular console right here which is like a photo and video editing console you can assign different keys to different shortcuts on your on your mouse keyboard etc to save time designing stuff and editing right so let's drag and drop that make a new sequence actually scroll down here and let's just play until I guess we could just keep the entirety of it yeah yeah we just keep the entirety of it so what we want to do is I want to try and isolate the actual product itself and if we were to do that in Premiere you know it's loosely possible we could of course go here and and and and create a mask around it whatever the case may be and try and manually you know outline the shape or whatever you know what I mean and then go ahead and keyframe every single position to kind of isolate it but that's not efficient at all I mean I'm almost laughing just saying that cuz it's so far from efficient it's not even funny especially when you find out that you know that's just a far easier 10x easier solution over in After Effects so it's actually right click the clip go up here to replace with After Effects composition as we're so comfortable and used to doing right now we're gonna load up here having a look at our crazy alien stuff but it's gonna load us into a new composition and if we press space we can just play this the exact same clip basically I want to use the roto bro aka an advanced tool available to you and after effects I want to go ahead and isolate this right here and then fade it into its normal background but I want to give it kind of an artificial background to start off with which will if that doesn't make sense too it'll make sense in a second let's double click the clip while selecting the rotor brush we get take it to the layer tab over here and our brush appears and we can actually simply start to actually just draw in the space of the tour box editing console and just like that this was a very accurate draw by the looks of it it's drawn a pink outline around our particular object and now what we can actually do is actually just go ahead and and press play however I just realized I've drawn that way over here I kind of want to start started from here which is you know the beginning of the clip that was you know a mishap on my on my my part but that's actually more to my liking because I get to show you guys of course a live demonstration of how to remove stuff that you wouldn't want selected right so before we had a perfect select it perfectly latched onto our object which sometimes will happen but often not so if you get this right where it's highlighted a bit of our object but not fully its kind of highlighted the table hold alt and your brush changes to red right so let's fit the screen and hold alt and it changes to red and now when you draw that is removing the outline so as you see we're telling the program to remove the outline there and it's latched on and because it's using AI its figured out that this right here is the object that we want and now we could press the spacebar and it will frame-by-frame go through and just try and kind of latch onto this object and keep it isolated and what we're gonna be able to do when we return after you know it's rendered this and it usually only processes ten frames at the time as you see so processed em frames and then we have to just scroll over and go frame by frame until the the the rotoscope disappears and then just redraw our outline around it and again just go ahead and press alt and draw around everything that's not what we want and just there by the looks of it we've highlighted again press space again and it will start figuring more out and as you see right here all the green is stuff that's actually been processed and everything else is is you know dead space that has yet to be isolated and that's why it could go through ten frames you know by ten frames and isolate stuff and I'm just gonna do another ten frames we've got at least one second of content isolated and just like that if we press spacebar again just to continuously play through it it will frame by frame go through and and be figuring this one out and it's having a little bit of a delay right there so it's a skip over one too we could just manually go frame by frame figure that one out and then what's actually just go to the beginning and we can actually go ahead and play just like that it's isolated the shape and then around the course of the two second mark somewhere around there I believe it will actually come back and we're we're I mean we're gonna have a look as you see right there it comes back around the two minute and 20 second mark but we've actually isolated it up until that point and we can actually do something pretty cool which is go ahead and add an artificial background and then fade it into its normal background so I actually want to go up here to layer go to new and go to solid and I actually just want to criticize it it could be any color you know orange doesn't matter we're gonna overlay something on top of it and more or less we can go over here and I want to actually highlight animation presets click animation preset then go to backgrounds and I want to scroll down and get one of them I'm gonna grab infection drag and drop it and just like that what we're dealing with is a animated background I'm gonna scroll over till the animation starts press ctrl shift D bring that to the beginning so the animation to start up for the beginning but we've got this this loose object which is floating and then of course it just just kind of you know hard cuts straight back to the to the background but what I want to do is have a nice fade in so let's I keep press control shift D duplicate it go to the bottom layer and remove the rotobrush effect from the bottom layer then press T which is opacity make a keyframe at where the rotoscope runs out and the background comes back in then go over a few more frames and simply drop that to zero and now what we've done is created this fade in effect and mixing the background with the rotobrush effect on the tour box tour box with the already built in movement because the camera movement we've created a really nice effect right there and that right there is something that we've done in a matter of seconds I'm just a matter of minutes if you will I think you know max five ten minutes right something like that and now what we could even do is this is a seven second sequence so we could go over here to you know three and a half seconds and I could press control shift D delete all of those and actually just go ahead and and right click go to pre compose pre compose it again control shift d delete control D to duplicate right-click go to time reverse layer drag it over here and now if we actually go ahead and press play from the beginning we've got this effect it shows the tour box fading in and then it comes straight back in as you see right there and of course it squished out a little bit but come straight back in reverses back down and it repeats the effect after effect he's struggling a little bit to to process that but as you see right there press control s and just like that we have built this this sort of reverse back in on itself effect and I can go back to the beginning play this it comes back out and it fades to the background and then zoom straight back in using that reverse effect and I'll just let that process the whole you know extra area right now just so we can actually load this back up in and premiere actually and in fact if that's all saved so if I come back over to premiere now we've got this this isolated object with the artificial background as you see and it you know it zooms in and then it it simply fades back to to normal and then come straight back down and repeats the effect again and just like that guys that right there is how to use advanced tools in After Effects not only if I showed you the rotor brush which is definitely an advanced tool but it's something that's really not available in Premiere which is you know obviously a crucial crucial thing that you should be utilizing with dynamic link because if Premiere you know is slacking in in what aspect After Effects is picking up the way I can I could absolutely show you that so that right there is Vance tools in After Effects and Adobe Premiere Pro use a dynamic link we're gonna return with more stuff to do with effects without further ado let's keep cracking on with a dynamic link master class course I what's going on guys welcome back to the dynamic link master class we are going to talk about a bit about green screens now so we've done some advanced tools right and the advanced tools definitely don't stop with the rotoscope brush the rotoscope tool the rotoscope effect all valid names for what we just did in the previous episode I think it's a really nice execution and if you can just mix in a little bit of rotobrush into normal scenes look at that we only use the rotor brush for two seconds and instantly it makes just a more interesting scene that you know transforms into the real-life equivalent and then has this crazy you know background behind it and overall that is really not the hardest thing of the world to do but it looks pretty cool now we're gonna break down green-screen so I've got this green screen right here and it is me testing out the green screen and make sure it was all working before a client came over and we filmed some stuff and I want to show you guys the drastic difference between the green screen effect and the chroma key in Premiere Pro compared to the tools available to you in After Effects and this will be continuing on our kind of advanced tools you know line of thinking if you will that we're that we're trying to demonstrate that After Effects clearly has some stuff that's far superior to Premiere Pro but let's drag and drop see oh oh oh - and let's actually double-click it load it up here and we can see we've got a got a decent clip I I sit down and everything I'll probably press I which is in and I'll create that end point right there I'll drag it drop that down here mute the layer you know we don't need any audio attached to this what it is and it's pretty much just me looking around right over awesome so over the course of five seconds five and a half seconds I pretty much just look around we can go ahead and shop the clip right there and you know basically it is not an ideal green screen my green screen had been set to the side for a little while I didn't have a chance to iron it it was pretty you know wrinkled up and stuff like that which could be a problem could be not depending on a what software you're using and also how you experience you are with green screens so without further ado let's get started what I want to do in Premiere Pro the the actual process of actually getting rid of the green screen would be to go over here to effects and type in key key is key lights aka chroma key aka ultra key whatever the case may be and you've got a whole bunch of different options here now one of the ones that most people go to right away is color key I'm gonna drag and drop that over here and go over to effects and we have a color key and we can clearly select the color now color key as you see really doesn't do a whole lot because the tolerance hasn't been turned up by default so what we could do is we can select a green which we think is is more or less they are the whole time and just start bringing that tolerance up now the problem with that is you start eating into you you know what I mean so to actually get all the green green off the screen I have to eat into my face a little bit as you see like that's not that right there is not a sideburn turned a mini beard at the bottom that's the screen turning to black its cutting me off so you know the closest you could really get this is about here which obviously is it isn't good because it's got that that green attached now ultra key is the sort of superior one as you have a look right there all we've done is select a green and it's removed everything however of course we could still see the wrinkles because the wrinkles are of course still you know part of it and it hasn't necessarily you know take it away now there's a couple things like the spill suppression and stuff like that which you can you can kind of mess around with with that's that is a little bit less less relevant but you can mess with it with some of this stuff to get it gone however it doesn't really give you the most ability to really polish stuff I think that's the word I'm looking for right polish stuff however in Adobe After Effects you could polish stuff really really nicely and that's thus that's an absolute fact that as you can see right here we've toned it down a little bit but you know if we zoom in right a hundred and and go over here it's got these messed up little things on the side it's eating into our character aka me and that's not what we're looking for so let's remove ultra key we've concluded that the key light effects in Premiere Pro are you know not great essentially they are okay we're dealing with an entirely flat one color but because we're dealing with a live green screen like here with some wrinkles in there it's not a perfect seamless green screen which means it's it's gonna need a not perfect seamless effect to done to it so it's right-click it let's actually roll over here how probably gonna zoom in a little bit so I can right-click it more effectively and go to replace with After Effects composition and let's let After Effects load itself up just let it do its thing import everything and just like that we can mute the layer we can actually go ahead and press space and just play it and it's just me looking around everything's looking pretty cool however this over here which is already pre-loaded but I'll remove it or retype it for them for the purposes of it if you go to effects and presets and type in key light this is key light one point to the ultimate kind of green screen effect that if we drag and drop that and get our you know our pen tool our color dropper if you will and click instantly it's gonna remove everything however as you see there is a significant you know stuff going on the background but what we would do to actually get that gone is mess with the screen grain and as you see right there all I've done is take it a hundred to maybe 140 or 150 and just like that we have completely removed the background perfectly and if i zoom in there is a little bit of fuzz going on right there but it is overall no way in comparison anywhere near as bad as a you know the Premiere Pro one and if we actually turn the background to alpha as you see right there it was pretty well done it's pretty nice and by the way I'll show you an extremely quick fix where it is a bit see-through here right we can't deny it it is a bit see-through here you know there's a little bit of transparency going on clearly because of some spill now what we can actually do is just press ctrl shift D or ctrl D rather at duplicate the layer and what this does is instantly solve that now if one duplication does do it duplicate it again now in this case I'll press ctrl you know Z to undo that cuz to duplications or one duplication just two simple layers has completely fixed the kind of see through transparent shoulder effect that we had going on right there and just like that we have used an advanced tool another advanced tool which is the key light one point in Adobe After Effects to actually you know get the most out of this green screen this green screen was far inferior compared to what our After Effects equivalent has turned into and also what you've got is the advanced spill suppression advanced bull suppression is not that relevant to this particular clip right here however if for example we had actually used the the normal green screen effect over here and it had all that green around the edges we could use the advanced spill to to take off that spill you know it's it's in the title the green is spilling out and the advanced spill remover would would tone all that down however the green screen gain was able to do that we're able to you know to turn that up to to 150 and completely get rid of the background we can obviously have it as a transparent background or with a black screen or you know we could straight up repeat the the same thing we could go down here right and we could actually go over here to the you know this particular effect here double click it and copy paste the orange solid at the bottom and literally just come over here press control V which you know pastes it and just like that we have a you know me right here in front of it and look at that if we actually zoom it there is a little bit of spill so I think we could potentially use this this time to UM to remove a bit of that spill and and see what's happening but I'm actually just gonna ctrl shift ctrl Z and and delete that and actually just leave that how it is but that right there is the advanced green screen effect thank you guys for jumping in on this particular episode right here we're gonna keep cracking with more advanced tools available to you using dynamic link we build everything in Premiere as we're seeing well press ctrl s we'll save this we'll come back over here we've built everything in Premiere but we have enhanced everything in Adobe After Effects which is only available using dynamic link hi guys welcome back to the dynamic link master class we are gonna be finalizing the effects section if you will explaining and breaking down sort of the third and final or maybe not the third and final but definitely the third advanced tool now we're gonna be exploring the masking tour to be taken this particular clip right here and we're gonna be exploring and putting ourselves in another hypothetical situation right that's my main you know demonstration so far has been just hypothetical situations whether it been there were view videos whatever the case may be and if you guys go to resources you could download this clip right here and we're gonna be breaking down a hypothetical situation of as if we are you know you know designers or whatever and we've been hired by a club to creates a promo graphics for their new event that's coming out we're actually gonna isolate this particular poster on the wall duplicate it a couple times and then do a couple cool things in the background to overall just make this a pretty cool graphic so it's actually drag and drop this into premiere right and what I'm gonna do is drag and drop that here let it import itself drag and drop it further down here to create an actual brand new sequence and I'm gonna first do the actual chops and cuts in premiere as per usual and I want to highlight the bit of the video that were actually to be using so we're gonna be using that to probably starting starting like there right so it's not it's not very long overall this is a how long is this like a two second two second piece right however once we've actually created it and isolated it duplicated it a couple times and also done a couple different you know reverses or whatever the case may be we're gonna create you know a good 5 to 10 second graphic out of this and you know it's gonna entirely transform so first off let us actually go ahead and right click go up here to replace with After Effects composition and we're actually gonna let After Effects load itself up and what we're gonna be exploring is the advanced tool in terms of the pen tool the pencil and After Effects is more advanced than Premiere Pro Premiere Pro great by all means 100% you can come over here and get the pencil and you know we could you know technically highlight this on its own and and then you know move over a little bit and and adjust and everything like that is doable do not get me wrong in fact it's a hundred percent doable but it's just more accurate and I mean I don't actually thinking about it I don't know if it's necessarily more accurate as it's just more comfortable over in Adobe After Effects and you know I'm actually gonna load that up here I'm gonna get the pen tool After Effects pencil and I'm literally just gonna start drawing a loose outline around at this particular poster and we're trying to highlight it now we could fix the actual outline later as you see right right there we probably can bring that in a little bit more up here probably comparing that in a little bit more up here bring it a bit more but that loose you know outline is just to get the points made and then we can adjust them go forward and just like that if we press em we're gonna get the mask up when we want to turn on the mask position and basically what we want to do is just go over like two frames and start to start to basically customize this and we actually want to open up the mask so we can we can get the individual points just like that and we can actually adjust it bit by bit so we're gonna want to pull those up I always pull them out of it just to see what I'm dealing with and I can you know sort of line stuff up a little bit more accurately but basically we want to keep going over a couple frames and just adjusting this outline until we have the course of the two seconds fully selected you can't see anything else going on around it and you are just dealing with what is you know the target aka the subject of what we're trying to do which is this poster right here we're trying to get the poster on its own so you don't even necessarily can't really tell that is part of sort of a larger sequence around it and you know - two frames of the time some stuff that moves a little quicker you'd have to go frame by frame but this is move it a little bit slow as it's in four times slow motion 120 frames a second so we can we can do two frames at a time as you see I'm just pulling over one pulling over a second one and then I'm literally just adjusting stuff and with a shape like this which is only you know a square or a rectangle yeah rectangle you don't you know the precision isn't as necessary so right here I'm doing roughly what I assume is is the edges in fact I'm going in a little bit bit so we just definitely have a fully highlighted poster but if this was not a rectangle not such a basic you know rudimentary shape we would have to be you know there were a much complex masks and the masks would be different they even have curves in there whatever the case may be so the simpler the shape that you're a sketch be masking the quicker the process you know I I feel as though that is a relatively self-explanatory point but it's very true if you are masking some you know some next-level stuff you are gonna be taking a lot more time and that's why the rotoscoping tool often times for the more advanced stuff is a better use of advanced tool to jump to because of the simple fact that it you know relies on a I wear masking it's not gonna figure out anything we don't tell it to figure out right like it's not gonna start finding edges and start doing the mask for us you know I wish it would but it's just not the way the tool is built it's built to be a manual tool a manual kind of cropping and highlight tool now the rotoscope is built to be a AI right sort of computer assisted which means that it actually you know you sort of you draw a rough outline as we did earlier right if we go back here we drew a rough outline and it just tracked onto figured everything else out by itself and that right there is an extremely advanced tool the you know that's not even available in Premiere you have to use either After Effects or dynamic link between premiere and After Effects to you know to even have access to something like that however we do have access to something like this which is the the masking tool and we could as well be doing this in Premiere like I said just personally within you know the five years I've been using these two programs or Premiere I've actually been using for less maybe like two or three years but After Effects I've been using for a good five years and in that time I've definitely you know figured out what is quicker in one program but what's quicker in the other program it you know this is a hundred percent more comfortable quicker if you're doing something more comfortable you know you do it something quicker usually you know often times it seems logically sound to assume that so it makes sense that we want to you know bring this over to uh to After Effects if we press ctrl last save this is affecting it live right so as you see right there you know it's it's nice and and highlighted and we're going over two by two I'm actually gonna bring this here and what I'm actually gonna do is do some pretty cool animation to this next but actually what I wanted what I want to do is it probably there we go adjust those two at the top as well I don't think i justed those two at the top so you got to make sure you're remembering to uh to keep all points adjusted of course you know easier said than done but if you do mess up one of the points you have to go all the way back and redo everything however all you really have to do is change a couple points so it's not the it's not the end of the world if it does happen but our shape has started to take form we are gonna actually complete this so I'm gonna speed up a little bit and we're actually gonna highlight this for the full course of two seconds at the end of the day it is only two seconds so I think it seems seems useful to do that but you see how to highlight a two-second clip right here and to analyze to actually isolate it rather we're talking about ten minutes worth of worth of masking right so if you're trying to mask out you know something that's god forbid an hour long or 30 plus minutes or something you're gonna be dealing with a significant you know headache and believe me I know this stuff firsthand I you know I'm a freelancer so for for projects that I'm getting paid for all obviously be going that extra mile and doing some advanced stuff with with in terms of masking or whatever the case may be and especially for intro sequences doing something with the masking is always cool whether it be a you know a wrapper for a music video walking in front of text or something and you know this stuff takes quite a while when you're doing it you know in a live scene because this right here for the purposes of a simple demonstration I'm using the very rudimentary shape here this basic you know poster but you know real life shapes theater you're usually masking in a music video or client project is almost certainly gonna be more advanced than this you know single four-sided shape right here right so I think count your blessings that we're doing something relatively simple for a um for a demonstration but you know of course we don't want to overwhelm anybody and at the end of the day live explanations which by the way we'll be getting to some live explanations in the very next scene because I want to familiarize you you guys with the advanced mask tool and then we jump over there to to the transition section which we got coming up which is going to be huge because we're gonna be breaking down advanced transitions and these are transitions that I personally use in you know almost every cloud project masky transitions crucial make stuff seamless overall it's an extremely nice look and me I really like seamless stuff I don't necessarily like the crazy over edits I'm all about my seamlessness and you know masky transitions if you're not familiar with them already you definitely will be they are an extremely seamless way to blend scenes together we're nearly done the masks and thank God we only got to do one mask and then we can simply duplicate it and reverse it back on itself as well to create kind of like this poster II type of type of vibe that we got going on come over here the final couple points finally we have actually done it together obviously you guys have downloaded this clip from resources so we should be following through everything together right now you know if you guys haven't done this with me I am a little bit disappointed you know I've had to go through the the suffering of adjusted all these points I want you guys to as well it's as crucial experience but just like that we've now highlighted the clip now it's a little bit it's a little bit foggy it's a little bit shaky in some bits but if we jump back here we can see that we have actually highlighted it and what the hell what happened there so as we see loving it so sometimes there's a little bit of a disconnect from you know when you bring it back into premiere but of course it fixes itself pretty soon and just like that we have actually created a poster now what I want to do is I actually want to put before I put something to the background I want to actually just position some stuff a little bit better so you know I said I want three different positions right I want three different posters okay so I want to bring this one over here and have it maybe here then I want to bring it up a layer press hold alt and make it and bring it up a layer just so we can make that bigger and I actually just want to make this a little bit smaller and just have a look at at what it would look like to just reposition this a little bit all right so I'm just getting creative with it now all right what I want to do is I want to just position that there see what happens if we move that over a little bit nice so that right there is the current is the current set up and I just want to keep tweaking stuff so I want to duplicate that again bring that over in fact you know what I'm actually at the leak down what they'll do placate the top one mmm bring that over as well and rotate it again and bring it up a bit see if I can't have it here or you know what I'll have it there yeah sure and now if I go over here we've got these posters which are coming on and it's sort of is looking like the effect I'm going for again guys I'm gonna keep reinforcing the point every chance any chance I'm not doing something perfect that's a chance I'm gonna reinforce the point that it will rarely go perfect the first time more likely a more replicatable scenario will be that you'll have to do a little bit of it's trial and error to get the effect looking precisely how you actually want it and the bottom layer here I'm thinking should be a little bit smaller let's let's be honest about that it should be smaller a little bit let's bring that over here amazing we've got three different sizes of these particular Tings but I'm actually gonna delete the bottom one and go ahead and redo placate this one drag it over a little bit and rotate it a bit she's trying to have all the sizes actually add up yeah we can turn that down a little bit more bring it over throw it like there just like that we've got three posters which are flying on and now we can also what we could do is right-click this that's actually not even linked so delete that bring these down bring these down here and actually just go ahead and right-click and go to nest and we're gonna nest these then we're gonna press alt hold alt rather and drag over duplicate right click go to speed duration go to reverse lair and now what we've got is posters which zoom in zoom back out and I'm actually gonna go ahead and actually duplicate the first layer again so that it comes back in and we've got this nice sort of gift type of situation then what's actually load up our resources again guys if you could download liquify which will be available drag and drop that into our particular sequence scale it up so that it fills the screen and just like that we have the poster which is animated and there's some crazy stuff going on the background but that is a little bit distracting a actual live you know poster might have might have well first off we definitely want to go over here to uh to Gaussian um and actually just throw a little Gaussian blur on there so we actually drag and drop that down here turn that up a nice little bit repeat the edges and there is a couple final things that I want to do first off go here and you see how we are at this point just throw an effects on from each program right whichever program is easier to do the effect that's where we're going to do it I'm throw out some drop shadow in here to throw that onto those three bring it over a bit copy and paste it to these clips here or actually I think I might have to uh copy pasted come over here copy paste and just like that we got some drop shadow on them now which means they're you know standing out a little bit more and I think I I think I am understanding what needs to be done as well there needs to be if we go oh my bad if we come back over here and go over here the top one needs to go up a bit I believe that that is what what needs to be happening it's not one needs to go up a little bit and the one over here needs to go up a little bit as well actually I'm just gonna press ctrl-z undo that come back over here have a look looking decent it's looking decent nice I'm happy with that it's a pretty cool little poster what we've wanted through finally guys is actually jump back into After Effects and go ahead and finalize this with a with a title a title crucial a posters gotta have a title was right-click let's go to replace with After Effects composition and what we're doing is again just to remind you if you don't you lost track because it has got a little bit crazy for sure is actually go ahead and what's press ctrl-z what's actually undo that real quick what we wanted to go ahead and do is come back to premiere have a look here press ctrl-z undo that we want to right click the bottom layer my bad that was that was an accident of mine right-click the bottom layer press replace with After Effects composition just the bottom layer not the actual top layers of course we're importing stuff that can't be imported let's load this one up and what I want to do is actually go over here and get the infamous raise CC light rays or CC light bursts 2.5 drag and drop it here and bring the strength up a nice bit probably a 100 whatever the case may be yep have the have a look at the intensity yeah yeah bring that down bring that down probably about there press ctrl s save that just like that we have a you know an even crazier background right now and in retrospect what I'm what I'm thinking right now is to get this to get this looking properly official I'm thinking that the ones on the side they're just not fully doing it for me I'll be honest guys I want to bring this to the middle I want to bring this to the middle alright and I want to bring it over here and of course these are all duplications so it's all the same and we've got this poster that's going in and out amazing and what we can also have is potentially let's have a look let's have a look to have a look we're gonna want some text on here for sure but I'm just seeing live where to actually insert it maybe it would go good here let's have a look yes I'm thinking maybe maybe on the side could be good yeah that's looking good right there looking good and then we can actually go ahead and have a look awesome so we'd want some text over here and we want to say kasa I'm literally just trying to simulate a live promo graphic for an event that would be going down casa let's have a look how far oh yeah there we go casa casa presents amazing casa presents with scale that down a little bit nice casa presents and duplicate that as well go ahead and type I'm in big DJ night I'm just gonna get funny with it now basically was gonna call this big DJ night so casa presents big DJ night amazing casa presents big DJ night phenomenal that right there is a poster for an event for a you know a nightclub whatever the case may be what we might want to actually do is uh is go ahead and copy that put it on the same text layer so that it is oh bring that over here boom big DJ night amazing we're gonna do is highlight that what we're also gonna do is uh it's just make it a little bit smaller I think big DJ night phenomenal there we go Casa presents big DJ night and what we can do to finalize it is right click go here replace with After Effects composition and we are actually just gonna throw the simplest of simple touches onto it because I think after we've done all this all it needs is a nice little simple touch and that simple touch would be some wiggle some wiggle position drag-and-drop it make the wiggle amount twenty all right press control less save it come back over to Premiere Pro and what we're gonna want to do is actually get some drop shadow drag and drop that onto the text itself because sometimes when you throw effects on there they they were of other effects press control-shift C ctrl shift V or control C control V to duplicate a copy control safe ctrl V again to duplicate it just to enhance that a bit more and just like that Casso presents big DJ night that right there is an absolutely killer graphic that we've created in the course of maybe 10 20 minutes whatever the case may be it took a couple twists and turns but overall I'm very pleased with how this ended up that right there is the product of dynamic link we've combined Premiere Pro and After Effects to create a bad-ass graphic for a potential club night just like this welcome back to the dynamic link master class guys we are entering the transition section now we're going to be doing how to do advanced masking transition so we did a little bit of masking here at the end where we are we mask something out but this is definitely not a transition but we created a pretty cool graphic right here sort of simulating the idea that we're working for a you know an event company or a client trying to do a promo poster and it turned out really nice now this time we're gonna have a clip of a restaurant logo and we're gonna be trying to create a transition where the the logo is on the screen for a second and then we actually zoom in through the logo into another clip what we actually can conveniently use this clip again of me sort of reacting crazy and we'll sort of try to line it up so it uh you know so it works pretty well so without further ado let's do that now what we're gonna do first is import C oo 100 which is a DES clip we're gonna be doing the transition to into premiere and create a sequence out of it and it's a very short clip it's only like just under three seconds alright and what we're gonna do is the idea is to pretty much create it so that it's onscreen for about a second maybe maybe a second and a half and then all of a sudden it zooms through the the logo the logo kind of disappears almost hollows out and is zooms thright straight through into a into another clip and the other clip like we said is gonna be the other reaction face sort of clip which I think we'll be able to get working pretty nicely and instead of using the mask tool inside premiere which is just a little bit more in my experience what we're gonna do is we're going to right click and we're gonna go to replace with After Effects composition because that's gonna give us the ability to use the as we've already demonstrated that just a little bit easier to use and more comfortable to use pen tool over here in of course After Effects and what we're gonna do is make sure we're selecting our layer and we're actually just gonna go ahead and let it play for a second and maybe play to maybe play to about to about here and maybe over the course of then less than uh less than a less than a second what we want we what we want to happen is is the clip just shoot in just boom straight in so I think leave it on for for two seconds two seconds and then what we'll do is we'll actually go ahead and draw a a mask and we're just gonna mask out and we just draw the square around this now luckily this is a pretty nice pretty nice shape because it is a relatively basic it's not a perfect square but it's relatively basic which means we're not gonna have the hardest time chopping out but what we want to do is go ahead and actually invert it which means we're gonna be going through the side of it and we can even we can even add a slight a slight feather to it as well we can actually press control-d delete duplicate it go here and actually delete the mask off the bottom layer because what we want us to be able to turn off this bottom layer we want to be able to turn it off as we go through or actually use a transition on it which is what we're which is what we're gonna be doing trying to use some sort of transition whether it be a um a you know sort of cross dissolve probably something that's a little bit more sharp something that can wipe it out right but overall here we are we've got our two layers one of them has been has been masked out however the mask starts at two seconds right here and what we can actually do is turn on the mask path and what we're gonna do is go frame-by-frame so what's actually hold control and and then go over one using the using the the the arrow keys and what we're gonna do is actually just go ahead and select this particular mask and just adjust it as we as we go so we're gonna adjust it little bit and we're gonna go frame-by-frame until we've sort of masked the entire path and more or less tracked the entire path of the logo and we're just going frame by frame slightly adjust things make sure the mask is fully covering this section that we obviously want to do this transition it is ideal to get everything looking as sharp as we can right off the bat if you don't get things absolutely perfect it's no worries you can't come back and fix stuff however of course it's more ideal to get everything sorted right off the bat so that you know so that you don't have to be doing any fiddly stuff later on but overall I'm just just going frame by frame that's pretty much the science of it frame by frame adjusting the mask making sure that everything's covered and we can uh you know nice you know nice and seamlessly do this transition that's really the effect is taking this and making it you know happen so quick that the viewer doesn't necessarily have time to process what's happened so it just looks nice and seamless they don't necessarily know what we've done here and that is a perfect masking transition to something that looks seamless something that is you know not invading the viewers sort of uh not ruining their experience if you will because at the end of the day the viewer should in theory be watching something that's uh you know that kind of flows into each other and they shouldn't necessarily be totally aware they're watching a video they should just be enjoying what they're you know what they're watching and that seamless effect definitely helps out with that for sure but it can be a little bit tedious frame frame by frame as you see right here and we're just doing it and of course we haven't even done it Izumo or anything we just want to actually do the entire mask path and then we're gonna be able to zoom in later on let's just make sure everything is uh is highlighted and we cannot we can give it to firms at a time at this point because it's not really moving a whole lot to be honest going frame by frame might have been a little bit overkill but that is the nature of of these of these transitions right here is it could be a little bit of a little bit time-consuming which is why you know usually you do it the course of a short period of time which is exactly what we are doing we have done it over the course of probably about eleven milliseconds we'll keep going over a little bit until maybe two maybe 20 so more or less half a second and this effect will happen over a half or a third of a second which I think will be a decent amount of time to to not only not be able to fully tell what's happened but also to be able to appreciate what's happened that's that's the fine line to be honest that's definitely the fine line is you want to be able to see what's happened you want to be able to see the effect but you don't want to make you know you don't have to look rough I think I think that's definitely the best way to put it but that right there concludes the mask right there so we have this portion right here which is masked out and the mask moves around a fair bit that's for sure so what we can actually do is maybe delete every every other every other one and just see what we're looking at here so that should be alright over the course of a couple seconds and what we're gonna do now is actually just turn this back on I will be able to transition this out so we want to transition it out as this comes through so what we're gonna do is have this on flow actually and what we can actually go ahead and do is have a look at some transitions down here and maybe a radial wipe is honestly what I was thinking I was thinking a radial wipe could work out however a radar wipe with a fair bit of feather because that looked way too rough but a radial wipe like that could be good if it wiped out just before it zoomed in potentially or ideally what's probably going to be cleaner is just gonna be a straight radial wipe and that's the reality of the situation it can swipe out real quick so what we'll do is we'll turn on the the linear wipe right and we'll actually go over a couple frames and we'll actually have that maybe over the course of their fully complete so it goes it boom slides slides open slides open and shoots in which is what we're gonna do now so slides open and now it actually what we're gonna do is press s turn on the scale keyframe and we're actually just gonna go ahead and and have a look at that mask see how many see how many it does and just like that we're gonna go over and we will complete it press s and just zoom in zoom in and just like that we have fully zoomed in and we should have created the zoom in part so now if we actually come to the beginning we press ctrl s to obviously save what we've done and then press space to actually play so just like that it plays and then zooms straight in and however what we've what we've forgotten to do is copy and paste the the scale attributes to the clip below as well there we go of course now that that's sorted itself out and that's looking like it happens a little bit too click - too quick so here comes the tweaking part guys as per usual it's a it happens to the best of us now we come down here find the linear wipe and I'm actually just gonna go ahead and have that happen a little bit slower all right because I think it happens a little bit too quick here what it's saying is there's maybe there we go so what we've got is the clip zoom again nice but what I'm thinking is the scale so both of these are happening a little bit too slow as well they should be done so just like that maybe there we go probably like this not too shabby and of course I'm gonna tweak this one down here a little bit again getting everything perfect is kind of a secret science but we've got it done there we go and now we've got an effect which happens pretty quickly but is definitely is definitely at least in execution I think what we need to do is is just turn a position keyframe on for both of these as well actually position and I just come over here a little bit you see where the screen is fully gone we could pull these ones over a little bit as you see right here because then on the next one they're gone let's have a look there we go okay cool so it just needed a little bit of position so it can get off the screen pretty pretty quick basically and what I might even do is come down here and just have a look at the at the actual linear wipe bring this over here and maybe have a come off a little bit before yeah so I think what I'm gonna have to do is have the the linear wipe come off boom and then come through so you can kind of see what's happened and then it zooms in and just like that we've done it press ctrl s to save if we come back here now we will actually have a layer which appears and just like that zooms in and what we can do now is get a clip and actually go ahead and put it under it which we already have our clip lined up however I just want to do a little bit more tweaking here see it is it is a fine a fine kind of line to get stuff looking really nice and there you go that's probably the one right there so we go back we play it there we go looking decent now so it scans off zooms through wonderful and just like that we can actually go ahead and do is come over here get our co o89 which actually might already be in here it is right right here it is oh no that's actually the wrong one right bad see ooo for that's the one we'll drag and drop that here and go ahead and bring it or actually double click it open it in our our viewer over here and what we're gonna do is literally just come to the beginning of that action press I to do an end point and come over here and actually start it from the beginning for sure now what we can do is we can actually scale it in so that it is there to start with scale and then scale there as well and then it then it just starts scaling up dramatically and there we go and all we do is we just scale that up a bit more and scale that up a bit more and just like that we've got it and now we play this okay and now it just needs to be adjusted a little bit so right here we should probably be we should probably be the start of it I'd imagine so we can come over here and you see what I mean guys it's really just a whole bunch of fiddling and just like that it looks like we vote we've nailed it so we're gonna press spacebar to play and just like that we've created a transition using the advanced masking tool it cuts off the screen zoom straight through and just like that we have actually created a masking transition this is it of course slowed down the screen disappears and it flies right through screens of Leo's flies straight through and that right there is the advanced masking transition using dynamic link hi guys welcome back to the dynamic link master class we are continuing in the transition section we're gonna be doing the rotoscope to actually to create an advanced transition so pretty much we went through this right this right here is a advanced masking transition we took the masking tool aka you know the pen tool masking is really the effect the pen tool is the actual name of the specific tool in question and we were able to create this that we blended it with another scene of course of me acting to to to sort of have an expression that would make sense if we just flown through this logo right here but essentially what we did was we isolated the logo than we you know used a transition on it and that of course just just you know scaled it in which was which was very cool indeed now what we're gonna be doing is sort of similar but instead of having to actually manually select the shape we're actually gonna be using the rotoscope to which we messed around a bit before to actually just artificially grab that shape for us and save us a bit of time so let's actually go ahead and explore the process of doing that and I've actually got another clip for wrote a dam so of course we already checked out this clip from rotor damn right and we may be using this as the clip to transition into I'm thinking it probably is a decent clip to transition into because of the movement but the actual updated clip is the I'm literally - scanning around to have a look there it is Co 72 or 172 so it's a little bit dark so I couldn't see it for a second but essentially it is me filming my friend of a debt and we're at the zoo in Rotterdam and he is just holding up his camera - this penguin right here and what I want to do is I want to actually zoom into the screen so I want to highlight that screen and when the cameras already zooming in which is great so we ready have a forward motion we want to zoom straight into that screen right there and actually transition into another clip so easier said than done but it's definitely doable and very doable with dynamic links so let's drag and drop this at the premiere again let's actually double click this open it up over here and wait until the actual movement starts happening so about there I'm gonna press I which is the end point keep playing that and we've obviously isolated a decent bit of the clip in fact I may even just go to about there and that'll be where we actually start from so we start relatively already into it I'm gonna drag a drop this down here to the new sequence button go ahead and let this load up just gonna literally press play just to have a look again what I'm looking at right click it and let's go straight into After Effects no messing around no time wasting but a right-click that and and have this load up a brand new composition now actually what I want to do is real quickly just organize some stuff because I've realized over here what we've done is we've let After Effects get a little bit crazy so real quick let me just make a folder called footage another folder called comps all right speak out for this called folder a foot a foot is called folder a folder called footage and a a folder called comps and now what I want to do is I want to drag them out of each other I don't want that to be in there but for some reason it's not let me that's no problem I will drag this out here and then I will actually drag some compositions to comps and then be able to drag that out and I'm just highlighting these dragging them over here to comps get this stuff right here throw that throw that just I'll just leave that actually so now we've got to to kind of folders with guys footage and compositions awesome a little bit more organized over there right that was spinning me out a little bit alright but here we are let's press spacebar play it we've got our our composition nice and set up now first what I want to do is I want I should go over here and actually just type in a brightness I want to get a little bit of brightness and just brighten up our our scene just so I can see it a little bit more right this will this will make a little bit of a you know it'll just make it a little bit easier because we can actually see what we're doing and now what I want to do is I just want to scroll over and I want to actually go ahead probably decide where I'm gonna actually do the effect and I think I'm gonna do the effect maybe maybe right like right here potentially so maybe it's it's zooming in and zooming in and then all of a sudden boom it it takes it I think I might even move it back a little bit so that we've got a little bit more to work with and it kind of it gets a bit closer and then we're gonna use the rotor brush to select that screen and and the rest is is gonna is gonna take place so let's give it a play maybe maybe around there maybe around there yeah maybe there so I'm gonna double click there and actually go up come up here and select the rotor brush tool and I'm actually gonna zoom in and click and he should yep just like that select the entire area because it's white and the surrounding areas dark which means it can lock on to the shade you know the different color essentially and know that that's a different part and it's going to lock on to that so it uses AI right and we're just gonna press spacebar and it's gonna go frame-by-frame for the course of 10 frames and it's just gonna figure that out and I think ten frames will probably be enough actually so if we come back well we can actually have a look at is for ten frames as you see the screen has been has been isolated however all we have to do to actually invert that is right-click or a drop down menu click go here go to rotobrush and actually just tick invert background and now we've got this clip where it's on the screen and then all of a sudden it gets there and it's off the screen for a couple of seconds right so or there is a that's something that we can essentially zoom into right so right there hypothetically if we were just to you know zoom in a whole bunch and and and drag it up right here we would just zoom straight in but I'm just going to press ctrl Z ctrl Z again ctrl Z again come over here and we've essentially got this the course of 10 seconds I think so that's how how quick the the transition is gonna happen in fact it's gonna happen a lot quicker than that I'll be honest what I want to do is just do the zoom real quick so it's come here to the first frame that it's gone let's press a scale keyframe receipe get the position keyframe go ahead and also do the drop down menu come to transform and actually let's go ahead and take this little box right here which is turn on 3d layer and actually you know what I'm actually gonna do with that I'm actually just I'm gonna turn I'm gonna turn that off actually I'm just gonna have position and scale the actual 3d layer will be for the the clip that we want underneath it to transition in because we want to give it a little bit more of a a real effect so now what we want to do is just go over 1 2 3 4 5 6 7 8 9 10 10 frames that's what we'll do we'll actually zoom in right now and what we're doing is we're just literally zooming in until we are in the middle of this screen right here you see the closer we get the less precise it looks and we more or less just want to zoom straight into this screen so that we're in the middle we can't see any of the screen around it so it just has this effect as you see right there I have ignore what happens afterwards but it has this effect of of zooming into the screen and now we can press control shift D and delete the end of it that it pretty much just zooms in and then that's it right it zooms in boom and what we're gonna be able to do gone forward as well is is get us a little bit closer to the action in a second and what we can actually do is just like that zoom straight in awesome so what we could even do is is maybe have this maybe have this like they're like maybe maybe 150 maybe just just to keep up with the movement we go to a hundred it is zooming in and then BOOM zooms in to a hundred and maybe the the position here is of course normal but at 50 it is maybe like that just so we have a little bit easier of a pattern of a flight pin got well what's happened there I I see what's happening are I call yep boom looking decent look at these and I am uh I'm overall pretty happy with it so I'm gonna press ctrl s just save that and of course what we've done is is instantly gonna start taking effect over here in Premiere Pro however of course we haven't even we haven't even done - nothing too crazy yet all we've done is it's just isolate the shape and and be able to get rid of the screen and then of course zoom in real quick so that you know ever everything essentially happens real quick now what we want to do is I'm just gonna I was just trying something quick is actually go ahead and get a clip to actually you know fit in here right and the clip I'm going to use is gonna be that Co o27 right that same exact to put the same exact clip and I'm gonna import it directly into After Effects actually because After Effects is gonna give us a couple advanced abilities right which is something that I showed you a tiny bit but it's the 3d layer right so it's drag-and-drop the co Oh 27 into Adobe After Effects and what's actually drag and drop it to the bottom of this clip right here let's drag it here let's actually just drag it over until we find a position where the movement essentially has started which is about there I'm gonna press ctrl shift D chop that out and more or less that is where we - coming on okay however everything from here which it should be small so here a lot happens in these ten frames so we have to innovate this believable right so first off what I want to do is I actually want to go ahead and press P or I want to go ahead of s s rather put the scale on press P put the position on and then actually open up and put the orientation on after we click the 3d layer go to transform and actually tick the orient yeah orientation all what that is gonna do is track advanced 3d three-dimensional rotations essentially and now what we do is we go frame by frame so I've just gone over back one frame and instantly the camera has started to appear itself as we could see right there and it's looking like what I want to do is maybe end end on a frame that's a little bit bigger so that when we go back one and what this is right now is a live demonstration of me more or less just just try to piece together in my mind how I'm accurately gonna do this effect right now and I'm gonna go over and actually just go here bring all these here and like I said maybe it ends a little bit bigger so that when we actually come back we have a little bit of room to to work with as you see here so yeah I think I should end like that comes over comes over it's a bit smaller comes over it's a bit it's a bit smaller and this is all the sizing stuff guys and then as you see right here I'm able to bring it in a bit more and also rotate it a bit and then here we go we can bring it in a bit and rotate it a bit more you see I'm really just trying to make it look as accurate as possible that's more or less always the goal here is can we make it look accurate and you see now what I'm gonna need to do is probably turn it over like that and bring it here and then start scaling it up as well see we're trying to make it fit properly as you see so does this fit what when we go over it looks looks like he got it got so big that it has to stay that big as you see right here so what we're gonna do is just scale that up a little bit and bring the rotation back around amazing bring the rotation back around the scale rotation background and that is that is I guess how how we'd have to frame it up you see so so you do have to sort of make a couple adjustments and you know sometimes you have to sacrifice a little bit of footage to fix it to get everything looking looking right now again it depends what shape you're working with all right I feel definitely the need to say that because again in the previous you know kind of section where we were just using some masking we're using a very basic shape right so it didn't necessarily have the most you know kind of crazy twists and turns to it whereas a shape like this it's it's sort of a square but it's definitely not as well so it's a little bit different and it's definitely a little bit more fiddly basically the the sort of general rule to follow is the more advanced the shape the more advanced the the mask or the or the area that you're trying to uh pretty much single out especially if you're trying to make another clip which was not shot with the same motion or anything both blend into it you are definitely gonna be running into a problem or two at the very least but they're always fixable and it's literally just a matter of trial and error right so I hope that my less than 100% perfect execution of a lot of these effects has definitely you know contributed in a learning the sense of learning to you but what so it's actually just keep keep pushing this over a bit by bit and it looks like that should be that should be it so we can now come over here and go to fit and actually just press spacebar to play and just like that we have a clip which comes on get super big and then somehow gets smaller yeah that is something I'm just going to go ahead and change real quick and it looks like once the once the scale comes up it should not come back down and just like that we have a clip which shoots in the only thing to do now is actually just go ahead and transition out of the actual screen that's still on the screen the remnants of the screen if you will so what we can actually do right there is go ahead and bring it a couple frames before maybe like right about there double-click it go ahead and highlight it go over a few more frames and we're just gonna make up for this for this dead time right here we're actually just gonna highlight that space right there and it looks like it just has done that amazing amazing so we've got a little bit more space now we're gonna press ctrl shift d or ctrl D rather duplicate it open this up down here come over here and actually just go ahead and have a look and take off the roto brush which means that it's there so then what we can do is actually come over here and just go ahead and type a linear go ahead and grab a linear wipe go ahead and bring that over here and we can actually just go ahead and by the time the clip hits we want to have it on a 100% completion and as soon as it has not it is off so as you see right there what happens is we need to go ahead and transition out so what happens is it transitions out we just need to make a transition out over the course of last time or over the course of more time so that it's a more apparent as you see right here so it's gone in in one at the moment we need to keep moving it out a little bit so that it's gone a little bit less little bit slower but it looks like linear wipes not gonna be the one for us today I think the one for us today is gonna be is gonna be the actual manual manual mask and what we're gonna do is actually go up here to the pencil click here click here click here click here click here so we've highlighted it amazing right awesome what we're now going to want to do is actually just go ahead and introvert it so that essentially it is on the screen right now but what we can do is come here go to mask go to mask path and then come a few frames over and just go ahead and move it off so boom you've got this boom and what we then need to do as well is go ahead and keep the clip on the screen as well so essentially what we've got is the clip zooms off the screen and then zooms in and just like that that right there is a advanced transition using the rotoscope effect and by the looks of it right there it's looking like I need to uh to come back over and um and fix this right here but that's not a problem at all come here come here right I totally see what's happened boom and it should not be there and just like that we fixed it amazing so there's a couple different tweaks right have us of the best of us but just like that we've created a nice little transition and there's a couple things I want to do real quick guys to finalize it and those things are gonna be actually just to go ahead and get a couple sounds right so I'm gonna get a couple swish sounds but what we can actually do is just go ahead and press ctrl s save that load up Premiere Pro and of course the exact changes will have taken place in Premiere and now we can do a little bit of sound design in Premiere because that's essentially the name of the game with dynamic link we need to double down on the things that actually you know are the you know the strengths of each program so I'm going to drag and drop over these sound effects in and I'm just gonna drag and drop them over here and what I want to do is I want to go ahead and first off let's listen to them so here's number one and then here's number two so what I'm thinking is what I'm think is this one is the sound effect for the screen actually disappearing first off and then as soon as the the the full blown screen zoom takes place that's that one so and just like that it's looked alright however of course they are to prominence what we do here we come over here we go to minus to minus 20 yeah minus 20 come to this one right here as well probably go to minus 15 and then we come back over here to the beginning press spacebar to play and just like that we have created a advanced transition and just like that as zooms in and also what we could potentially do is as soon as this starts to zoom in I'm gonna zoom here and and have this Oh have it turned over a bit like that let's have a look bring that over to the beginning zoom in the tiniest bit oh now let's have a look just like that we have a advanced transition using dynamic link with Adobe Premiere Pro and Adobe After Effects alright guys welcome back to the dynamic link master class we're gonna be finalizing this section with an exercise but briefly here's what we did in the last section we obviously did the rotoscope advance to transition which for how quickly we did it turned out turned out pretty nicely and you know I'm actually pretty happy with it now the kind of progression of that is gonna be revisiting the masking transition now this masking transition was a certain type right this is entirely you know transitioning to it to a new scene through the current one now there's an even smoother a way smoother version of this and it is actually to use a element in the scene or an object in the scene that actually goes past the screen fully and we can actually use that to essentially have clip a on one side and once object you know C goes across the screen scene B is on is on the other side and without further ado we're gonna be breaking that down and we're gonna be using some clips from the after-effects to class because these are arguably the most perfect example of this effect that I that I possibly have and if you guys go to the resources you can download these exact clips and let's drag and drop mask transition clip into the Premiere Pro it's actually just drag and drop that into a new sequence and with play this and more or less this is a scene where it's it's a line outside of a club this is a club I filmed last year for New Year's and this object goes fully across the screen and the effect that I want to create is on this side it is the line but as soon as the object goes across the screen we have a whole different object on this particular side and we're gonna be able to create create this effect very nicely in After Effects and without further ado let's get to it so what do we want to do we want to right-click this we want to go to replace with After Effects composition and we want to let After Effects load itself up it's gonna load itself up nice and quick just like this it has loaded now what I want to first do is scroll across and I actually want to find the the first frame that disappears and I actually want to go up here to the pen tool when I get the pen tool and I actually want to go up here and I want to get a line and I want to draw it over any of this of this nonsense right here and I want to draw it up here and conclude it and then what I want to do is open this up go to masks and actually introverted introvert inverted by that and also I want to open it and use a little bit of feather right not loads but just something that that you know kind of singes or seals off smoothens if you will the edge then I want to turn on the mask path keyframe and I want to go over to even one actually I want to just go over one and then I simply want to go ahead and adjust these adjust these points because these points now are inaccurate we need to adjust them and and and make sure that they fully cover the area that we want the transition to happen on and now I'm literally just going over again one more frame over and I again proceed to adjust the particular masks right here because that's what we're doing we're literally just trying to create this area here where our new clip can actually transition and I'm going over one more frame again and there will be a point when I start slowing down that will do two frames at a time however to start off with to make sure will be a nice and accurate we're just gonna want to go ahead and and do it maybe one frame at a time just to make sure that we don't have to go back in and do anything and we also want to make sure that if we go back these are fully covering the corner as well yes they are now and now we can keep going over and this is the whole process so the kind of best mask or the year award goes to the person who has the the kind of toughest stomach who can sit here and just frame by frame it of course the more accurate you do it the more precise the more seamless the effect will actually take place it will actually appear on the screen but more or less we are just frame by frame going over as you see it's already started to slow down a little bit which means that in a second we can definitely start going for the the good old two frames over in fact I might even just jump for it right there of course two frames is make it happen twice as quick so that's obviously very welcomed but just like that we can go to the beginning now we can see the effect is taking place just like that you could see it and I'm gonna go over and on the two frames parade this over bring it over here as well again and we are just smoothing and out those edges so then we can press control s at a second right in fact let's do it right now just to stay saved but once we've actually done the entirety of this we can actually save it and and then we can go back into premiere and we can actually you know put the clip underneath it that we're gonna be transitioning to actually manually in our self in Premiere so we don't even have to do that after effects which is obviously using the best of both worlds so the pen tool is better at After Effects so we come over here to to utilize the pen tool however the you know just composition and framing side of stuff in Premiere is absolutely fine and uh you know arguably better than After Effects which means that we'll want to actually go ahead and and use the the premiere kind of strengths if you will and that's exactly what we're gonna do we're gonna go over there and we're gonna add the clip in in a moment all we got to do is just keep going over two frames by two frames as you see we are nearly at the finish line keep going over two frames by two frames bit by bit if you will and we're nearly there what we could also do in a second is maybe do a little bit of a scale in so that this actually goes off the screen quicker and that could certainly be something however we can uh we can have a look at do with that after if it's if it's a another little addition which could be nice but we're nearly there as we see we're just push it over push it over bit by bit bit by bit we're doing it there we go okay nice and we are going to have successfully there we go masked out this which means that it's going to appear although an object actually carries on the next scene which is the desired effect we're going for an effect seeing how how slow things have gotten now it's looking like we're we're three frame in it that's right the good old infamous three frames and here we go bit by bit so close at this point I can practically taste the clip underneath it one two three amazing one two three amazing one two three four this time yep that's that's how we're doing it out yeah and I believe we will have one or two more yeah one more after this and we're done and dusted boom and just like that that right there is the transition taking place we could press ctrl s to save that come back over here to the actual files and actually just drop masks transition BG which stands for mask transition background into premiere pro dragon dropped this mask transition BG into premiere which stands for mass transition background and now what we want to do is two seconds we've got we've got we've got a glitch on the screen for some reason as we can see right here let's go ahead and load that back up we for some reason I forgot this file which is just stayed on the screen for some reason I'm just gonna try and move this around a little bit and get rid of it all right well we're just gonna crack on regardless but if we go here to go mask transition BG we double click it we want to actually get this this point where it sort of comes around just like that and just like that it shows the prison logo which is the club that I was booked to film that night and what we want to do is actually go across in our clip right here press spacebar to play and actually just go across until let's just press ctrl s make sure it's all saved jump back to editing actually and right here we have the transition take place right so we want to actually go to the first frame of this transition be invisible bring the actual clip above and actually just drag and drop our our other clip here so we actually have this effect now that as soon as that goes out the prism comes in and in fact I could even I could even move it move it a bit more so that essentially just like that we've got this prism logo being revealed as the one you know object brings it on and that right there is the real seamless masking transitions right there taking effect let's play that from the beginning as we see we actually did all the masking in Adobe After Effects it that we did the composition of the framing side in Premiere Pro aka doubling down on the strengths of each program what's up guys welcome back to the dynamic length masterclass we are in the bonus section now we're gonna be editing a project entirely from scratch I have a whole bunch of Clips right here a backing track and we're even going to create an entirely new project so without further ado let's get to it let's edit and tire project from start to finish since this is a new project it makes sense to make a new project so let's go here to new let's go to project and let's make a brand new project but let's actually make sure to keep the root folder in mind so let's go over here to full product to full project which is our new folder within our our other folder and this is our root folder now so we're selecting the folder and we're gonna call this a full project premier and we're gonna go ahead and press ok and that's gonna load us into a new project however premier does this thing where you can have multiple projects open at the same time so let's actually right-click our or other kind of example projects that we've worked on throughout the course of this program now let's actually press closed project let's let's go ahead and say that of course because we don't want to lose any of that work but we are wanting to operate in an entirely new fresh project and that's exactly where we're at right now so here we are entirely fresh project makes sense to import the clips so I'm gonna go here I'm actually gonna select all of the clips I'm going to drag and drop them and import them into Adobe Premiere Pro and we're actually going to wait for this to import everything over and you know as it does that they should start appearing there as soon as it kind of completes the progress of you know reporting everything over and pretty much we're singling stuff out right so there's gonna be a couple different parts to this editing the full project the first parts gonna be the composition part the actual you know putting everything together piecing everything together we're gonna actually first go through the actual clips decide what we want to say we don't want that's definitely something we would do in Premiere we would not do that and after effects we're gonna also sing stuff up to the beat a little bit easier and more precise to do that premiere and all the kind of special effects and and the real you know heavy-duty stuff we're gonna go over and outsource to After Effects if you will but let this load up as it goes right here it should be importing everything now and you know just like that it is you know it's imported everything down here we've got all the clips that's right here if I double click it's gonna start up right here I can go ahead and press spacebar to play we've got some good clips that we're dealing with right here that right there is definitely an obvious transition that we can use After Effects for and we should be able to transition nice with that by the looks of it and we are pretty much to go through so that clip that's looking good I'm gonna keep that this clip right here is not looking like a whole bunch so I'm actually gonna delete that and that's what I'm actually first gonna do is I'm actually loading everything up I load stuff up I literally play it in the preview window here at premiere and I actually decide what's good and what isn't because we can add in and out points in and out points is a strength of premiere that After Effects doesn't have the reason I keep emphasizing the strengths and weaknesses is because that's kind of the name of the game with dynamic link is that you know you want to use each program for the strengths that it actually has and you know actually complement each of it just like that that's a pretty nice uh it's a pretty nice shot right there this these clips are me and Piccadilly Circus shooting a whole bunch of different content with my friend Noah and I'm literally just playing some stuff right here decide what I want and don't want so that right there I'm liking that pressing I anytime I want to start something somewhere and then I'm pretty much just playing stuff through seeing what I like I like that definitely where to keep that load up the next clip go ahead and play this that yeah I'm not too too too keen on the the super close-up right there but I'm literally just scrolling over and playing stuff through seeing what I like and what I do not like that right there that's looking like it kind of could be cool or I guess we could potentially reverse it and use this as a transition because it does go entirely passive this this right here as you see right there so we could have me filming here right I'm literally just planted stuff as I as I watched through it and then we use that as a transition that's a perfect transition right there so that right there is a hundred percent what we're gonna do when we go here go ahead and let that start from there and we'll be using that as our transition clip now I'm just gonna play through you see what I see what I mean I'm just open that stuff up I'm sort of mentally seeing what stuff you know goes best where and I'm overall just sort of seeing seeing what I've even got see I see what I'm looking at just look I'm like this is a clip of me actually walking into the the the thing the phone booth Mikey's gonna go ahead and delete that one that's not what I'm looking for right now keep playing and here comes a very cool shot a very cool combination of shots this is on my friend Noah's gimbal as you see right here he is actually doing a full roll where you can have actually have the the gimbal do a full 360 right there and we also not only did we get the shot coming actually from the back right but we also got the shot coming from the the front I believe so as you see right here this is from the back of course so we got two versions of the of the front of the back shot and I'm just gonna start off here start off right there and then we definitely got the other from the front front shot as we see right here and it actually fully turns around amazing so we can actually do a really nice transition there where we can actually you know have we'll have one of the shots go to sort of half completion and then it turns into the the other shot if you will so that's gonna be really nice I'm already seeing we could do something like that and that will definitely involve After Effects as well we cannot we can maybe complement it with a radial blur so a mentally editing mentally editing with what's going on and I'm sort of just already starting to put stuff together in my head but the reason I go through shot by shot first off is to actually know what I'm even sitting on to know what I've even got if you will so I'm looking like this could be a nice little bit of variety actually as you see right there maybe if we uh if we zoomed in a little bit on the shoes I know these are actually 4k clips which means that we're only gonna edit in in a in 1080p so I'm thinking that you know if we're editing in 1080p and these are 4k clips we're actually gonna have a nice little bit of extra room to work with so I think I could throw in a couple a couple nice cropped bits it's looking like huh that shots not really to my liking but that's more or less the first started this is the full project guy so this isn't just one little micro micro moment this right here is the full thing so is how I start a project you know the first the first start of any project is really just figuring out what you've guys so you're looking through your footage you're seeing essentially what's there what you're even sitting on and this right here is looking like a pretty nice establishing shot we were going it's Chinatown and more or less that's that's the the first half of more or less any project any serious quiet project or anything like that as well that's looking like a really nice shot we can do something with for sure and it's looking like we might have another another twister shot for sure as we see right here but I think we we got we got those twisted shots from earlier so I think my suits gonna delete that it's not I'm not too worried about that I'm just looking alright that's kind of a cool walk past the camera type type moment we could oh we could maybe do something with that and that's really what it is identifying the cool stuff and that's the thing the more projects you've got under your belt the more easily able you are to identify what's actually gonna work what's cool because you actually have some context to to base it on if you will and that's kind of the name of the game really let's have a look what we're dealing with here this is uh this is a really nice shot right here of the actual lanterns that are hanging all around Chinatown and I'm actually just gonna go ahead and delete that clip that's not really anything and this right here is this something could be let's have a look looking like it could be yeah something something can be made out of that I'm sure it's a nice close-up that's what I'm talking about good stuff all right there we go that right there is everything chopped up now what I want to do is press ctrl s save that and I want to come here and bring in the backing track the backing track is something that we're gonna actually start syncing stuff up to the beat as well so first off I want to drag and drop the first clip into the make a new sequence button and I want to go up here to sequence sequence settings and drop this to 1920 by 1080 nice and simple awesome and what we can do is I could give this a play and see if we want to do something with this I'll come over here give it a play we could do something with that potentially maybe start here something like that bring something over or maybe speed it up potentially I'm not too sure I'm um I'm gonna put that on the back board for the time here for the time being I'm just gonna import our backing track this right here is made by a friend of mine and what we're gonna do is just double click double click the clips and just load them up and just have a look at what we're dealing with do a double click we've got our clip so let's start putting stuff to get it out basically and unless you kind of set this to frame size looks like that next clip drag and drop and I'm just gonna try build a basic a basic outline I'll just clip the clip if you will let's see what we can do with them let's have a look at what we can do here let's see if right here we could actually bring this over here see what this is looking like now press play there we go not too shabby and what we can now actually do is I've already saw where we're actually gonna be where we're gonna be bringing something in so this what I want to do here is have this play and then right here as soon as it goes uh as soon as this tick happens it starts the transition and by the time it hits here the clip is already in full effect now what clip are we gonna have I think what we're gonna have is the good old the good old kind of establishing shot type of type of shot so not this one this one right here this one and we can actually have it come up so baby at that point it'll be quite a gradual one definitely quite a gradual one but it'll be are we worth it for sure and I think what I'm actually gonna do is just do that basic composition first so just like I said I'm doing the basic compositions we're not gonna jump ahead of the gun yet but what we're gonna do is just keep it's just keep positioning stuff right position the stuff frame and stuff up and let's see how this looks okay just looking pretty good I'm definitely liking it so far it's gonna transition from probably here and I'm just gonna leave this clip underneath and what we're gonna do after we've put everything together we're actually gonna go through and create a mask here so that this clip right here actually reveals what's underneath which will be this clip right here and then it'll chop away here there we go then I'll continue let's have a look there we go next clip up boom next chop it's a little bit of a slower paced edit but I'm definitely gonna tie it all tie them pretty nicely and that's for sure here we go already looking really good so here what I'm gonna do is I'm actually gonna zoom out a little bit and I'm not gonna zoom up there so what we've got now is I'll play from here there we go nice so the flows already coming together a bit all we've got to do is keep putting stuff together and then we're actually gonna in this in the next little section jump into after-effects now here I want to do something interesting interesting there we go 50 okay okay so I've done a slight keyframe scale out keyframe interesting and the beats actually about to drop up you right so on the beat what we're gonna do is we're going to take advantage of that effect from earlier we're gonna take advantage of doing that piece together that twist the twist right here is going to twist out there and it's going to twist or it's going to twist out here it's going to twist in there and the way we're gonna do that is actually make this 200 make both of them 200 speed up by 200 which I believe will put it at that we'll put it at normal speed so what we need to actually do is go ahead and put this at 400 and bring this over here bring this here amazing and that's 400 okay 600 let's have a look a list 600 looks like okay I know what I gotta do put this on 100 and what we're gonna do is we're actually going to open this up a little bit that's it right click speed and come in and we're gonna make a slight speed a ramp speed ramp is just gonna link everything together a little bit make make this work out a little bit more we're gonna bring that all the way up to just 600 so that it's a bit more gradual you see when you do just a straight-up speed change or a time duration it looks a little bit forced but when you do a speed ramp it's a little bit smoother and just like that we can actually speed it all the way up to a significant amount and just like that we can now set the frame size and bring this one in over here but started off way up here 700 plus and go up go across and bring it in probably like right there because that is the middle of both of them if we're trying to make these to sort of look like they actually twist into each other well of course they don't but it's a campaign as we see right there it should stop right about there and we're slow it looks like we're tying it together nice we would splice play this oh we're having a little bit of lag right there no problem okay and we want to bring it back a little bit more have a look we might want to speed that other one up a little bit as well see it's all a fine-tuning tweak game here you got to tweak it down you got to tweak it down every time let's have a look have a look there we go I think we're getting it now there we go I think we're gonna come interesting so that's where I think I think we're gonna come over from bring this here bring that up a bit more bring it over and maybe chop right there amazing let's press ctrl s to save that I'm actually gonna come over here and I'm just gonna chop that down just for the sake of flow for a minute and we're just gonna play this from the beginning and see what happens it's looking good so far nice looking nice looking nice what I got is a little bit a little bit to do here just a tiniest bit what I want to do is I want to see what happens if I just do a little bit of zoom a little bit maybe maybe a little bit more maybe potentially fifty to fifty to sixty let's have a look and maybe bring this one over here and attention we have this one coming out a little bit or a 66 there you go so this one goes in the other one comes out there we go nice so we're looking good so far we're looking at very very nice so far let's bring this one down right here let's have a look at what else we got what else do we have to add to the good old inventory there we go that's what we could do so we could actually do a uh is a a speed ramp straight up let's have a look at this we'll do a speed ramp or we could actually just do a framing just frame these frame it nicely see what I mean frame this right here come over here let's have a look maybe the full step there we go let's have a look at what we got here there we go so let's have a steppin clip now let's have a look of what we got something walking that one of course we've used this one of course we've also used this one right here the end clip this one right here is definitely a solid clip throw this one in right here and I got a feeling we want to have it 6250 so I'm actually gonna animate that coming out a little bit yep let's have a look at what we got and that could be the chop right there let's have a look if we come to the beginning and play just looking like what we might actually have to do is just come over here come to sequence go to render into out and just process the work that we've actually done here now this right here is section 1 aka part 1 of the Edit a full project this is composed all the clips and sync them to the beat that's what we've been doing here that's essentially what we've been doing we've been building the skeleton of our project now we're going to play it through see what we've got and jump into After Effects using dynamic link and add the actual advanced stuff [Music] not too shabby so now what we're gonna do is start doing some advanced stuff that right there concludes part 1 synching composing and building the skeleton of our full project alright guys welcome back to the dynamic link master class we're continuing editing a full project here's what we ended with we built the skeleton and now it's time to jump into After Effects and add a transition right there using the pole and also what we're gonna want to do is add some nice radial blur when we do this spin effect coming up it's a really nice spin effect without radial blur I can't wait to throw some radial blur on there and see what happens and then also we'll come back for the title and throw the come back for the third part rather throw some titles and some some color grades on there so it's start off with this clip right here let's right-click it let's go to replace with After Effects composition and what's let after effects twenty twenty or twenty nineteen by the looks of this one load up should be twenty twenty we're gonna have a look at which a version we get and it's gonna he load up here what we're gonna want to do first off is save the project it'll make us save the project we'll go over here to full project and we'll call this the After Effects version of the full project say full project After Effects and it's gonna load our clip up now what we want to do is scroll over until we find the first frame that the actual the actual you know behind of this poll is showing because we want to actually blur a mask it all out essentially so that we could do the transition so it looks like that right there is the first measly little bit that's showing through they're actually gonna highlight it with a mask come over here to mask click invert invert the mask and actually turn on the mask path and then actually we're gonna go one frame ahead I just go ahead and drag that off the screen so that it's not there there then it comes here and then the next one of course it starts now I also want to add a little feather not too much but enough a little something so that it's a it's poke it through essentially so uh so that it doesn't look so forced more or less and just like that we can actually go ahead and adjust our mask go over another frame go up and adjust our mask even further and voila we've started the process of doing this good old-fashioned masking transition and we're gonna try and create a nice seamless transition right here so let's keep going over and more or less we are going to keep adjusting stuff until we have actually let's create another point right here actually and so we've actually fully transitioned on or fully created a space which is actually transparent so that we can actually use that space in premiere to transition on our clip underneath which is gonna be that kind of nice establishing shot of chinatown which i think is a great shot and that was actually got by my homie noah and we're just going frame by frame over and just adjusting it to this pole to the kind of the edges of this pole we've got this cool guy with the shades here who was just posing for us i don't know what this guy does i don't know if he's got a job or or what his day-to-day routine would look like if we were to you know really be a fly on the wall watching him but i know he was posing by this this this um this phone box and other than posing for us he didn't really seem to have any other agenda or anything else he was necessarily worried about cracking on with in particular so i'm actually gonna go ahead and assume that he either guards those those those phone boxes or he is homeless I'm not entirely sure I think it was waiting for someone potentially if we're gonna give him the benefit of the doubt I just know that actually I'm he might have just wanted some attention to be honest because I think he if I'm trying to remember correctly we were from you know we're out filming and we were filming these these actual phone boxes and he just kind of came and stood there with the glasses on and he definitely looks like quite a character love to you know have lunch with the man here a couple stories from the golden days but essentially this is what we're doing guys we're gonna frame by frame and I'll tell you what we're gonna do right now two frames at a time now so once we've done a nice little bit of about lining I'm just gonna go two frames by at a time now and you see how much ground we're actually covering when we do those two frames now because it's sped up which means we can cover a little bit more a little bit more ground with our masks and and overall save us a little bit of time down the road but as we see right here it is a simple process just keep going over and keep sort of getting rid of anything that's showing past the pole and just like that we have actually made it to the end of the sequence however it's looking like whom I need to go here and go to composition settings and make this a little bit longer maybe six seconds or something because I'm pretty sure there's still yeah I'm pretty sure there's still work to be done so I'm not entirely sure what the hell After Effects is playing at right here but for some reason the composition wasn't as big as we needed it to be that was a little bit strange but we're going over a bit by a bit and it looks like we are successfully done with it now done and dusted everything's been masked out we're gonna press ctrl s to save that and when we come over here and ice you press spacebar to play we have a transition on now which works really nice and it really wasn't too hard to do if we're being honest we can actually press ctrl I saved that now next what we want to do is add some blur so we got two Clips right here I want to actually highlight them both right click go to replace with After Effects composition and it's actually gonna go ahead and load this one up for us amazing wait for it wait for it there we go phenomenal it's looking good just looking very good don't get me wrong and I'm actually gonna go ahead and and have a look at what we're doing here but it looks like it transitions right about there so what I want to do I wanna oh we'll leave it scrub or we'll leave it I want to go up here to layer go to new go to adjustment layer and what I actually want to go ahead and do is have the adjustment layer go from here to probably around right there all right and what I want to do is I want to have some radial blur I'm gonna type in radio I'm gonna drag and drop it right here and at the at this point the middle point I want it to be ten but at the start I want it to be zero and at the end over here I want it to be zero as well so I want to try and create this effect where it builds up and at the middle it's blurred but then over here it's normal so now we've got this effect which after literally a couple keyframes creates this nice blur and honestly we could even go harder we could do you know twenty percent and see what that looks like twenty might be a bit much but but I know ten work pretty nicely and twenty is definitely too much but you know what might be fine fourteen fourteen might be a nice amount and just like that we have a more believable twist right a more believable much more believable indeed rotation and it takes place using the radial blur and just like that we pressed ctrl s we've saved it we can come back over here to premiere and play it and you know what I'm starting to think that it starts a little bit too a little bit too early right here right I'm starting to think that honestly maybe if we actually open this one up here we open effect so we go to radial blur I don't think we want that big of a of a buildup I think we as you might want a smaller buildup right here so it just goes boom let's have a look there you go that's what I'm talking about right there the absolute max point right there there you go press ctrl let's save it and now we've got this and just like that there you go okay and this seems to be a one-one single black frame for some reason we could drag and drop that over there press ctrl s save it and just like that we're building it we are building this now what I can actually do here is I can actually just go ahead and chop that right there and bring this down actually you know what it's gonna take up to two rows anyway some of those will bring down over here you know we can do we could go up here press to render it on out see what we've made so far see what the diamond dynamic link has really you know has really done for us and then what we're gonna do is come back and do the titles and the color grading to tie this all together and complete our full project but it's looking good so far just like that we've actually masked it nice everything is tying in pretty nicely so far and just like that and that was real smooth just like that we've we've done it we've done it successfully it's looking like I might wanna yeah leave that on the screen first site nice looking real nice to me looking real good indeed and it now let's come back and finalize everything in part number three alright guys welcome back to the dynamic link master class we are finalizing stuff right now here it goes the finality of our full project this right here is what we left off with it is a nicely built 20 of just over twenty second sequence what we want to do right now is put the finishing touches on it we want those titles we want the color grade the stuff that really ties stuff together without further ado let's get to it we build something very nice indeed we've added some nice effects using dynamic link now let us actually complete the things so first off let's go to the beginning let's have a look what we want to do let's have a look I think well first off we definitely want to open up graphics once graphics is loaded up what I want to do is actually come over here to edit and I want to press T open up the the actual text tool and I just want to go ahead and press play and just see where I'm gonna add some stuff in so looking like I want to go ahead and maybe bring this in a little bit and bring it over so I can actually add a title right here and maybe go ahead and tap on the screen right and write a short film go ahead and move that right here maybe actually go ahead and position in the middle to rag it over here actually get Gotham go ahead and get Gotham block black right there bring it over here and actually just go ahead and play and now we've got the text a short-film so is that looking at to my liking liking it alright it's okay it's okay what I could do is I could actually come over here and just go ahead and add some chin shots of shadow to it so I've got a preset called Gen shad just a little bit of shadow says a short film a short film now I'm actually gonna zoom in on me a hundred and actually come up here and maybe zoom out a tiny bit and what I could do is add another to another title right here it says something along the lines of uh starring Jack Cole I'm just trying to make a intro title sequence essentially sahrin Jack Cole let's have a look at this maybe pop that up there so let's have a look so we got a short film a short film okay maybe starring jackhole here potentially maybe it says a short film maybe uh maybe starring Jack co-starring Jack Cole could be what I could do is actually just go ahead and actually copy the mask over as well maybe that's big right here let's have a look let's play this a short film starring Jack Cole and what we could do is actually just go ahead and right click go over here to replace with After Effects composition and see if we can copy over the mask I'm not entirely sure if this will work but I think it's a good little try just to finalize the dynamic links section and see what we can do at the end of the day I'm not entirely sure what has happened there just art I think this is a nice a little bit messed up but let's come over here let's have a look at a fine of the mask the mask itself now is it possible to copy that mask to for example some text so for example if we had some text down here that said starring Jack Cole right Gotham the same Gotham type in Gotham get Gotham black the exact same Gotham exact same title right and we had that down here and maybe it was pre composed so that it's all one one kind of same dimensions and we actually went here copied and pasted would this work it would kind of work but kind of at the same time not let's have a look and the mask appears down there for some reason but when here the mask is they're slightly confusing but it's sort of not at the same time now what we could do is interesting okay so it's just a little bit of repositioning a little bit of repositioning let's have a look I'm just trying to make these make these match up make the actual masks match up perfectly so I gotta bring it down the tiniest bit that is a bit too small bring it up the tiniest bit now I gotta bring it down now I gotta bring it up a tiny bit see these are the fiddly bits that will make a difference trust me if we get this working right now if we get this working right now this is uh this is definitely gonna be very legit just come back over here see see what's lined up yeah it's not hmm it's looking like it's gonna be a bit too much of a pain to really get done it's possible uh I don't know that's actually looking like it worked out all right but the only reason that would work out right because the text is there my bed if you guys don't even at all understand what I'm doing but I am definitely trying to make something that looks that looks pretty decent and I'm thinking you know what we could probably do this if we simply make it in the middle there we go pop it right here there you go starring Jack Cole pop me in the middle right here boom bring it over and it's looking good now now we can come back over here and just like that let's have a look at what we're looking at star Jack Cole just like that starring Jack Cole and underneath it can be our logo if we come back over here what we can do is we can actually come here we can actually get the Tiki non-media logo and I see pop that underneath so that when it goes past we have the Tiki nan logo a little bit of shadow on there too and what we should also do is drop drop shadow throw a little bit of drop shadow on the actual on the actual text itself boom press ctrl s save it all together and just like that we've got the tiki non-media logo as well right there make it a little bit smaller and just like that we've we've done the titling now all I want to do is actually come over here to to the actual you know media area go up here to file go to new go to adjustment layer yes put it at the top above everything drag it over and actually first was just what's actually probably just probably just cut it right here or you know what we can actually bring a final title here at the end the end the end pop that in the middle chop it chop it there go ahead and make a key for a key point key frame actually bring that off at the end awesome perfect just like that now it fades out and it is done end dust that we can go ahead and press o to put out point there and finally let's actually go ahead and get our adjustment layer and actually just go up here to color and what I want to do is I actually want to use a preset right off the bat something easy we can use to tie everything in together is use a preset and that is come over to color and actually just go ahead and put a LX of e3 on the adjustment layer and when we do that a couple Clips might need a slight bit of adjustment but as soon as we've added that that right there is gonna boost everything instantly and it's gonna give it that that kind of you know extra boost to the color essentially that's gonna bring stuff out of it now these these clips right here are shot on the Panasonic gh4 bit of a flat picture profile but something like this a little preset can bring out a lot of color as you see right here it's definitely boosted stuff pretty nicely and this is our project now just like that we have something that is a you know very very nice looks pretty nicely colored it's synced together nicely and it's using different aspects of dynamic link just like that right there that's definitely an advanced effect and what we can actually do is first off I think the highlights need to come down a little bit the blacks need to need to go up a little bit as well press ctrl s save that and actually go ahead and export so to export all we do is we'd press ctrl M and what that would do is that would actually open up our our you know export window and what we actually want to do is go ahead and click here and actually just go over to our our folder or dynamically max master class go to full project and call this final export full project press save and actually just go ahead and click export and that right there is going to process everything and it's actually gonna render it for us and what we can do is come back at a second and actually just watch the completed version the final export of our full project three parts guys three whole parts composing all the clips opening After Effects doing the actual masking transitions and the motion blur and finally doing all the titles the color grading and you know the final little bit of tweaks that we did to tie everything together to make this particular edit right here and we're gonna be able to watch our our final masterpiece if you will we're coming over here we're gonna go to full project and we're actually gonna go ahead and watch this right here and see what we're looking at and it looks like the the volumes muted by default so we can unmute that go out and play it nice [Music] in Beijing nice nicely done nicely done and over all that right there is the editing a full project start to finish in Adobe After Effects and Adobe Premiere Pro using the dynamic link thank you guys for coming along with me it's been a hell of a ride

Channel: Jack Cole

Views: 14,960

Keywords: Adobe Dynamic Linking 101, Adobe Premiere Pro and After Effects workflow: Dynamic Link | Cinecom.net, Use Adobe Dynamic Link from After Effects to Premiere Pro! Save Your Time!, Fixing Dynamic Link, SYNC Premiere Pro and After Effects! | Dynamic Link | 2020, How To Use Adobe Dynamic Link for Premiere Pro, After Effects, and Adobe Audition, Premiere Pro CC - How to Use Adobe Dynamic Link, Dynamic Link with Premiere Pro CC and Audition CC, Jack Cole, ItsJackCole, Learn EVERYTHING, 2020

Id: i94xB6g7zKU

Length: 195min 52sec (11752 seconds)

Published: Tue Mar 17 2020