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Premiere Pro CS4 Beyond the Basics
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Censoring video


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Premiere Pro CS4 Beyond the Basics

with Chad Perkins

Video: Censoring video

In this chapter, we're going to dig a little bit deeper into what you can do with effects. We're going to start out by looking at how to create censored parts of video. This is used very frequently in video, especially non-fiction video, but when some little prankster comes along and does something obscene that needs to be edited out, maybe a particular hand gesture, or maybe they say something foul that needs to be edited out, or like you don't even want to see their lips moving and say those words, or maybe you want to obscure somebody's personality if you're interviewing them.
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  1. 4m 11s
    1. Welcome
      56s
    2. What's new in the dot release
      57s
    3. Using the exercise files
      2m 18s
  2. 18m 54s
    1. Capturing ambient audio
      3m 12s
    2. Getting plenty of coverage
      1m 48s
    3. Telling a story with camera angles
      3m 18s
    4. The 180 degree rule
      2m 13s
    5. Framing shots
      3m 25s
    6. Allowing "emotional space"
      1m 40s
    7. Overcranking and time lapse
      3m 18s
  3. 11m 38s
    1. Why is metadata important?
      1m 40s
    2. Browsing and adding metadata
      6m 4s
    3. Creating metadata with Speech Search
      3m 54s
  4. 33m 12s
    1. When to cut
      7m 38s
    2. Avoiding bad edits
      9m 17s
    3. Using emotional cutaways
      1m 53s
    4. Fixing problems with cutaways
      3m 53s
    5. Pacing edits
      3m 49s
    6. Matching action
      4m 14s
    7. The power of suggestive editing
      2m 28s
  5. 26m 31s
    1. Contrasting targeting and selecting
      3m 17s
    2. Copying and pasting clips
      2m 36s
    3. Replacing clips
      4m 8s
    4. Editing to music
      5m 0s
    5. Using sample rate for precise editing
      5m 34s
    6. Creating J and L cuts
      3m 33s
    7. Working with subclips
      2m 23s
  6. 11m 17s
    1. Ingesting media
      1m 39s
    2. Examining P2 file structure
      1m 31s
    3. Importing P2 files with the Media Browser
      5m 15s
    4. Converting DVCPRO HD to standard 720p
      2m 52s
  7. 38m 11s
    1. Using the Reference Monitor
      3m 0s
    2. Using scopes
      8m 33s
    3. Primary color correction
      10m 11s
    4. Secondary color correction
      8m 28s
    5. Creating a vignette
      2m 28s
    6. Creating a day-for-night shot
      5m 31s
  8. 37m 19s
    1. Censoring video
      5m 30s
    2. Creating a waving flag
      6m 5s
    3. Creating a lens flare
      3m 36s
    4. Creating background textures
      6m 19s
    5. Playing with time
      6m 4s
    6. Using transition effects
      6m 13s
    7. Working with presets
      3m 32s
  9. 15m 30s
    1. Creating a garbage matte
      3m 56s
    2. Removing green screen
      5m 6s
    3. Compositing with blend modes
      3m 32s
    4. Nesting sequences
      2m 56s
  10. 15m 27s
    1. Creating 3D reflections
      5m 0s
    2. Creating growing vines
      5m 52s
    3. Creating a track matte
      2m 39s
    4. Using the History panel
      1m 56s
  11. 42m 25s
    1. Censoring audio using bleeps
      5m 16s
    2. Understanding sample rate
      3m 0s
    3. Normalizing audio across multiple clips
      5m 7s
    4. Recording audio
      2m 24s
    5. Removing audio problems with Soundbooth
      5m 43s
    6. Working with VST plug-in effects
      2m 3s
    7. Mixing audio
      8m 20s
    8. Changing volume over time
      5m 22s
    9. Working with surround sound
      5m 10s
  12. 23m 52s
    1. About this project
      2m 26s
    2. Performing preliminary edits
      2m 35s
    3. Working with multi-camera footage
      7m 27s
    4. Creating a visual "stutter"
      3m 12s
    5. Adjusting color
      8m 12s
  13. 6m 28s
    1. Transferring projects to another machine
      3m 24s
    2. Removing unused footage
      3m 4s
  14. 25m 46s
    1. Choosing a format
      5m 35s
    2. Understanding spatial compression
      2m 5s
    3. Understanding temporal compression
      4m 19s
    4. About HD standards
      5m 46s
    5. Changing footage interpretation
      2m 17s
    6. Getting the film look
      5m 44s
  15. 27m 10s
    1. Working with After Effects
      5m 56s
    2. Creating titles in After Effects
      5m 39s
    3. Working with Photoshop files
      2m 29s
    4. Working with Final Cut Pro
      2m 2s
    5. Working with OnLocation
      3m 12s
    6. Working with Encore
      4m 27s
    7. Introducing Adobe Story for pre-production
      3m 25s
  16. 15s
    1. Goodbye
      15s

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Premiere Pro CS4 Beyond the Basics
5h 38m Intermediate Dec 03, 2009

Viewers: in countries Watching now:

In Premiere Pro CS4 Beyond the Basics, Adobe Certified Instructor Chad Perkins explains how to take video editing from simple nuts and bolts to an art form. He shares tips for shooting video in the field to get the most from a subject and get the best footage for a project. He demonstrates how to build a project through the careful use of cutaways, pacing, and suggestive edits. He covers special effects, color correction, and keying and compositing, integrating all these concepts as he builds a music video project from scratch. Exercise files are included with this course.

Topics include:
  • Working with P2 media
  • Keying compositions using garbage mattes and green screen
  • Using transition effects, lens flares, and 3D reflections
  • Compositing with blend modes
  • Understanding spatial versus temporal compression
  • Recording, mixing, normalizing, and fixing audio
Subject:
Video
Software:
Premiere Pro
Author:
Chad Perkins

Censoring video

In this chapter, we're going to dig a little bit deeper into what you can do with effects. We're going to start out by looking at how to create censored parts of video. This is used very frequently in video, especially non-fiction video, but when some little prankster comes along and does something obscene that needs to be edited out, maybe a particular hand gesture, or maybe they say something foul that needs to be edited out, or like you don't even want to see their lips moving and say those words, or maybe you want to obscure somebody's personality if you're interviewing them.

You don't have the rights to show their face on camera. So that's what we're going to do here. We're going to edit out this guy's faces if it were forbidden to be seen. So what we're going to do is we're going to start out by using the Eight-Point Garbage Matte. We'll look a little bit more in detail at Garbage Mattes a little bit later on this training series. But I'm going to apply this effect, and actually I'm not going to apply it to the original. I'm going to drag a copy of the original on a track on top of the original. So yes, that might sound confusing at first, but what we are looking at is two different tracks with the same footage.

So I'm going to apply the Eight-Point Garbage Matte to the top layer here. If it helps, you can take the visibility off of the video track 2. As you probably notice, we don't have anything on Video 1 or Audio Track 1, so we can right-click and select Delete Tracks. Then we could select Delete Video Tracks and Delete Audio Tracks and make sure these dropdowns are set to All Empty Tracks, and click OK. That cleans up our Timeline panel quite nicely. So I'm going to apply the Eight-Point Garbage Matte or make sure that's applied to our top track here and what we're going to do is in the Effect Controls panel, I'm going to click the Eight- Point Garbage Matte effect to highlight it.

Once it's activated, you could see these little control points. So we can basically grab these and move these around our subject's face. Now, we're seeing black underneath, to avoid confusion, because we turned off or I turned off the Visibility for Video Track 1 where our original surfer footage is. So we're right now working on the Duplicate. I've created a rough outline around his head. It doesn't have to be perfect. Next, what I'm going to do is apply the Mosaic effect.

Now, I don't want to go in this Presets area, the folder with the stars on. I'm going to just close those up to avoid confusion. I want Stylize, Mosaic, and drag-and- drop that on top of our top layer here. Now as you can see, we already have this area obscured by this Mosaic effect. But I want to improve the quality of the look of this. I mean, the point isn't to just make this look blurred out or to obscure it, I think the point is with this effect is we try to make it as unobtrusive as possible, and still remove what we need to remove.

So I'm going to open up the Mosaic effect. We're going to increase the contrast of the colors by checking the Sharp Colors checkbox, which actually does a better job of obscuring what we have here. Then I'm going to increase the resolution of the blocks by increasing the Horizontal Blocks value, and then increase the Vertical Blocks value. This will change based on your footage, the size, and dimensions of your footage, but I went with 61x36 roughly and that has a good mosaic quality. Again, we could have just made really huge blocks to block out his face, and on that point, I guess we could have just made this area really big too.

But again, I think the point here is that we want to make our obstruction of his face as unobtrusive as possible. We want this to be as clean and look as original as possible. So we still have some facial features. We can tell that there is eyes, and the nose, and the mouth here, and chin, and hair here, and it just really doesn't get in the way too much, but you can't see too many facial features. If you wanted to, you could even increase the resolution by making these blocks more, so we have even finer resolution. But you've got to be careful because it gets to a point where you could actually tell who the person is or maybe what the obscene gesture is and you definitely don't want that.

So somewhere around there is looking pretty good, and again, you can go back to the Eight-Point Garbage Matte to change this if you need to. But that's how to create censored video. We have the duplicate tracks. The one on the bottom is the original. If I take off the visibility on the top there, and then we have a copy on the top with the mask, which is the Eight- Point Garbage Matte, and then an effect like Mosaic or it could be a Blur, but Mosaic is probably most common one, and we put that on top, put that together. Now if we move in time, we have a good censored video.

Now, in this case, the surfer guy moves a little bit, and so, look when he leans his head back a little bit like this, there is some of his head sticks out that's not protected, and that's kind of safe in this case. But then, that also makes it so that the woodlands are also distorted out of view, and we don't really need that. So what you might want to do is select this top layer, and then actually animate its motion. So you can click the layer and then move it around, so that it follows along with the actual layer itself.

In my experience however, once you usually set up the big mosaic area, like a subject's face or his hand, they usually don't move so much that you can actually see it. So usually you can just set it and forget it so to speak, so that you just put it in one spot, and then the subject moves around They're still pretty obscured, no matter where they go.

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