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TOP 8 "Smooth" Seamless Transitions - YouTube
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(serene tones)
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(shell cracks)
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(relaxing music)
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(helicopter propeller whirring)
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(radio chatter)
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(upbeat music)
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(sizzling)
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(guitar strumming)
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- Hey how's it going?
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Parker Walbeck here with
fulltimefilmmaker.com
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and today I am joined by
our newest team member
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Landon Bytheway.
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Landon's been helping me shoot and edit
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a lot of our latest videos
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that I posted on this channel.
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He's a super talented
cinematographer and editor,
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and he has a specific skill
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that he does much better than me.
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Thus why I brought him onto my team,
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because I'm always surrounding myself
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with people who are better
than me in certain areas.
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And the area that Landon
really kills it in
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is seamless transitions.
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Now personally, I think this style
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of shooting and editing
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is becoming super overused and cliche,
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especially in travel videos.
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I do use them from time to time,
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but I've noticed a lot of videos
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that either overuse them or misuse them
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and it distracts from
the content of the video
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rather than adding to it.
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So in this video,
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Landon and I are going to be sharing
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our top eight seamless transitions
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and not only showing
you how to achieve them
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but also hit on when
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they are most effectively used,
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and times when they
feel forced or overdone.
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In this video we're gonna
be covering the basics
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of shooting and editing
seamless transitions,
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but there's a lot
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of in-depth Premiere and After Effects
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work that is needed for some of these
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that would take too long
to cover in this video,
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so we built another mini
course Seamless Video Pro
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dedicated to teaching you
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how and when to plan, shoot,
and edit seamless transitions.
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So if you like this video
and like to learn more
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about our seamless transition work flow,
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stick around 'til the end
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to learn more about our mini course.
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And yes, this mini course is included
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inside the full Fulltime
Filmmaker Course as well.
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Let's go ahead and dive in now
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to our top eight transitions
that we like to use and when.
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Landon, go ahead and take it away.
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- All right,
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the first and easily
most common transition
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is probably The Whip.
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Now I find myself using this transition
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way more than any other transition
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because it's great for
keeping the flow of the video,
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and also from transitioning
from one subject or location
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to a completely new one.
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So one of the biggest
mistakes I see people making
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with the whip transition
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has to do with the basic camera movement.
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Obviously you need fairly
quick movements in-camera
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to be able to mesh both
Clip A and Clip B together.
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But I find that the majority of the time
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the camera either isn't moving
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in the same direction as the other clip,
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or the transition as a
whole just feels rushed
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and not seamless.
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So the solution to this would be
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planning out your shots ahead of time
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and knowing which shots
are gonna go together.
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So if Clip A is this shot of Parker
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dribbling the basketball
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then passing towards
the right of the frame,
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I'm gonna have the camera whip
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following the action that's taking place.
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So I'll whip directly to the right.
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Now in order to have
a seamless transition,
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Clip B needs to start
whipping in the same direction
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that Clip A was whipping at the end,
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which is directly to the right.
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So for this clip, I'll
throw my camera vertical
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so it at least starts
whipping towards the right
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then slowly levels out with the horizon.
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Now for any transition,
especially The Whip,
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you wanna make sure
that your shutter speed
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isn't set too fast
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because that's part of what's
gonna give away the seam
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between each of your clips.
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So instead bring your shutter speed down
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to about two times your frame rate.
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So if we're shooting
at 60 frames per second
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the shutter speed should
be at one over 125.
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And we also wanna make
sure that the exposure
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and colors from Clip A to
Clip B match pretty well.
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So now that our two clips are filmed
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the editing for this one is super simple.
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If we did our drop right while shooting
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all we really need to do
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is place the clips next to each other
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and cut them at the right moment.
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Which is at the peak of the movement
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and when the colors and exposure
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between each clip match best.
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Now normally the speed
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between each of your clips
will very just a little bit,
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so some simple timer mapping
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to adjust the speed at the end of Clip A
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and at the beginning of Clip B
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will help that seam become less obvious.
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Just don't move too fast,
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otherwise the timer mapping
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will have the opposite effect
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and make it more obvious
that you just attempted
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a Whip transition.
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Now the goal of a seamless transition
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isn't to distract the viewers,
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it's meant to at to
the story of your video
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and help them feel somewhat attached
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to the location, people, or
action that's taking place.
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Now another effect that
I'll drop onto my footage
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if there's not enough blur
between each of my clips
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is Directional Blur.
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Now I love this blur effect
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because you can key frame it
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to go from 0% blur to
however high you'd like.
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I usually put it up to about 15%
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then I choose the direction
that the blur is moving
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to make it feel natural.
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Now it's a great little
nudge for your footage
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if you forgot to bring
down your shutter speed,
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or if you just need a
little bit more motion blur.
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- Our second transition
is seamless Masking.
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Also known as frame blocking,
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this is where a foreground object
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wipes across the entire screen
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to reveal a different piece of footage.
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Now there are tons of
applications for masking
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and you can actually do it pretty easily
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right inside Premiere Pro.
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But if there's fine tuning
that needs to be done
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I'll usually bring it into After Effects.
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I think the two most important aspects
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of making an awesome
seamless masking transition
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is first, making sure that again,
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you're using the same directional movement
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from both Clip A and Clip B
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and that each clip is either shot
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on a different focal length
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or is providing somewhat
of a different perspective
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or location
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than what the previous clip gave.
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For example, in this clip I'm
gonna be playing some soccer
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and we'll go from one perspective
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of me dribbling the
ball to a different one.
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Now for Clip A what's key here
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is making sure that the object
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that's wiping across the entire
frame and being masked out,
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hit every part of the frame at one point
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and moves in a smooth, continuous motion.
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Now in this case, my ankles are going
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from the left to the
right side of the frame
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plus the camera is orbiting
slightly to the left,
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so my ankles are going
to move a bit quicker
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across the screen
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than if we were just
shooting a static shot
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of me dribbling across the camera.
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Having multiple kinds of movement,
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meaning the subject moving
and the camera also moving,
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helps the transition moves faster
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and can actually help distract your eye
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from being able to tell any
flaws in the transition.
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Now the second clip is another moving shot
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and the key to these two clips
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working perfectly together
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is matching the camera
movement between clips.
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So since our camera was orbiting
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slightly towards the left,
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Clip B needs to at least
start with that same movement
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at that same speed.
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Once those two clips are filmed,
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all we really need to do is create
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a clean mask on the first clip
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by drawing it out with a pen tool
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then going frame by frame and making sure
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that it completely wipes across the frame.
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I usually adjust the feather quite a bit
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so that movement feels
a little more seamless,
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and again, we have a full
tutorial in the paid course
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walking you through the full process
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of masking if you're
not sure how to do that.
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But for the second clip, it's as easy
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as placing it directly
under the first clip
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and then just moving it left
or right on your timeline
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until the timing of the
two clips matches up.
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You might need to do a
little bit of speed wrapping
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to match the speed between each clip,
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but besides that, you're
probably good to go.
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- Now, onto the third transition,
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which is the Smooth Zoom.
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Now this transition is slowly
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becoming more and more cliche,
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especially in travel videos,
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but I think that if you do it correctly
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it'll help add to the story of your video
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rather than take away from it.
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Now I find that this transition
works exceptionally well
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when the theme of each clip is identical.
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For example, in this video
of my trip to Iceland,
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I zoomed in on a waterfall
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to then reveal a couple of
friends jumping into a lake.
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It wasn't too overbearing of a transition
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because it was going
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from a water theme to more water.
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Now this transition is a great example
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of one that should have
some prior planning.
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If you're zooming from
a clip of some trees
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to a clip of Parker's face.
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It's honestly kind of
a useless transition,
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because you're not adding to the story.
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You're probably just throwing it on
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because you feel you couldn't figure out
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how to make those two
clips cut together well.
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Now to make this transition work well
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and not be cliche,
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we need two clips that either
follow a certain theme,
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like tying travel-themed
hyper lapses together,
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or the water theme example I just gave.
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And generally it helps sell the zoom
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when both clips have
the same camera movement
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of pushing in or pulling out.
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- Now to show you how we pull
off the smooth zoom effect,
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we're going to take a look under the hood
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of my Thailand travel video
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where I had four different clips
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that were each shot on the glide cam
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slowly pushing forward.
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I then sped them all up
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and then threw on Warp
Stabilizer to smooth them out.
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So here's what the four clips look like
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before applying any Smooth Zoom presets.
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Now we've actually created
our own Smooth Zoom presets
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for Premiere Pro that we sell separately
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that include a zoom in, a
zoom out, an up and down,
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a side to side, and a
spin transition preset,
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but we are including these
for free in the paid course.
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And we made sure to
make these super simple
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and easy to use.
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All you do is create an adjustment layer
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then drag the preset on top,
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and there you have your
smooth zoom transition.
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Then once I apply that to all the clips
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here is the final result.
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Now the drawback to this preset is that
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it's not super customizable,
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so if you like to make
tweaks or add other effects
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like Landon's Iceland example
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that has optic compensation
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to give it that warpy look.
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Or maybe throw in some
chromatic aberration
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then we recommend using After Effects
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and we'll leave a link in the description
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for more advanced presets
that we recommend using.
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But remember, don't
use presets as a crutch
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and just drag and drop
them onto two random clips.
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Make sure your edit is
already flowing well
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and then use the preset
as the cherry on top.
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The fourth transition is Luma Key.
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This one is also becoming
more and more cliche,
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especially in travel videos,
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but I think it's because
we typically see people
[530]
using the Luma Key transition poorly
[532]
and aren't unlocking the
full potential of that effect
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which makes it feel cheap.
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So let's talk about how to use it
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to its fullest potential.
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The Luma Key effect basically removes
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all of the shadows or
all of the highlights
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from an image.
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Now I think the best way to get the most
[544]
out of this Luma Key transition
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and not have it be just another
drag and drop transition
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is by doing two things.
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First, you should have a subject
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that fills most of the frame.
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This will distract the viewer's eye
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to focus primarily on
the dominant subject,
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and not notice any of the imperfections
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that happen when you
apply the Luma Key effect.
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The second thing that
helps a Luma Key effect
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be more profound and less cliche
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is by going from either a bright scene
[567]
to a dark scene or vice versa.
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The Luma Key is your chance to transition
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between two completely different scenes
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that normally wouldn't be
able to go together very well.
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For our example, we're
going to transition from me
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being inside my dark office
[578]
to a bright shot outside.
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And to help distract the viewer's eye
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from seeing any imperfections,
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we're going to have
both a dominant subject
[584]
and have the dominant
subject do a quick movement
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like a 180 jump.
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Once Clip A is shot and it looks good
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Clip B is literally going to be
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the exact same thing, but in a
different, brighter location.
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Once we're in the editing room,
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we just need to do some
time remapping to make sure
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those two clips are moving
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at the exact same speed.
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Then do a little bit of repositioning,
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so the eyes stay in the
center of the frame.
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After that, we'll just
add the Luma Key effect
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to the first clip and then key frame it,
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so that it goes from zero to 100
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and that the peak of the animation
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is happening at the same time
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that I'm at the peak of my 180 spin.
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Now we can smooth it out just a little bit
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so there's no sharp edges from the shadows
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and even add some blur to
really mesh it all together.
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- All right,
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the fifth transition is Rotation.
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Now there's a couple different ways
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that you could do a rotation transition,
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and the first way, which
is my preferred method
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because it makes editing in
post a little bit easier,
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is by doing the roll on
location with your camera.
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So I just use the infinite
roll feature on my Ronin S.
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Now for this example
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I'm just gonna have Parker
walk away from the camera
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while I follow him and
do the infinite roll.
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Clip B is gonna be the same movement
[642]
with the same subject,
[643]
but at a different location.
[645]
Now all I need to do to make sure
[646]
that these two clips work well together
[648]
is be at roughly the
same distance and height
[650]
from Parker,
[651]
and make sure that my camera is rolling
[652]
in both the same direction
and at the same rate.
[655]
Now in post, these two
clips probably only need
[657]
some time remapping
[658]
to be able to really flow
well into each other.
[660]
But if they need an extra boost,
[661]
I'll throw on a radial blur
[662]
and just animate the key frames
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until I think the motion
blur looks natural,
[666]
and it hides the seam between each clip.
[668]
Now if you don't have a gimbal
[669]
that can do the infinite roll feature
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you can also just do a handheld rotation
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like this example from
Landon's Iceland video.
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In this example Clip A
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actually didn't have
any in-camera rotation.
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Clip A did however at least
have some subject movement.
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So he used that subject motion
[683]
and exaggerated it into a rotation
[685]
by digitally zooming in,
[686]
then key framing a digital rotation
[688]
to match the speed of the
in-camera rotation of Clip B.
[691]
That way, both clips are rotating
[692]
in the same direction
and at the same speed.
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Then he just added the effect Radial Blur
[696]
to help blend the two
together more seamlessly.
[699]
So even if you didn't
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plan out two rotation shots beforehand,
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sometimes you can use this trick
[703]
to cheat the rotation effect
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and still make it work.
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Moving on to our sixth
transition is the Match Cut.
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Now this is one of the
oldest types of editing cuts
[711]
in Hollywood movies.
[712]
A match cut technique isn't
really a seamless transition,
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but depending on how you use it
[716]
it can feel pretty seamless.
[718]
For this example, the
focus of each of our clips
[720]
will be on the action that's taking place.
[722]
So I'm gonna be running
[723]
from the left side of the
camera towards the right
[725]
and then jumping in a very specific way
[727]
once I get to the middle of the frame.
[729]
For the second clip I'm going to do
[730]
the exact same movement
[731]
but in a different location.
[733]
And then Landon's going to make sure
[734]
to make the exact same camera movement
[736]
trying to keep me, the subject,
[737]
in the exact same spot in his frame.
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Now there's really no
fancy editing that goes on
[741]
in creating a match cut in post.
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All we need to do is match up the scale
[744]
and positioning of each of these clips,
[746]
so that they match identically
[747]
then trim it at the peak of the movement.
[749]
What really helps match
these two clips together
[751]
isn't actually what you're
seeing on the screen,
[753]
but also what you're hearing.
[754]
So using sound effects
or beats of the music
[757]
will help hide the cut even
more from your viewers.
[759]
So instead of this,
[761]
we could have something like this.
[763]
(energetic music)
[766]
- All right, our seventh transition
[768]
is The Glitch transition.
[769]
And this one really only comes into play
[771]
when it matches the style of video
[773]
that you're trying to create.
[774]
You don't really have to worry too much
[775]
about the specific shots
that you need to get
[777]
if you plan on using a Glitch transition,
[779]
but I think the most classy way
of using a Glitch transition
[782]
is by glitching in your
dominant subject, like this.
[785]
Now to make this happen,
[785]
all we needed was a clean,
[787]
push-in shot of our location for Clip A,
[789]
then the same shot but this time
[791]
with our subject for Clip B.
[792]
Now the editing for
this type of transition
[794]
is super quick and easy
with the Transition pack.
[797]
Again, link in description for the pack
[798]
that includes some Glitch presets.
[800]
But, if you want to do it by scratch,
[801]
just bring everything into After Effects,
[803]
line up your clips properly,
[805]
then we'll use an effect
called Set Channels
[807]
to create that chromatic look.
[809]
Then just key frame four or five frames
[810]
in slightly different positions,
[812]
so that when played back in real time
[813]
it looks like it glitches quickly.
[815]
- Our eighth and final
transition is the Frame Fill.
[818]
This one can be used in
so many different ways.
[820]
You could transition using a lens flare
[822]
or a light leak in post
[823]
and letting it fill the entire frame,
[825]
or you could move the camera
behind a foreground object
[827]
that fills the entire frame,
[828]
then seamlessly move to another scene.
[830]
The lens flares and light
leaks that I like to use
[832]
are from Lens Distortion and Rocketstock.
[834]
Links in the description once again.
[836]
But for our example,
Landon's going to take
[838]
a shot of my hands on my desk,
[839]
then move the camera towards the left
[841]
and let the darkness of my
shirt fill the entire frame.
[844]
Then for the second clip
[845]
he's started with a dark foreground
[847]
of my acoustic foam panel,
[848]
and moved the camera in the same direction
[850]
that Clip A ended on.
[852]
To mesh these two clips together
[853]
we'll place them side by side,
[854]
cut them at the right moment,
[855]
and maybe do a little
bit of speed wrapping
[857]
so the speed of the movements match.
[859]
By doing a fade with the
opacity of one of these clips
[861]
this transition really becomes seamless
[863]
and is a great way to
transition between one scene
[865]
to a completely new scene.
[867]
But there you have it.
[867]
Those are our top eight
seamless transitions.
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Again, you can see in-depth editing
[871]
breakdown videos of each
of these transitions
[873]
in the full course.
[874]
We've honestly only scratched the surface
[876]
of everything you need to know
[877]
to create seamless transitions.
[878]
So if you'd like to learn more,
[879]
you can join the full 15 video mini course
[881]
Seamless Video Pro
[883]
that only includes a bunch more tutorials,
[885]
but also includes the raw
transitional video clips
[887]
along with corresponding Premiere Pro
[889]
and After Effects project files,
[890]
so that you can follow
along with our tutorials
[892]
and play around with them
[893]
to master your transitional skills.
[895]
We also go more in-depth
[896]
teaching you our top 10 tips
[897]
to effectively shoot these
transitions in-camera.
[900]
And we'll also include links
[901]
to our favorite free Premiere Pro
[903]
and After Effects preset packs.
[904]
And for you Final Cut Pro X users,
[906]
we're including 25% off
Ryan Nangle presets.
[910]
Ryan being one of the best
[911]
Final Cut Pro X transition artists
[913]
that I've seen out there,
[914]
that I'd recommend learning from
[915]
if you don't use Adobe products.
[916]
We're also throwing in 20
free slow motion sound effects
[919]
that we often use to help
sell the transitions,
[921]
with links where to download loads
[923]
of other sound effects for free as well.
[925]
We also have a couple in-depth
virtual job shadow videos
[928]
where we break down every aspect
[929]
of the creative process in
creating seamless transitions,
[932]
from the planning stages
[933]
all the way out to the rendering out
[934]
of the final product.
[935]
And we'll include a preplanned
shot list that we created,
[938]
so that you can get an
idea of the planning
[940]
that goes into these videos.
[941]
- We also walk you through the basics
[942]
of using After Effects
[944]
for those who have never used it,
[945]
to help you expand your editing skills.
[947]
And we'll also break down popular videos
[949]
and how they achieved certain
effects and transitions.
[951]
We'll also throw in feedback videos
[953]
of us breaking down our students' edits,
[955]
and explaining when and how
[956]
they have misused or
overdone a transition.
[959]
- And lastly, we'll also be throwing in
[960]
our favorite orange and teal lut
[962]
that I use on most of my videos.
[964]
The awesome guys at lutify.me
[966]
made me a custom lut that
you can buy on their site.
[968]
Again, link in the description,
[970]
or if you join the paid course
[971]
we'll throw it in for free
[972]
along with a tutorial on how we use it
[974]
in our color grading process.
[976]
And we'll continue to add new content
[977]
to this mini course
[978]
to address any questions you still have
[980]
after going through the tutorials
[981]
and to keep up-to-date on new transitions
[983]
that become popular in the future.
[985]
- And yes, all of this is included
[986]
in the Fulltime Filmmaker course as well
[988]
for those who are already members,
[989]
or would like to join our
full online film school.
[992]
But that's it, thanks for tuning in.
[993]
You can click over here
to join Seamless Video Pro
[996]
or links are also in the description.
[997]
Big thanks to Landon for sharing
[999]
his talents and knowledge with all of us.
[1001]
You can follow his work
on Instagram @landonbtw
[1004]
also don't forget to
subscribe for more content
[1007]
just like this.
[1007]
And, if you have any further questions,
[1009]
please let us know.
[1011]
(blows raspberry)
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