Speaker 1: Hey, what's up? Welcome to Adobe's Learn from the Pro series. My name is Kris Trini for Kriscoart, which is a production company here in LA, as well as a filmmaking YouTube channel where I share my process and some of the techniques and breakdowns that I'm excited about. And this is actually our final video together, guys. So I hope you've enjoyed the past videos, if you haven't seen them, definitely make sure to check them out. But in this video, we are looking at more of editing theory and the translation into the tools and the techniques in Premiere Pro. But mainly we're looking at how to make things flow, how to give a sense of direction to your edit. And the ways that we're going to do that is by manipulating time, space, and even the composition of your frame and post. And so that is very exciting and very simple, but very powerful stuff. And so I'm not going to ramble anymore. Let's jump into Premiere and let's see how we can do that. First of all, the flow of something is very subjective and it is subjective in nature of how it's perceived, but also it is subjective to the project. Sometimes you might not even want flow at all. If you want to experience the chaotic nature of a certain scene or of a certain emotional state of a character that can change things drastically. So you get what I mean by that. But ideally, how do we make something flow? How do we make something smooth? Because in most edits, you want to make it enjoyable to watch and that should be the goal. So I'm going to break down a few key things, key ideas, and also their technical translation into Premiere of how we can achieve that. So right off the top, the first thing is screen direction. This is a very basic editing principle, which is that, for example, if we have a character wandering in an environment and they're exploring, we want to make sure that we are progressing in that exploration with them and we're not confused about where they're wandering back and forth. We want to give a sense of direction in the space. And the easiest way to do that is with the direction of camera in relation to the character. So if that character is walking from screen left to right, you want to make that consistent throughout your edit to avoid any confusion or any sudden change of direction that is unmotivated. And so that's the theory part. But maybe not everything worked out the way that we thought. Maybe we grabbed the shot or an insert that maybe was facing the wrong way, or we had some continuity issues on set. Well, a very simple way to fix this is by going under the effects panel and typing in flip. And you can flip your clip both horizontally and vertically. In this case, we want to flip it horizontally. And that gives us that continued sense of motion in that same direction. So of course, this is a very specific use of it. But just knowing how to flip things in your edit sometimes can be a lifesaver. But of course, when you do this, make sure you are being aware of everything that's in your scene. And that's why sometimes this works best for just close ups, not so much wide shots where maybe you might have some issues with eye line and elements being flipped that aren't supposed to be flipped, like maybe wording on a poster or whatever the case may be. So definitely use that wisely. Sometimes neither of those things are the problem. Sometimes it's just the framing and just simply how something was shot. Maybe it's a little bit too wide and revealing too much information and you want to punch in just a little bit. OK, so as a first step, let's just start really simple and just move a shot to to fit better a little bit of what we're trying to do with it. Right now we have this reveal part of the car and this shot works. There's nothing really wrong with it, but I just don't like how we're seeing this garbage bag over here next to this, you know, really nice moment. We're just we're just losing a little bit of our interest. There's a lot more going on to our shot and and, you know, I would benefit a lot more from being closer and seeing more of the details in the grill and just really appreciating this more without having our eyes kind of wander around and whatever is in the background, whatever is catching this light. I just really want to focus the attention more over here. This can be the same for many other things. Doesn't have to be a car. Whatever the case may be, just know that you have the option to move things around a little bit. Now, before jumping into scaling this up or anything, I just want to show you the difference a little bit of what I mean in terms of the emotional value that this scene could have. So I have a duplicate copy of it right underneath. I'm going to turn this off and you can see that this is the ideal framing that I want to get. Very different feel. We're much more closed in. We're seeing a lot more detail where we're almost more engaged into seeing what more is going to be revealed by this pulling back of this cloth. We're not being distracted by anything in the background. This just feels a lot more right to me. And again, it's not anything crazy. Let me just show you real quick with the previous clip. All we have to do is just scale it up. I'm sure you've done this many other times in Premiere and just reposition it to where you think will be good. I have the huge advantage of dealing with footage that's shot on RED, so I have a little bit more room to play with in terms of resolution. So just keep that in mind because I'm going to punch in quite a bit. And because of that, I'm able to scale up to 150 or in the original example, 171. That's quite a bit to be scaling up, but we shot this, I believe in like 6K or something like that. So there's plenty of room to spare. If you're shooting in 4K, you can get away with, you know, maybe 150 or a little bit more if you're exporting to a 1080 final comp. But if you're working with 1080 footage exporting in 1080 or 4K footage exporting in 4K, a good rule of thumb is to not really go over maybe 130% of whatever clip you're dealing with. And that is just to make sure that whoever's watching doesn't notice a big resolution jump since you're essentially just cropping in. It might not look too bad on a small preview window in Premiere, but if you play it on a full screen and you punched in a little bit too much, people might notice that. So you've seen some clips from this short, Timeless, that I've shot in Italy with Gavin. And I wanted to dive into the project just to show you a quick few examples of how keyframe animations can help you in a great number of ways. So this shot is right before the emotional peak of the story. So it's really important for us to get closer with how the character was feeling. And we're doing this in a very literal way by moving in closer with our framing. So you can see how just animating the scale property, the position property of this clip, and just by moving in slowly, it can really add a lot more power to the shot instead of it being just static and just us looking at our frontal view of our subject. Instead, this way we're moving in closer and you can really highlight the emotional quality of this shot. Okay, and that wraps up our final video together. I'm actually, I'm a little sad, not gonna lie. I hope you enjoyed this one. It was a lot of fun to make it. I know this was a little bit more theory, but I think it's super important to not just know the techniques of what to do in Premiere Pro, but also know the why and the motivation behind those techniques. If you found this useful, share it with a friend, give it a like, and make sure to subscribe to Adobe's channel, since there's gonna be a lot more tips coming up. And if you want to dig deeper into filmmaking overall, maybe check out my channel as well over at ChriscoArt, since we cover a whole wide range of not just editing, but visual effects, lighting, filmmaking overall, and so we'd love to have you join the community there as well. So, with that being said, thank you so much for watching. My name is Chris Trini, and I'll see you next time.