Working in the motion graphics industry part 5

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[00:00:00] thank you

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[00:00:00] hello and welcome to this after effects

[00:00:00] certification preparation series of

[00:00:00] videos on Louisa Winters in this video

[00:00:00] I'd like to cover objective 1.4 a so

[00:00:00] this is to demonstrate knowledge of

[00:00:00] digital video and audio terminology so

[00:00:00] I'm gonna go through the key terms and

[00:00:00] definitions so that you can properly

[00:00:00] answer these questions in case they

[00:00:00] appear on the test let's get to it

[00:00:00] frame rate frame rate is the frequency

[00:00:00] at which consecutive images are captured

[00:00:00] or displayed okay so this is how it

[00:00:00] works video per se moving images and all

[00:00:00] of that they don't really exist all the

[00:00:00] technology that we have is the

[00:00:00] capability of taking stills and then

[00:00:00] playing them at a certain rate right

[00:00:00] frames per second right and that gives

[00:00:00] the illusion of movement because our

[00:00:00] mind connects these images so that's

[00:00:00] what a frame rate is uh you can have

[00:00:00] frame rates that are 24 frames per

[00:00:00] second which is film 25 frames per

[00:00:00] second which would be pal which is

[00:00:00] what's used in Europe

[00:00:00] um 30 frames per second or almost 30

[00:00:00] frames per second which is what we use

[00:00:00] here in the United States which is

[00:00:00] called ntsc so just knowing the concept

[00:00:00] that frames per second exist and why

[00:00:00] they're there is super important for

[00:00:00] answering any questions related to this

[00:00:00] on the test

[00:00:00] all right moving on we have the title

[00:00:00] actions safe zones or areas

[00:00:00] you know this is becoming less and less

[00:00:00] important as years go by and we change

[00:00:00] how we're consuming the media but it's

[00:00:00] still relevant this has to do with

[00:00:00] overscanned or what all that this means

[00:00:00] is that there are some monitors that

[00:00:00] show more pixels than others right and

[00:00:00] if you want to make sure that everything

[00:00:00] that is important in your video say text

[00:00:00] logos Etc show up in everybody's monitor

[00:00:00] then you need to stay Within These safe

[00:00:00] action and title zones and you see the

[00:00:00] action and title safe areas in here

[00:00:00] those are those two rectangles the

[00:00:00] outside rectangle is going to mean the

[00:00:00] safe action area and the inside one is

[00:00:00] the safe text area

[00:00:00] image and video resolution I have a

[00:00:00] problem with these words you know

[00:00:00] resolution doesn't really exist in video

[00:00:00] because resolution is a term that

[00:00:00] implies pixels per inch or dots per inch

[00:00:00] so it's really more a print term than

[00:00:00] anything else I prefer the term frame

[00:00:00] size which is how many pixels you have

[00:00:00] across by how many pixels you have down

[00:00:00] not resolution having said that it's a

[00:00:00] losing battle for me because everybody

[00:00:00] calls it resolution so a resolution of

[00:00:00] 1920x1080 right that would be HD or uh

[00:00:00] 4K

[00:00:00] etc etc so the resolution is defined as

[00:00:00] the area of an image's pixels in After

[00:00:00] Effects you set this frame size I'm

[00:00:00] gonna call it how I like it frame size

[00:00:00] is really width times height so 1920 by

[00:00:00] 1080 and you see it displayed in this

[00:00:00] graphic very very easy

[00:00:00] moving on pixels so a pixel would be

[00:00:00] considered like the molecule of the

[00:00:00] image when you put all the pixels

[00:00:00] together right then you you see the

[00:00:00] image that's what we're counting when we

[00:00:00] talk about frame size or resolution

[00:00:00] right so 1920 by 1080 what pixels so

[00:00:00] it's the smallest part in which you can

[00:00:00] divide the image pixels are single color

[00:00:00] you cannot have a pixel that is two

[00:00:00] colors which is why the more pixels you

[00:00:00] have the more different colors you can

[00:00:00] represent and the image is considered to

[00:00:00] be better so they say hey a high

[00:00:00] resolution image is better than a low

[00:00:00] resolution image and that's very

[00:00:00] subjective right because a high

[00:00:00] resolution image only has more pixels

[00:00:00] all right moving on rendering rendering

[00:00:00] or image synthesis is the process of

[00:00:00] generating a photorealistic or

[00:00:00] non-photorealistic image from a 2d or 3D

[00:00:00] model by means of a computer program

[00:00:00] so the resulting image here is going to

[00:00:00] be called the render like you render a

[00:00:00] 3D model right you can see it all right

[00:00:00] moving on let's talk about rendering uh

[00:00:00] saying hey let me export this video and

[00:00:00] in here you see a picture of the export

[00:00:00] settings from Adobe Media encoder from

[00:00:00] Premiere Pro and therefore after effects

[00:00:00] uses as well and you can use this to

[00:00:00] render your image out so for example you

[00:00:00] can render something so that you don't

[00:00:00] need after effects to watch it you can

[00:00:00] render something so you don't need

[00:00:00] Premiere Pro to watch it so that's it

[00:00:00] can play on its own then you render it

[00:00:00] into a movie a separate movie All Right

[00:00:00] Moving on let's talk about monitoring

[00:00:00] audio monitoring it's a term used in

[00:00:00] audio production that refers to

[00:00:00] listening and analyzing the musical and

[00:00:00] Technical aspects of the sound being

[00:00:00] created

[00:00:00] that's all monitoring audio I'm

[00:00:00] listening to the audio

[00:00:00] now let's move on to 1.4 B this is

[00:00:00] objective 1.4 B demonstrate knowledge of

[00:00:00] how color is represented in digital

[00:00:00] video so we're going to talk about you

[00:00:00] know white balance bit depth working

[00:00:00] color spaces so RGB CMYK that sort of

[00:00:00] thing and we're also going to talk about

[00:00:00] choosing the right color space all right

[00:00:00] let's get to it white balance

[00:00:00] most of us know what white balance is

[00:00:00] our eyes get accustomed to the different

[00:00:00] color lights very very easily but

[00:00:00] cameras are not that smart so basically

[00:00:00] you tell the camera hey this is white

[00:00:00] and then all of the other colors get

[00:00:00] adjusted automatically you can also do a

[00:00:00] white balance by color temperature you

[00:00:00] know like right now in my studio the

[00:00:00] color temperature that I have my white

[00:00:00] balance set at is 4200 degrees Kelvin or

[00:00:00] 4200 K and that is a little bit on the

[00:00:00] cooler side of things but that's okay

[00:00:00] because that's how my lights are

[00:00:00] so white balance can be done in in post

[00:00:00] as well you uh you could take a little

[00:00:00] eyedropper click on something that is

[00:00:00] white and all of the other colors get

[00:00:00] adjusted automatically all right moving

[00:00:00] on bit depth is the number of bits used

[00:00:00] to represent each pixel in an image most

[00:00:00] of the time we work in eight bits per

[00:00:00] Channel although more and more people

[00:00:00] are working 16 bits per channel so it's

[00:00:00] uh binary so bits binary and that just

[00:00:00] has to do with how how many shades of a

[00:00:00] particular color we can have

[00:00:00] um you know I'm gonna give you the more

[00:00:00] uh deep explanation even if it makes

[00:00:00] this a little bit lengthier uh so

[00:00:00] imagine you have three flashlights one

[00:00:00] is red one is green one is blue right

[00:00:00] and you're pointing at the same point in

[00:00:00] space so yeah white wall or whatever

[00:00:00] right say at nothing lens if you only

[00:00:00] have on and off switches in these

[00:00:00] flashlights you have a one bit color

[00:00:00] depth so the lights can be on or off so

[00:00:00] boom or nothing on or nothing and you

[00:00:00] have three flashlights so that's two

[00:00:00] possibilities per flashlight that's two

[00:00:00] plus uh times two times two right so two

[00:00:00] times two four times two eight you have

[00:00:00] the possibilities of eight colors

[00:00:00] when you have something that is eight

[00:00:00] bits per Channel what you mean is that

[00:00:00] you have a flashlight that has a dimmer

[00:00:00] with 256 stops because it's 2 to the

[00:00:00] eighth power right so that's 256 so

[00:00:00] that's zero all the way up to 255.

[00:00:00] and because you can have now

[00:00:00] 256 possibilities of intensity on each

[00:00:00] one of the flashlights then you have 256

[00:00:00] times 256 times 256 and that gives you

[00:00:00] that gives you the possibility of around

[00:00:00] 17.6 or 0.8 something like that millions

[00:00:00] of colors that is possible for you to

[00:00:00] have in your work 16 bits per Channel

[00:00:00] you can just imagine it's like it was an

[00:00:00] explosion because it's more numbers than

[00:00:00] my little brain can imagine and now

[00:00:00] we're getting into the quadrillions in

[00:00:00] the let's not even count those numbers

[00:00:00] it's a lot so the higher the bit depth

[00:00:00] the more colors you can represent in

[00:00:00] your image

[00:00:00] that was a long explanation for that

[00:00:00] wasn't it all right working color spaces

[00:00:00] RGB is what we were talking about those

[00:00:00] are light colors red green and blue

[00:00:00] then you have CMYK cyan magenta yellow

[00:00:00] and black

[00:00:00] those are usually ink colors right so

[00:00:00] pigment one is called additive because

[00:00:00] when you put all the lights together at

[00:00:00] its maximum you get white right that

[00:00:00] would be RGB and the other one is

[00:00:00] considered subtractive because when you

[00:00:00] put all the inks together at their Max

[00:00:00] you get black in reality you get a murky

[00:00:00] Brown thing but

[00:00:00] let's just say you get black so one is

[00:00:00] called additive the other one is called

[00:00:00] subtractive and then you have things

[00:00:00] like yuv uh which is what we use in

[00:00:00] broadcast television so that is Luma

[00:00:00] chroma blue chroma red and uh that

[00:00:00] represents the channels yub then hls

[00:00:00] which is Hue luminance and saturation so

[00:00:00] a color space is a specific organization

[00:00:00] of colors it's a useful conceptual tool

[00:00:00] for understanding the color capabilities

[00:00:00] of a particular device the color space

[00:00:00] of this coated the color space of this

[00:00:00] camera can only do you know X Y or Z

[00:00:00] there are different color spaces that we

[00:00:00] can work and shoot in and

[00:00:00] um the flat log or logarithmic is

[00:00:00] becoming more and more popular and the

[00:00:00] reason for that is because it gives you

[00:00:00] more stumps of luminance so uh um the

[00:00:00] problem is that our monitors televisions

[00:00:00] Etc are mostly a color space called Rec

[00:00:00] 709 that's what you're watching right

[00:00:00] now you're watching Rec 709 and when you

[00:00:00] put logarithmic inside of Rec 709 then

[00:00:00] the colors look flat it looks kind of

[00:00:00] like dead not too contrasty you know the

[00:00:00] colors are like blah

[00:00:00] being a technical term

[00:00:00] um so usually to take it from flat or

[00:00:00] logarithmic to rec 709 you make use of

[00:00:00] something called a lot which is a lookup

[00:00:00] table more on that later

[00:00:00] alrighty so different color spaces

[00:00:00] depending on how you shoot and how

[00:00:00] you're working you're the most common

[00:00:00] ones will be flat or logarithmic Rec 709

[00:00:00] which is what you're watching right now

[00:00:00] or Rec 2020 which would be like the HDR

[00:00:00] or high uh definition range right so

[00:00:00] those would be kind of the most

[00:00:00] important ones and yes after effects

[00:00:00] supports all of these color spaces

[00:00:00] all right let's talk about 1.4 C which

[00:00:00] is understand and use key terms related

[00:00:00] to video and audio post and some of

[00:00:00] these key terms include let's just start

[00:00:00] with editing video editing is the

[00:00:00] manipulation and arrangement of video

[00:00:00] shots I mean we all know what video

[00:00:00] editing is cut what you don't want put

[00:00:00] it in the order that you want boom

[00:00:00] you're done render it boom deliver

[00:00:00] so continuing we have transitions our

[00:00:00] video transitions are a post-production

[00:00:00] technique used in film or video editing

[00:00:00] to connect one shot to the other

[00:00:00] often

[00:00:00] just a cut is used but I'm sure you've

[00:00:00] seen Star Wars you've seen all of those

[00:00:00] uh um films that have different

[00:00:00] Transitions and

[00:00:00] um you know you can do all of those in

[00:00:00] After Effects or even in Premiere Pro

[00:00:00] all right audio levels which are

[00:00:00] measured usually in decibels or DB and

[00:00:00] zero in digital would be the maximum so

[00:00:00] nothing can go past zero and broadcast

[00:00:00] quality is going to be like -12 uh or or

[00:00:00] broadcast limits

[00:00:00] um there are other broadcast

[00:00:00] institutions that measure in loafs lksf

[00:00:00] etc etc

[00:00:00] um so the noise floor is going to be the

[00:00:00] silence and then the maximum is going to

[00:00:00] be the you know the maximum value in

[00:00:00] decibels of your audio waveforms

[00:00:00] represent the shape and form of the

[00:00:00] sound so it's how you visually see the

[00:00:00] sound inside of After Effects and in

[00:00:00] Premiere Pro

[00:00:00] effects visual effects which are

[00:00:00] sometimes abbreviated as VFX is the

[00:00:00] process in which imagery is created or

[00:00:00] manipulated outside of the context of a

[00:00:00] live action shot so it's something that

[00:00:00] is added in post the effect you know the

[00:00:00] explosion the smoke the whatever it is

[00:00:00] the integration of live action footage

[00:00:00] and other live-action footage or CGI or

[00:00:00] computer Graphics images elements to

[00:00:00] create realistic imagery is called in

[00:00:00] the industry VFX

[00:00:00] and this brings us to the end of this

[00:00:00] video so thanks for watching and I'll

[00:00:00] see you on the next one

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