Media Intelligence and Effects

[00:00:00] the manufacturer said to do except it

[00:00:02] kept falling. So I took two sestands to

[00:00:06] and then here too I can insert a cut

[00:00:09] command K while having that selected and

[00:00:12] then the second half of it I will zoom

[00:00:16] in and refframe a bit to hoist it up

[00:00:20] there and hold it up there. Well, they

[00:00:23] actually created dents in the molding.

[00:00:27] So, here I have a marker for tennis

[00:00:29] balls, but try as I might, I can't

[00:00:31] actually find in my B-roll string out

[00:00:34] where I have my tennis ball clip. So,

[00:00:36] instead of going back to my bin here and

[00:00:40] trying to find the tennis ball footage,

[00:00:42] I can just search for it as a keyword.

[00:00:44] This is called media intelligence and

[00:00:47] search panel. I'll go up to window and

[00:00:50] pull up the search panel. And in the

[00:00:52] search panel, you can search for

[00:00:54] visuals, text, metadata, or everything.

[00:00:57] So, I'll search for visuals. And I want

[00:00:59] the visual of a tennis ball. I'm telling

[00:01:02] it in this whole project, please find me

[00:01:04] a tennis ball visual. Tennis ball.

[00:01:08] And it found the two clips that have

[00:01:10] tennis balls. And I can actually hover

[00:01:12] scrub over it to get a little preview of

[00:01:14] what's in the clip. This is not the best

[00:01:15] one, but I think this one will work.

[00:01:20] So I can open it up here.

[00:01:23] Nice.

[00:01:25] I will choose a good section of it. I

[00:01:28] and O. I only want to drag the video

[00:01:31] portion of this part of this tennis ball

[00:01:35] clip into here in this sequence. So I

[00:01:39] can just hover over the drag video only

[00:01:42] icon and

[00:01:45] put it in. Another way to do this is to

[00:01:48] use our comma shortcut. So, watch what

[00:01:52] happens. I put my playhead here. I go

[00:01:54] over to the clip and I press comma.

[00:01:57] What did it do? Well, it definitely

[00:02:00] inserted the clip, but it also rippled

[00:02:03] everything backwards. And it inserted it

[00:02:06] on the V1 layer over here where our A-

[00:02:11] roll is. And I really wanted it to go on

[00:02:13] the V3 layer. I also didn't want it to

[00:02:15] ripple. So the comma insert shortcut is

[00:02:19] the wrong one. You want to do the

[00:02:21] overwrite shortcut. So instead of doing

[00:02:23] comma, we do period.

[00:02:27] It was the right shortcut, but source

[00:02:29] patching was on the wrong layer. The

[00:02:31] source patching is this highlight next

[00:02:34] to V1. It's telling the software that

[00:02:37] when you are bringing clips in, they're

[00:02:40] going to go onto the track V1 and onto

[00:02:43] the track A1. If I want to overwrite

[00:02:46] that clip and put it on the V3 layer,

[00:02:49] I'm going to have to make sure that the

[00:02:50] source patching is on V3

[00:02:55] as well as

[00:02:57] on

[00:02:59] A4. And I'm going to mute A4 cuz we

[00:03:02] don't want to hear it. So now when I

[00:03:04] press period or I go over here to

[00:03:06] overwrite, same thing.

[00:03:10] That clip goes onto the V3 track and the

[00:03:13] audio goes onto the A4 track just where

[00:03:16] I have

[00:03:18] source patched it. All right, let me

[00:03:20] continue putting all the B-roll into the

[00:03:22] sequence through a combination of

[00:03:25] dragging it over from the pancake B-roll

[00:03:28] string out or pulling it up from the

[00:03:30] original footage using the overwrite

[00:03:32] shortcut. All right, I'm almost done

[00:03:35] laying out all of the B-roll. What's

[00:03:37] left is just the beginning bit which is

[00:03:39] the before and after and also the call

[00:03:42] back to the previous video. So for the

[00:03:45] call back to the previous video I am

[00:03:47] going to actually import my previous

[00:03:51] export. So, over here in my main folder

[00:03:54] organization, I'll add another bin and

[00:03:56] I'll call it 06 exports.

[00:04:00] And I'll go to my main folder in exports

[00:04:02] where I exported that first project. And

[00:04:04] I'll drop it in.

[00:04:07] And now I can use that as B-roll as

[00:04:09] well. I showed you how I did the track

[00:04:12] lighting in the ceiling, but

[00:04:17] I showed you. So, right there is where

[00:04:19] I'm going to put it in. So, let's find

[00:04:22] kind of the best section. Maybe

[00:04:28] maybe right here

[00:04:31] where I have that little chase sequence

[00:04:33] that happens in the track lighting. So,

[00:04:35] I and

[00:04:38] I'll use a little bit before I'm going

[00:04:42] left on my keyboard to go one frame at a

[00:04:44] time. That's good. I press period to

[00:04:47] insert that clip in. Let's insert a

[00:04:52] different clip in. Let's do this one. I

[00:04:58] [Music]

[00:05:00] and O and then period. The other piece

[00:05:03] of B-roll that I want to put in is the

[00:05:05] before and after. So, I'm going to go to

[00:05:08] my footage folder. Molding. I know that

[00:05:10] I have the befores here. So, let me

[00:05:12] choose. This is a good before

[00:05:17] because it sort of shows you a little

[00:05:19] bit more of this wooden wall. So, I'm

[00:05:21] going to drag that in as the before. And

[00:05:25] then I'm going to go all the way to the

[00:05:26] bottom. This is the after. And what I

[00:05:29] want to do is almost line these up

[00:05:31] perfectly so that when I say before and

[00:05:33] after, it's like and it cuts. So, what

[00:05:37] I'm going to do first is I'm going to

[00:05:39] put this after clip on top of

[00:05:42] everything. And just like the audio

[00:05:44] tracks that have this white line that go

[00:05:46] through every single audio track and

[00:05:48] that is the indicator of the loudness,

[00:05:51] the video tracks have a white line as

[00:05:54] well. And that is an indicator of the

[00:05:56] opacity. So that'll help me sort of line

[00:05:59] up these two clips so it looks like one

[00:06:02] transitions into the other seamlessly. I

[00:06:05] will select the top clip and I will drag

[00:06:07] that white line down so that my opacity

[00:06:10] is less so I can see through it. And it

[00:06:15] looks like it's fairly the same size

[00:06:17] except maybe I use the chandelier and

[00:06:19] the sconces to line it up. So I'm going

[00:06:23] to nudge this top clip to the left a few

[00:06:27] frames by holding down alt and going

[00:06:30] left on my keyboard. Nudge, nudge,

[00:06:32] nudge. I'm going to keep nudging it

[00:06:35] until it more or less lines up with the

[00:06:39] bottom clip.

[00:06:42] Keep nudging. Okay, it looks like it's

[00:06:46] sort of lining up, but not quite. The

[00:06:49] sconces aren't quite lined up. So, one

[00:06:52] of these needs to be larger.

[00:06:55] Let's try the top one. If I go to scale

[00:06:58] and I try to scale it up, that looks a

[00:07:00] little bit more accurate. Now, I can

[00:07:04] change the position over here in the

[00:07:07] transform controls. And I actually want

[00:07:09] to be doing this not right here because

[00:07:12] that's way after I say the word after.

[00:07:15] So, this is where I need that match to

[00:07:18] happen. Let me play around with the

[00:07:19] scale a little bit more,

[00:07:21] the position a little bit more.

[00:07:25] And that looks pretty good to me. So I

[00:07:28] will take this opacity back up to 100%.

[00:07:30] I will do command K to cut. And then I

[00:07:33] will just delete this top clip.

[00:07:37] I also have to trim this end of this

[00:07:41] clip as well and delete the end. So

[00:07:43] let's see what this looks like from

[00:07:44] looking like this to this. In my last

[00:07:49] video, I'm going to save that. And I am

[00:07:52] done with laying B-roll. There are also

[00:07:56] a few clips that could use stabilizing.

[00:07:58] For example, this one is very jittery as

[00:08:00] I play it back. These styrofoam pieces,

[00:08:02] they just kind of got even in slow

[00:08:04] motion. It's pretty jittery. If we go to

[00:08:06] our effects window, which is a new

[00:08:08] window we haven't seen before, and if

[00:08:10] you lose it, it's up here under window

[00:08:12] effects. I can go to our video effects,

[00:08:17] distort,

[00:08:19] warp stabilizer, which is Premiere's

[00:08:22] internal stabilization. So, we just drag

[00:08:25] that directly onto the clip. Under

[00:08:28] effect controls is where we can control

[00:08:30] what we want the effect to look like. By

[00:08:32] default, it does a subspace warp type of

[00:08:35] stabilization. And because I don't want

[00:08:37] it to do too much, I'm going to select

[00:08:40] preserve scale.

[00:08:42] Let's select just this portion of the

[00:08:45] timeline by pressing the forward slash.

[00:08:49] Make sure we have loop playback enabled

[00:08:51] and just play it back. See what the

[00:08:52] stabilization did everywhere. Foam

[00:08:55] pieces, they just kind of Oh no. See

[00:08:57] that little jump that it did? That's

[00:09:00] worse than having the stabilization off.

[00:09:02] I can toggle it on and off by pressing

[00:09:04] this effects button in the corner.

[00:09:08] So this is without. They just kind of

[00:09:10] got everywhere. The foam pieces, they

[00:09:12] just kind of got everywhere. The foam

[00:09:14] pieces, they just kind And this is with

[00:09:17] kind of got everywhere. The foam pieces,

[00:09:19] they just So maybe a different

[00:09:21] stabilization is in order. Instead of

[00:09:23] subspace, I'm going to do position,

[00:09:25] scale, rotation,

[00:09:28] and then let's see what it looks like.

[00:09:30] Kind of got everywhere. The foam pieces,

[00:09:32] they just kind of got everywhere. The

[00:09:34] foam pieces, they That's great. So, this

[00:09:36] type of stabilization is what I need.

[00:09:39] I'm going to add this to a couple of

[00:09:40] other clips. So, I'm going to select the

[00:09:42] word warp stabilizer, command C to copy

[00:09:45] it, and find some more clips that need

[00:09:47] stabilization. Like, for example, this

[00:09:49] tennis ball clip.

[00:09:52] If I just play it the way that it is, it

[00:09:55] was just taking way too long. And I was

[00:09:57] rack. It was just taking way too. But I

[00:10:00] add the warp stabilizer.

[00:10:02] Command V.

[00:10:04] And then I click analyze.

[00:10:08] This is what it looks like. Too long.

[00:10:10] And I was rack. It was just taking way

[00:10:12] too long. I'm sure you've noticed that

[00:10:14] some of these clips are a little too

[00:10:16] dark. So for our next step, let's adjust

[00:10:18] the color. And we're going to go over to

[00:10:20] lummetry color or window and find

[00:10:23] lummetry color and open it up. Now it's

[00:10:26] all grayed out until you actually select

[00:10:28] a clip. So the first clip that we want

[00:10:30] to adjust is probably this one because

[00:10:33] it's quite a bit darker than the clips

[00:10:36] prior. So once you select it, all of the

[00:10:39] lummetry color controls come into view.

[00:10:43] And just like on your phone or on

[00:10:46] Photoshop, you know these sliders very

[00:10:49] well. Exposure

[00:10:52] slider, right? Contrast, making the

[00:10:54] darks darker and the brights brighter.

[00:10:56] Highlights,

[00:10:58] making the lights brighter, shadows,

[00:11:00] making the shadows brighter, whites, and

[00:11:03] then we have blacks. Those are kind of

[00:11:06] our basic controls. If you want to go

[00:11:10] back to the original, you can click

[00:11:12] reset. There's also an auto button, and

[00:11:15] if you click that, it does its best, but

[00:11:18] you can actually also add some of your

[00:11:21] own flavor from there. So, for example,

[00:11:23] I'm going to increase exposure here and

[00:11:25] I'm going to increase the shadows. Maybe

[00:11:27] increase the saturation as well. I can

[00:11:30] toggle this on and off under effect

[00:11:33] controls. You can see that the lummetry

[00:11:35] color control has been added. So, I can

[00:11:38] just press this effects button to toggle

[00:11:40] it on and off. I think you're seeing a

[00:11:43] pattern here. any effect or any part of

[00:11:47] the clip can be adjusted and toggled

[00:11:50] here in the effect controls window. So

[00:11:53] now that I know that this clip is good,

[00:11:55] I want to apply that same lummetry color

[00:11:57] to the next several clips which are also

[00:12:00] dark. So I'm going to select the word

[00:12:02] lummetry color, command C, and then

[00:12:07] paste it across the next several clips.

[00:12:11] One, two, and three. Ah, that one might

[00:12:14] be a little too bright. Let's take the

[00:12:16] exposure down.

[00:12:18] What other clips need higher exposure?

[00:12:20] This one, definitely. So, let's paste

[00:12:23] that same lummetry color. Even with that

[00:12:26] pasted, I feel like we still need more

[00:12:28] saturation.

[00:12:31] And under creative, we can even give it

[00:12:33] some more vibrance.

[00:12:35] There we go. Maybe even back to basic.

[00:12:39] And increase the shadows. Increase the

[00:12:42] contrast a little bit.

[00:12:44] Yeah, I feel like that's a huge

[00:12:46] difference before and after. Select

[00:12:48] lummetry color. Copy cuz the next couple

[00:12:52] clips are under similar lighting. And

[00:12:54] this is one of those where now maybe it

[00:12:57] makes sense to go to sequence and

[00:12:59] selection follows playhead. So every

[00:13:01] time I move the playhead, it selects the

[00:13:03] clip underneath it. Definitely this

[00:13:05] tennis ball shot can use a bit more

[00:13:07] exposure, but when I add it, it actually

[00:13:09] blows out the tennis ball. So, let me

[00:13:11] take the highlights down and maybe the

[00:13:13] whites down so that the tennis ball

[00:13:16] still has some detail in it. This one is

[00:13:18] a little too stark white. I would like

[00:13:22] it to be a little warmer. So, I'm going

[00:13:24] to adjust the temperature slider on that

[00:13:26] one so that the color of the paint

[00:13:28] matches.

[00:13:30] There we go. That one, too, could be a

[00:13:32] touch warmer. Okay, now let's take a

[00:13:34] look at our A-roll. Actually, because

[00:13:37] these two shots don't exactly match. So,

[00:13:40] instead of going back and forth, back

[00:13:42] and forth, back and forth trying to

[00:13:44] adjust the color, we will scroll all the

[00:13:46] way down here to color wheels and match.

[00:13:49] And we will open comparison view. So,

[00:13:52] comparison view basically says, hey, the

[00:13:55] clip that I'm currently working on is

[00:13:58] the one on the right. The clip that I

[00:13:59] want to match to is the one on the left.

[00:14:02] So, I have to choose which look I like

[00:14:05] better, the wide or the close-up. I

[00:14:08] think I like the wide better. So, the

[00:14:10] close-up is the thing that I'm going to

[00:14:12] adjust. So, because I have put my

[00:14:14] playhead over this clip, and this is the

[00:14:16] clip that's selected, that's the clip

[00:14:18] that's being pulled up here in this side

[00:14:21] of the monitor. On this side is the clip

[00:14:24] that I want to match to. So, I'm

[00:14:28] basically telling the program, hey, take

[00:14:30] this as an example and match this to

[00:14:35] that. I also want to make sure that I

[00:14:36] have face detection enabled because

[00:14:38] that'll help match the skin tones. And

[00:14:41] let's click apply match.

[00:14:45] That did a pretty good job. I will say

[00:14:48] maybe it has a little bit too much

[00:14:50] contrast. So, let me take the contrast

[00:14:53] down. and maybe just a tad bit more

[00:14:56] warmth and then tint it green just a

[00:14:59] smidge. But that looks pretty accurate.

[00:15:03] I'm happy with that. So if I toggle the

[00:15:06] lummetry color in the effect controls

[00:15:08] panel on and off, you'll see the before

[00:15:11] and the after. The after matches with a

[00:15:14] cam a lot better. So instead of taking

[00:15:17] this lummetry color, copying it, and

[00:15:20] then trying to paste it to every

[00:15:22] instance of this magenta color or

[00:15:26] zooming out on the entire project by

[00:15:29] doing that backslash key and then trying

[00:15:34] to select all of the pink clips. There's

[00:15:38] a much quicker way to do it. We're just

[00:15:41] going to rightclick, go to label, select

[00:15:45] label group, then deselect the one that

[00:15:47] already has the lummetry color.

[00:15:49] Otherwise, we're adding the lummetry

[00:15:50] color effect twice by holding down shift

[00:15:53] and deselecting it and then doing

[00:15:56] commandV

[00:15:58] to paste. And now you can see that that

[00:16:02] color has been applied across to every

[00:16:06] single

[00:16:07] Bcam clip.

[00:16:10] I'm going to get out of comparison view.

[00:16:12] The comparison view buttons right here.

[00:16:16] Now, let's say that I also want to add

[00:16:18] something to a cam like another lummetry

[00:16:20] color effect for exposure. Increase the

[00:16:23] exposure here.

[00:16:26] Copy the lummetry color. Rightclick

[00:16:29] label. Select label group. Deselect the

[00:16:32] one that I already added it to and

[00:16:34] paste. And then now it doesn't match

[00:16:37] with the Bcam anymore. So then I have to

[00:16:40] select all the Bcam stuff, label, select

[00:16:43] label, group, and then paste that there

[00:16:45] as well. So now it matches more or less.

[00:16:49] And then I came back to the project a

[00:16:51] few days later and I was like, "Oh,

[00:16:54] actually, I really don't like this

[00:16:56] change and I want to remove it." Well,

[00:16:59] if I click on one of the clips,

[00:17:03] I can access that lummetry color and I

[00:17:05] can just delete it by pressing delete.

[00:17:07] But if I select multiple clips, what

[00:17:10] happens is that I don't see the effect

[00:17:12] controls anymore. And in the properties

[00:17:15] panel, there is no lummetry color. This

[00:17:17] is just transform, crop, and audio. So,

[00:17:21] what do I do? How do I delete that

[00:17:23] lummetry color effect from multiple

[00:17:26] clips at the same time? Well, first I

[00:17:29] have to select those clips. So, I'm

[00:17:30] going to rightclick, go to label, select

[00:17:33] label group, but it selected not only

[00:17:36] the ones on V1, but also on V3, cuz

[00:17:39] that's the same color up there, too.

[00:17:40] Right. So, I'm going to lock V4, V3, and

[00:17:45] V2. And then rightclick, label, select

[00:17:49] label group. And then when I rightclick,

[00:17:52] I can go to remove attributes. And this

[00:17:56] will ask me, hey, which attribute would

[00:17:58] you like to remove? If I keep everything

[00:18:01] selected and I press okay, it'll remove

[00:18:04] everything, including my motion

[00:18:05] controls. Remember this shot right here?

[00:18:08] It's like zoomed in to 80%. So if I

[00:18:10] press okay,

[00:18:12] it'll change the cropping. So I have to

[00:18:15] select just the lummetry color. So I go

[00:18:17] to remove attributes. I don't want any

[00:18:20] of the motion or time remapping or

[00:18:22] anything. I just want you to get rid of

[00:18:24] the lummetry color effect. There we go.

[00:18:28] Now, let's say I came back. I looked at

[00:18:29] this on my phone and I decided that the

[00:18:32] entire video needs to be brighter.

[00:18:34] Instead of selecting everything by going

[00:18:36] command A and then pasting a lummetry

[00:18:40] color effect to every single clip. I can

[00:18:43] do that globally using an adjustment

[00:18:45] layer, which is very similar to

[00:18:46] Photoshop actually. First, I have to

[00:18:48] create that adjustment layer. I'll put

[00:18:50] it in the graphics folder. I'm going to

[00:18:51] select the graphics folder. Go to new

[00:18:53] item and go to adjustment layer. I'm

[00:18:56] going to choose the properties of this

[00:18:57] adjustment layer. Width, height, and

[00:19:00] time base, the same as we've been

[00:19:02] working on this whole time. Press okay.

[00:19:04] And now this adjustment layer is its own

[00:19:07] item inside our bins. I'm going to put

[00:19:09] it on a new track that is above all the

[00:19:13] other tracks. So, I'm just going to drag

[00:19:14] it in. And by default, it is just a few

[00:19:17] frames wide because I have that set as a

[00:19:21] default in my settings. If I wanted to

[00:19:23] change it before I made that adjustment

[00:19:25] layer,

[00:19:27] I could have gone to edit preferences

[00:19:31] and then timeline.

[00:19:34] And then here I can set a minimum still

[00:19:38] image default duration. So right now

[00:19:40] it's four frames. Let's actually make it

[00:19:43] 4 seconds. And my audio transition

[00:19:47] default duration is two frames, which is

[00:19:49] great because we'll be using that later.

[00:19:51] Going to press okay. And then create

[00:19:53] that adjustment layer again. Same thing,

[00:19:56] but now when I drag it in, it's a lot

[00:19:59] longer.

[00:20:01] So I can extend it to be the entire

[00:20:05] width of the video. And then I can place

[00:20:07] a lummetry color effect on that

[00:20:09] adjustment layer. And then everything

[00:20:11] underneath it will be affected by it.

[00:20:14] So, I could increase the exposure just a

[00:20:16] little bit across the whole thing.

[00:20:20] And that way, all the B-roll, all the

[00:20:22] A-roll, and everything will have a

[00:20:24] higher exposure. We're almost done.

[00:20:27] We've done most of this before,

[00:20:29] actually. It's just a review. Remember

[00:20:30] last time when we were creating little

[00:20:32] transitions by dragging these fade

[00:20:35] handles across like so, then copying it,

[00:20:40] zooming out, holding down command,

[00:20:44] selecting all of the transitions, and

[00:20:46] pasting so that that little fade

[00:20:48] transition would apply across all the

[00:20:49] clips. Well, here we're going to do the

[00:20:51] same thing except

[00:20:53] we're just going to apply the default

[00:20:56] transition

[00:20:58] here under the timeline where we just

[00:21:01] were. It says that our audio transition

[00:21:05] default duration is two frames, which is

[00:21:07] exactly what we need. So, we know how

[00:21:09] long our default transition is. We just

[00:21:11] need to know what our default transition

[00:21:13] is. So here under effects in audio

[00:21:17] transitions crossfade, this little blue

[00:21:20] circle shows us that the constant power

[00:21:23] transition is our default transition.

[00:21:26] How do we know that? Well, we could

[00:21:29] rightclick set as default transition. If

[00:21:31] we wanted constant gain, we could set

[00:21:32] that as default transition. Exponential

[00:21:34] fade, we could set that. I wouldn't

[00:21:36] worry about the differences between

[00:21:38] these for now. Let's just say constant

[00:21:40] power is our default transition. So, if

[00:21:42] we select the area between two of the

[00:21:45] audio clips and we just do shift D, that

[00:21:48] automatically adds that default

[00:21:49] transition without us having to drag

[00:21:52] those handles. So, if we wanted to just

[00:21:55] automatically add the default transition

[00:21:57] to everything, we press command, select

[00:22:00] all of the transitions, then shift D

[00:22:03] adds that two frame default fade

[00:22:05] transition to everything. I'll prove it.

[00:22:08] I'll just zoom in right here. The other

[00:22:10] thing we can do is clean up the audio a

[00:22:13] little bit. So, let's select all of the

[00:22:14] audio clips on A1, go to essential

[00:22:18] sound, and we can do enhance speech, but

[00:22:20] I want to show you a couple of the other

[00:22:22] things here in this menu. For example,

[00:22:24] we can reduce noise, we can reduce

[00:22:26] rumble, and of course, we're going to do

[00:22:28] the same thing as we did before. For

[00:22:29] loudness, we're going to click auto

[00:22:31] match so that each clip matches its

[00:22:34] loudness. And for enhanced speech, we're

[00:22:36] going to press enhance, but we're going

[00:22:37] to turn the mix amount down so that it

[00:22:40] doesn't sound as robotic. I know my

[00:22:44] voice can sometimes go pretty low and it

[00:22:47] sounds like a little frog that croakkes.

[00:22:49] The essential sound panel not only has

[00:22:51] music, but it also has sound effects.

[00:22:54] And so many of them are free. You can

[00:22:57] see there's over 15,000 sound effects.

[00:23:01] And when I filter it by what's free over

[00:23:05] 11,000. So let's get a short sound

[00:23:09] effect. And I want like a little chime

[00:23:12] or something interesting for that before

[00:23:14] and after shot here at the beginning. So

[00:23:17] I'm going to do the same thing. Make

[00:23:18] sure timeline sync is on. Go to

[00:23:20] categories and

[00:23:24] I don't know sound design.

[00:23:27] Boom. Impact. Let's listen.

[00:23:30] Like right here.

[00:23:33] This. No. This.

[00:23:38] This.

[00:23:40] This. I kind of like that. So, I will in

[00:23:44] the audio folder,

[00:23:46] I'm going to make a subfolder called

[00:23:48] sound effects. And then I'm going to put

[00:23:50] this sound effect in the sound effects

[00:23:53] folder.

[00:23:56] There it is. and then drag it

[00:23:59] right here

[00:24:02] to where my uh

[00:24:05] my new clip starts. Let's listen

[00:24:09] to this. Oh, that is loud. Let's uh drag

[00:24:14] the volume line down a little bit to

[00:24:17] this. In my last video, that was more of

[00:24:20] a vlog. Let's add some graphics. I've

[00:24:23] duplicated the sequence. I've called it

[00:24:25] graphics. And now I'm going to open the

[00:24:29] graphics templates window.

[00:24:31] Here it is. Let's put it up here. And

[00:24:35] Adobe Stock has a lot of graphics

[00:24:38] templates. And again, you can filter

[00:24:40] them by free or premium. So in this

[00:24:43] case, let's filter by free. And let's

[00:24:47] type in lower third.

[00:24:49] That is what we call a template for

[00:24:52] one's name at the bottom of the screen.

[00:24:54] You can hover scrub through it to kind

[00:24:57] of get an idea of what it looks like.

[00:25:00] Quite nice.

[00:25:03] Let's keep going. I think this popup

[00:25:06] lower third works really well. So, at

[00:25:08] the very beginning, I don't even say my

[00:25:11] name, so I'm going to have to write it

[00:25:12] on the screen. I'm going to drag that

[00:25:14] lower third into V6, which doesn't exist

[00:25:18] yet, but once I drag it, it will. And

[00:25:20] it's loading the template. And there we

[00:25:23] go.

[00:25:25] Welcome to my living room. I want to

[00:25:27] show you how I Great. Now that the

[00:25:30] template is in there, I can just click

[00:25:32] directly into it.

[00:25:34] And in the properties panel, I can

[00:25:36] change what it says. So, Valentina V.

[00:25:42] Second line

[00:25:44] filmmaker.

[00:25:47] And then I want to change the font, too.

[00:25:51] Um,

[00:25:53] let's do one of my favorite fonts.

[00:26:03] H. Maybe all caps

[00:26:06] and maybe smaller

[00:26:09] with a little bit more spacing in

[00:26:12] between.

[00:26:14] Nice. See what that looks like. Welcome

[00:26:17] to my living room. I want to show you.

[00:26:19] I'm actually going to get rid of that

[00:26:21] second line by disabling this eye. And

[00:26:24] then the whole thing I'm going to move

[00:26:26] down by doing a global position control.

[00:26:34] kind of like this because I still want

[00:26:35] to leave room for subtitles. Now, this

[00:26:37] graphic has both an intro animation and

[00:26:40] an outro animation. So, if I play it,

[00:26:43] this is what it looks like by default.

[00:26:46] Welcome to my living room. I want to

[00:26:48] show you how I took it from looking like

[00:26:51] this to this in you see that. So I have

[00:26:56] to make it shorter.