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L’auteur a fourni une vidéo de 00:12:32 secondes avec le titre Seamless Transitions: DJI Mavic Mini + Osmo Pocket, accompagnée de la description suivante :« Vous pouvez mélanger vos images DJI Mavic Mini Drone avec des photos de cardan d’Osmo Pocket pour créer des superchots « impossibles » qui combinent le meilleur des deux caméras! Tutoriel de prise de vue complet + d’édition. Obtenez Mavic Mini: https://click.dji.com/ajotudqa_hiwnu5n3nns_a?pm=link&as=0003 Obtenez la poche OSMO: https://click.dji.com/aepd7r8kctupr2q7c8be2a?pm=link&as /=0003 Levant FilmMake de Me! Nouveau « cinéma pour les photographes »: https://filmmakingforphotographers.com/ Base de données de Gear: https://learn.unscripted.com/gear/ Vous avez une question pour moi? Vérifiez mon énorme liste de questions-réponses cinématographiques! https://learn.unscripted.com/faq/ Music and Sound FX by Artist! Join with my link and get 2 extra months free: https://geni.us/artlistbrandonl They also have AWESOME stock footage: https://geni.us/artgridbrandon * * * * * * I am a participant in the Amazon Services LLC Associates Program and B&H Photo Video Affiliate program, affiliate advertising programs designed to provide a means for sites to earn advertising fees by advertising and linking to Amazon.com et bhphotovideo.com. De plus, je participe à d’autres programmes d’aide et j’obtiens parfois une commission grâce à des achats effectués via mes liens. ».

Cette plateforme de streaming favorise la diffusion et la découverte de vidéos inspirantes, tout en assurant une navigation sécurisée et respectueuse de la vie privée.

Normes et Protection : Explorer les Directives du Vol

Réalisation et Conception d’un Projet de Captation Aérienne avec Drone

Comparaison des techniques habituelles de photographie aérienne

Dans le passé, les plans aériens nécessitaient des hélicoptères ou des grues, ce qui entraînait des coûts élevés et une logistique complexe. Ces prises de vue sont désormais accessibles à tous les réalisateurs grâce aux drones.

Conseils essentiels pour organiser un shooting réussi

Il est impératif de clarifier le projet selon les prises de vue souhaitées, de choisir un drone comme le DJI Inspire, le Mavic 3 Pro ou un FPV, et de s’assurer d’avoir les autorisations requises pour le lieu de tournage. Avant le tournage, il est recommandé de faire des tests de vol pour ajuster les angles et la lumière, notamment lors d’un événement où une seconde prise ne serait pas envisageable. La post-production, incluant l’étalonnage, le montage et la stabilisation des images, doit être soigneusement planifiée.

Économie financière et réduction du temps

En matière de budget, le tournage en drone est plus économique que les prises de vue par hélicoptère. Grâce à la flexibilité du tournage et à l’installation rapide, il est possible d’intervenir efficacement, même en zones urbaines.

Disposer d’une expertise et sélectionner le bon matériel est d’une grande importance

Un bon choix de drone est fondamental pour la qualité de la production. Pour les tournages en 8K, le DJI Inspire 3 est parfait grâce à sa stabilisation avancée, tandis que le Mavic 3 Pro est léger et puissant, idéal pour les cinéastes indépendants. Idéal pour les courses ou les poursuites, le drone FPV permet d’obtenir des images immersives et dynamiques.

Qualités du Tournage par Drone pour les Experts

Analyse des permissions requises pour le tournage

Des autorisations spécifiques sont nécessaires pour effectuer des prises de vue vidéo aériennes avec un drone en France et en Europe. Il est vital de vérifier les zones de vol autorisées sur Géoportail, de déclarer son vol auprès de la DGAC et de respecter les scénarios de vol européens selon la réglementation actuelle.

Transformation des drones dans l’industrie audiovisuelle

Des caméras haute définition (4K, 8K), des stabilisateurs de pointe et une précision de vol remarquable sont les caractéristiques des drones modernes, qui permettent des prises de vue cinématographiques immersives.

Les Raisons de Choisir un Tournage en Drone ?

En recourant à un drone pour le tournage, on peut réaliser des prises de vue exceptionnelles, à un coût abordable, tout en garantissant la sécurité. Contactez-nous pour une prise de vue vidéo aérienne légale et professionnelle, nous vous fournirons des images à couper le souffle.

Des angles de vue fascinants et une qualité d’image exceptionnelle

Utiliser des drones permet d’obtenir une captation en 4K, 6K, 8K pour une qualité d’image exceptionnelle. Ils permettent aussi de réaliser des plans dynamiques, comme des travellings aériens, des plongées impressionnantes et des poursuites fluides.

Stratégies efficaces pour assurer la sécurité des vols aériens

Il est nécessaire de maintenir une distance de sécurité par rapport au public et aux infrastructures. Il est nécessaire de vérifier les prévisions météorologiques pour éviter les turbulences et les vents violents, d’utiliser un drone sécurisé équipé de capteurs d’obstacles et d’un parachute de secours, et de se former au pilotage professionnel pour réduire les risques d’accident.

Tournage en Drone : Les Innovations de la Vidéo

Le tournage en drone change la donne dans la production audiovisuelle, en rendant possibles des prises de vue aériennes impressionnantes, auparavant réservées aux productions à gros budget. Il est nécessaire de se conformer à la réglementation en vigueur et de choisir le bon équipement pour réaliser une prise de vue vidéo aérienne légale et sécurisée.

Besoin de conseils sur la réglementation et l’utilisation des drones pour un tournage ? Un site leader du secteur vous éclaire sur cette ressource complète .

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#Seamless #Transitions #DJI #Mavic #Mini #Osmo #Pocket

Retranscription des paroles de la vidéo: how’s it going today’s video is going to be pretty cool it’s sponsored by DJI and what I’m gonna be doing is combining footage from the Mavic mini drone in the Osmo pocket handheld gimbal to create shots that you couldn’t get with either device alone so let’s go ahead and get started on the first shot [Music] so the way I achieved that shot was I started off filming Matt the biker with the ozma pocket and I rose the camera up and then a certain point when the camera passed the lowest level of the leaves on the tree I transitioned in post to a similar shot with the drone rising up in exactly the same way at exactly the same spot on the same tree [Music] I had my Osmo pocket mounted on a small selfie stick and that selfie stick allowed me to reach up just a little bit higher than I would normally be able to reach with just my arm you can either just tape it on there like I did or you can get a mount with a dedicated screw hole which is much more secure so now I’m going to talk about my settings for the Osmo pocket when doing a shot like this I use manual exposure and manual white balance because it gives me the most control over the image so the shutter is set very high I think it was around 1:6 40th I don’t have ND filters for the ozma pocket but I would recommend using them if you’re looking for the most cinematic image possible I used tilt locked mode so this is the mode that allows me to pan but not tilt in general whenever you’re using a gimbal you’re gonna want to lock as many axes as possible so that you don’t get unwanted movement on those axes I also put the gimbal in slow follow mode slow follow mode is much smoother for slow gimbal moves the only reason you would want to use fast follow is if you’re following a subjects where you would need to pan or tilt very quickly to keep up with them the second half of the shot was just achieved by rising up the Mavic mini now this wasn’t a difficult drone move but I had to be very careful about how I did it because I had to make sure that the drone got really close to the leaves of the tree so that those leaves completely obscured the drones field of view completely filled the shot in order to get that close safely I put propeller guards on my drone as you can see here these prop guards prevent the drone from breaking a propeller if it comes in contact with an object and for the camera settings I just used manual exposure setting the shutter to the appropriate speed to keep it properly exposed and I set manual white balance to 5,600 K so that the footage would match the Osmo pocket now in editing the way I seamlessly combine the two shots was by using the effect called draw mask in Final Cut Pro but you can use pretty much any editing software that has masking abilities to achieve a similar effect now the way this masking effect works is you just click to trace the outline of the object that you want to keep and everything outside the shape that you create is rendered transparent and invisible so I just drew a jagged line along the bottom edge of the leaves in the Mavic mini shot and I moved it frame by frame so that that line followed the leaves and then I placed the Mavic mini shot on top of the Osmo pocket shot in my editing timeline and it created a seamless transition now this does require a lot of tweaking you have to make sure that the speeds of your two shots are matched well and also that the perspectives and the lighting of the two shots are matched you basically just have to go in and adjust framing adjust retiming until it all blends perfectly and one more little touch I added to this transition was directional blur this is blur that moves in only one direction it creates the impression of speed it’s basically a cheap way of creating a motion blur effect across your entire frame so I applied directional blur and I gradually reduced the blur as the drone slowed down and this blur helps to hide the seam of the transition to make it less obvious to the audience okay so now let’s move on to the second shot [Music] okay so this shot was quite similar in concept to the previous shot but with an added level of difficulty because when I was walking with my ozma pocket I had to move backward through the bales of hay while keeping the subject framed as he mounted his bike [Music] now one issue I encountered in post with this shot was that the bales of hay didn’t exactly line up between the gimbal shot and the drone shot so what I did was I just masked out the bale of hay from the drone shot and I placed it in front of the bale of hay from the Osmo pocket shot so that they appeared to be two different bales one in front of the other this all passes by your eyes so quickly that as an audience you probably didn’t even notice hopefully you didn’t notice and it all felt fluid but that’s one thing that you might want to consider when you have a foreground object that’s blocking the camera if you can’t line things up perfectly could you possibly stack one shot in front of the other so that the same foreground object appears to be actually two different objects at different distances [Music] okay so here we have a shot that begins with the drone and ends with the ozma pocket now I’ll be the first to admit this shot did not turn out perfectly the bike didn’t quite line up between the two shots it was very difficult to get the position perfect and the horizon behind the bike also didn’t quite line up because the drone tended to fly a little bit higher by default then I was carrying the Osmo pocket so basically the two cameras weren’t at exactly the same level which led to a little bit of mismatch between the two shots but I still included this in the tutorial because I think it’s a good technique for you to use if you’re trying to track a really fast moving subject for part of your shot and then you seamlessly want to move into more precise close-up work because you can start off with that drone going as fast as you want and then you can move behind the foreground object switch out to your Osmo pocket and move in for a close-up my drone settings were just a little bit different for this shot I used P mode instead of C mode so I could go faster if you need to go even faster you could put sport mode on which would allow your drone to go at maximum speed the Osmo pocket was just until lock mode and all the other settings were the same as before [Music] [Music] all right now we’re on to the advanced sequence which was actually four different shots stitched together in post the first three were Ozma pocket and the final one was thematic mini and I’ll take you through them one by one okay the first shot started off inside the mailbox I had my gimbal in tilt lock mode and then I reversed the gimbal out as Kobe took her mail out and I orbited Kobe as she walked up to the front porch and sat down then I had the front door unlatched a tiny bit so that I could gently nudge it with my body as I moved past Kobe and create the transition point which was the door frame as the camera moved to the interior of the house for the second part of the shot I had my Osmo pocket in fpv mode so that means that it followed my roll so I tried to keep it as level as possible for the first part of the shot and I moved past the door frame and then I just rolled my body to the side to allow the gimbal to pass behind the sofa and in the third shot I continued rolling my camera so I started with the gimbal almost completely upside down like this and then I rolled it up like this until the horizon was level so as I was rotating my gimbal up at the beginning of the shot like this I queued Kobe and told her to start walking in to the kitchen to start pouring her tea and pushing in and tilting down to that teapot gave me an opportunity to create a transition point by tilting back up to the window and the final part of the shot was a simple liftoff and pushed forward with the Mavic mini I had the magic mini in C mode still I didn’t need it to go super fast I just wanted it to be smooth and I started very low to the ground so I had as much clearance as possible as I rose up and I angled the camera of Mavic mini down about 45 degrees so instead of looking straight out I looked down 45 degrees and this is because it better matched the perspective of the Osmo pocket from the previous shot because I ended the previous shot with Phila camera sort of looking down like this so to match that I had the camera of the drone also looking down and I stitched together all these shots in posts with the same methods that I talked about before using the draw mask effect and final cut and tracing along the edge of the foreground object so that it seamlessly wiped to reveal the next shot and there was a significant amount of little tweaks that I had to make in terms of retiming in terms of reframing maybe doing a little bit of color correction on one shot to make it match the other shot this kind of detail work is really necessary to make these transitions truly seamless because your shots are never going to be perfect you’ll always have to sort of massage them a bit to make them work together seamlessly so this has been my tutorial on the Mavic mini in the ozma pocket and how to use them together to create a little movie magic so thank you to DJI and thank you for watching and if you’re not a subscriber please click Subscribe and also that notification bell see the first to know when I post new videos alright I will see you next time in this course you’re gonna learn the run and gun filmmaking techniques that I’ve developed over years of practice and you’ll learn how to apply your photography skills toward making great videos we’re going to start with the basics here you’ll learn how to set up your camera and do basic camera movements both handheld and on a gimbal then I’ll teach you how to direct an actor and do basic scene coverage so that you’ll be able to shoot a complete scene that cuts together smoothly then we’ll get into the really fun stuff like complex gimbal moves shooting out on the street filled audio and hyper lapses you’ll learn some specialty skills like filming a moving vehicle action sports and drone filmmaking then the shooting lessons will finish with improvised portraits and the party on the beach where you’ll learn some important skills for low-light shooting then it’s on to editing where I’ll show you the methods I’ve developed so I can effortlessly work with any amount of footage first you’ll learn how to import and organize your clips then you learn to create string outs scenes and master projects then I’ll take you step-by-step through each scene in the film showing you exactly how I put it together and most importantly why I made my creative decisions filmmaking is storytelling and learning to tell story with the Edit is the most important skill of all I’ll show you how I add sound effects and music and then we’ll do some finishing touches like color correction audio level mastering and export so through the making of this short film you’ll learn essential video skills that have taken me year of real-world practice to develop so I hope you’re excited let’s go ahead and get started [Music] .

Déroulement de la vidéo:

11.7 how&;s it going today&;s video is going to
11.7 be pretty cool it&;s sponsored by DJI and
11.7 what I&;m gonna be doing is combining
11.7 footage from the Mavic mini drone in the
11.7 Osmo pocket handheld gimbal to create
11.7 shots that you couldn&;t get with either
11.7 device alone so let&;s go ahead and get
11.7 started on the first shot
11.7 [Music]
11.7 so the way I achieved that shot was I
11.7 started off filming Matt the biker with
11.7 the ozma pocket and I rose the camera up
11.7 and then a certain point when the camera
11.7 passed the lowest level of the leaves on
11.7 the tree I transitioned in post to a
11.7 similar shot with the drone rising up in
11.7 exactly the same way at exactly the same
11.7 spot on the same tree
11.7 [Music]
11.7 I had my Osmo pocket mounted on a small
11.7 selfie stick and that selfie stick
11.7 allowed me to reach up just a little bit
11.7 higher than I would normally be able to
11.7 reach with just my arm you can either
11.7 just tape it on there like I did or you
11.7 can get a mount with a dedicated screw
11.7 hole which is much more secure so now
11.7 I&;m going to talk about my settings for
11.7 the Osmo pocket when doing a shot like
11.7 this I use manual exposure and manual
11.7 white balance because it gives me the
11.7 most control over the image so the
11.7 shutter is set very high I think it was
11.7 around 1:6 40th I don&;t have ND filters
11.7 for the ozma pocket but I would
11.7 recommend using them if you&;re looking
11.7 for the most cinematic image possible I
11.7 used tilt locked mode so this is the
11.7 mode that allows me to pan but not tilt
11.7 in general whenever you&;re using a
11.7 gimbal you&;re gonna want to lock as many
11.7 axes as possible so that you don&;t get
11.7 unwanted movement on those axes I also
11.7 put the gimbal in slow follow mode slow
11.7 follow mode is much smoother for slow
11.7 gimbal moves the only reason you would
11.7 want to use fast follow is if you&;re
11.7 following a subjects where you would
11.7 need to pan or tilt very quickly to keep
11.7 up with them the second half of the shot
11.7 was just achieved by rising up the Mavic
11.7 mini now this wasn&;t a difficult drone
11.7 move but I had to be very careful about
11.7 how I did it because I had to make sure
11.7 that the drone got really close to the
11.7 leaves of the tree so that those leaves
11.7 completely obscured the drones field of
11.7 view completely filled the shot in order
11.7 to get that close safely I put propeller
11.7 guards on my drone as you can see here
11.7 these prop guards prevent the drone from
11.7 breaking a propeller if it comes in
11.7 contact with an object and for the
11.7 camera settings I just used manual
11.7 exposure setting the shutter to the
11.7 appropriate speed to keep it properly
11.7 exposed and I set manual white balance
11.7 to 5,600 K so that the footage would
11.7 match the Osmo pocket now in editing the
11.7 way I seamlessly combine the two shots
11.7 was by using the effect called draw mask
11.7 in Final Cut Pro but you can use pretty
11.7 much any editing software that has
11.7 masking abilities to achieve a similar
11.7 effect now the way this masking effect
11.7 works is you just click to trace the
11.7 outline of the object that you want to
11.7 keep and everything outside the shape
11.7 that you create is rendered transparent
11.7 and invisible so I just drew a jagged
11.7 line along the bottom edge of the leaves
11.7 in the Mavic mini shot
11.7 and I moved it frame by frame so that
11.7 that line followed the leaves and then I
11.7 placed the Mavic mini shot on top of the
11.7 Osmo pocket shot in my editing timeline
11.7 and it created a seamless transition now
11.7 this does require a lot of tweaking you
11.7 have to make sure that the speeds of
11.7 your two shots are matched well and also
11.7 that the perspectives and the lighting
11.7 of the two shots are matched you
11.7 basically just have to go in and adjust
11.7 framing adjust retiming until it all
11.7 blends perfectly and one more little
11.7 touch I added to this transition was
11.7 directional blur this is blur that moves
11.7 in only one direction it creates the
11.7 impression of speed it&;s basically a
11.7 cheap way of creating a motion blur
11.7 effect across your entire frame so I
11.7 applied directional blur and I gradually
11.7 reduced the blur as the drone slowed
11.7 down and this blur helps to hide the
11.7 seam of the transition to make it less
11.7 obvious to the audience okay so now
11.7 let&;s move on to the second shot
11.7 [Music]
11.7 okay so this shot was quite similar in
11.7 concept to the previous shot but with an
11.7 added level of difficulty because when I
11.7 was walking with my ozma pocket I had to
11.7 move backward through the bales of hay
11.7 while keeping the subject framed as he
11.7 mounted his bike
11.7 [Music]
11.7 now one issue I encountered in post with
11.7 this shot was that the bales of hay
11.7 didn&;t exactly line up between the
11.7 gimbal shot and the drone shot so what I
11.7 did was I just masked out the bale of
11.7 hay from the drone shot and I placed it
11.7 in front of the bale of hay from the
11.7 Osmo pocket shot so that they appeared
11.7 to be two different bales one in front
11.7 of the other this all passes by your
11.7 eyes so quickly that as an audience you
11.7 probably didn&;t even notice hopefully
11.7 you didn&;t notice and it all felt fluid
11.7 but that&;s one thing that you might want
11.7 to consider when you have a foreground
11.7 object that&;s blocking the camera if you
11.7 can&;t line things up perfectly could you
11.7 possibly stack one shot in front of the
11.7 other so that the same foreground object
11.7 appears to be actually two different
11.7 objects at different distances
11.7 [Music]
11.7 okay so here we have a shot that begins
11.7 with the drone and ends with the ozma
11.7 pocket now I&;ll be the first to admit
11.7 this shot did not turn out perfectly the
11.7 bike didn&;t quite line up between the
11.7 two shots it was very difficult to get
11.7 the position perfect and the horizon
11.7 behind the bike also didn&;t quite line
11.7 up because the drone tended to fly a
11.7 little bit higher by default then I was
11.7 carrying the Osmo pocket so basically
11.7 the two cameras weren&;t at exactly the
11.7 same level which led to a little bit of
11.7 mismatch between the two shots but I
11.7 still included this in the tutorial
11.7 because I think it&;s a good technique
11.7 for you to use if you&;re trying to track
11.7 a really fast moving subject for part of
11.7 your shot and then you seamlessly want
11.7 to move into more precise close-up work
11.7 because you can start off with that
11.7 drone going as fast as you want and then
11.7 you can move behind the foreground
11.7 object switch out to your Osmo pocket
11.7 and move in for a close-up my drone
11.7 settings were just a little bit
11.7 different for this shot I used P mode
11.7 instead of C mode so I could go faster
11.7 if you need to go even faster you could
11.7 put sport mode on which would allow your
11.7 drone to go at maximum speed the Osmo
11.7 pocket was just until lock mode and all
11.7 the other settings were the same as
11.7 before
11.7 [Music]
11.7 [Music]
11.7 all right now we&;re on to the advanced
11.7 sequence which was actually four
11.7 different shots stitched together in
11.7 post
11.7 the first three were Ozma pocket and the
11.7 final one was thematic mini and I&;ll
11.7 take you through them one by one okay
11.7 the first shot started off inside the
11.7 mailbox
11.7 I had my gimbal in tilt lock mode and
11.7 then I reversed the gimbal out as Kobe
11.7 took her mail out and I orbited Kobe as
11.7 she walked up to the front porch and sat
11.7 down then I had the front door unlatched
11.7 a tiny bit so that I could gently nudge
11.7 it with my body as I moved past Kobe and
11.7 create the transition point which was
11.7 the door frame as the camera moved to
11.7 the interior of the house for the second
11.7 part of the shot I had my Osmo pocket in
11.7 fpv mode so that means that it followed
11.7 my roll so I tried to keep it as level
11.7 as possible for the first part of the
11.7 shot and I moved past the door frame and
11.7 then I just rolled my body to the side
11.7 to allow the gimbal to pass behind the
11.7 sofa and in the third shot I continued
11.7 rolling my camera so I started with the
11.7 gimbal almost completely upside down
11.7 like this and then I rolled it up like
11.7 this until the horizon was level so as I
11.7 was rotating my gimbal up at the
11.7 beginning of the shot like this I queued
11.7 Kobe and told her to start walking in to
11.7 the kitchen to start pouring her tea and
11.7 pushing in and tilting down to that
11.7 teapot gave me an opportunity to create
11.7 a transition point by tilting back up to
11.7 the window and the final part of the
11.7 shot was a simple liftoff and pushed
11.7 forward with the Mavic mini I had the
11.7 magic mini in C mode still I didn&;t need
11.7 it to go super fast I just wanted it to
11.7 be smooth and I started very low to the
11.7 ground so I had as much clearance as
11.7 possible as I rose up and I angled the
11.7 camera of Mavic mini down about 45
11.7 degrees so instead of looking straight
11.7 out I looked down 45 degrees and this is
11.7 because it better matched the
11.7 perspective of the Osmo pocket from the
11.7 previous shot because I ended the
11.7 previous shot with Phila camera sort of
11.7 looking down like this so to match that
11.7 I had the camera of the drone also
11.7 looking down
11.7 and I stitched together all these shots
11.7 in posts with the same methods that I
11.7 talked about before using the draw mask
11.7 effect and final cut and tracing along
11.7 the edge of the foreground object so
11.7 that it seamlessly wiped to reveal the
11.7 next shot and there was a significant
11.7 amount of little tweaks that I had to
11.7 make in terms of retiming in terms of
11.7 reframing maybe doing a little bit of
11.7 color correction on one shot to make it
11.7 match the other shot this kind of detail
11.7 work is really necessary to make these
11.7 transitions truly seamless because your
11.7 shots are never going to be perfect
11.7 you&;ll always have to sort of massage
11.7 them a bit to make them work together
11.7 seamlessly so this has been my tutorial
11.7 on the Mavic mini in the ozma pocket and
11.7 how to use them together to create a
11.7 little movie magic so thank you to DJI
11.7 and thank you for watching and if you&;re
11.7 not a subscriber please click Subscribe
11.7 and also that notification bell see the
11.7 first to know when I post new videos
11.7 alright I will see you next time
11.7 in this course you&;re gonna learn the
11.7 run and gun filmmaking techniques that
11.7 I&;ve developed over years of practice
11.7 and you&;ll learn how to apply your
11.7 photography skills toward making great
11.7 videos we&;re going to start with the
11.7 basics here you&;ll learn how to set up
11.7 your camera and do basic camera
11.7 movements both handheld and on a gimbal
11.7 then I&;ll teach you how to direct an
11.7 actor and do basic scene coverage so
11.7 that you&;ll be able to shoot a complete
11.7 scene that cuts together smoothly then
11.7 we&;ll get into the really fun stuff like
11.7 complex gimbal moves shooting out on the
11.7 street filled audio and hyper lapses
11.7 you&;ll learn some specialty skills like
11.7 filming a moving vehicle action sports
11.7 and drone filmmaking then the shooting
11.7 lessons will finish with improvised
11.7 portraits and the party on the beach
11.7 where you&;ll learn some important skills
11.7 for low-light shooting then it&;s on to
11.7 editing where I&;ll show you the methods
11.7 I&;ve developed so I can effortlessly
11.7 work with any amount of footage first
11.7 you&;ll learn how to import and organize
11.7 your clips then you learn to create
11.7 string outs scenes and master projects
11.7 then I&;ll take you step-by-step through
11.7 each scene in the film showing you
11.7 exactly how I put it together and most
11.7 importantly why I made my creative
11.7 decisions filmmaking is storytelling and
11.7 learning to tell story with the Edit is
11.7 the most important skill of all I&;ll
11.7 show you how I add sound effects and
11.7 music and then we&;ll do some finishing
11.7 touches like color correction audio
11.7 level mastering and export so through
11.7 the making of this short film you&;ll
11.7 learn essential video skills that have
11.7 taken me year
11.7 of real-world practice to develop so I
11.7 hope you&;re excited let&;s go ahead and
11.7 get started
11.7 [Music]
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