IntroductionWelcome| 00:03 | Hi! I am Abba Shapiro, and welcome to
Creating a Vacation Video with iMovie.
| | 00:09 | In this course, we'll look at some
advanced techniques in iMovie that you
| | 00:12 | can use to make an exciting vacation
highlights reel of your travels with
| | 00:16 | friends and family.
| | 00:18 | We'll start by examining some of the
best practices for shooting video while
| | 00:22 | on vacation.
| | 00:23 | We'll look at how to organize your
story and cut it tightly to keep your
| | 00:27 | audience interested.
| | 00:28 | You'll learn how to record a voiceover
to picture and then mix that voiceover
| | 00:33 | with music and sound effects.
| | 00:35 | We'll look at incorporating your
vacation photos into your video, as well as
| | 00:39 | using iMovie specialized themes
and titles to give your video that
| | 00:43 | professional look.
| | 00:45 | Finally, we'll show you how to
create a few special effects such as
| | 00:49 | picture-in-picture,
instant replays and slow motion.
| | 00:52 | In this course, I'm assuming you've
already used iMovie or have gone through the
| | 00:57 | iMovie Essential Training course on lynda.com.
| | 01:00 | Now let's get started with
Creating a Vacation Video with iMovie.
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| Using the exercise files| 00:00 | If you're a Premium member of the
lynda.com Online Training Library, or if
| | 00:05 | you're watching this tutorial on a DVD,
you have access to the exercise files
| | 00:09 | used throughout this title.
| | 00:11 | Once you've downloaded and
unzipped the exercise files, you'll have a
| | 00:15 | disk image.
| | 00:16 | Now double-click on the disk image
and a virtual drive will appear on
| | 00:19 | your desktop.
| | 00:21 | If you're using Lion, you may not
see this virtual drive, but don't
| | 00:25 | worry, iMovie will.
| | 00:27 | On the virtual drive, there is a folder
containing photographs that you will use
| | 00:32 | later in this course.
| | 00:34 | You may wish to add the contents of
this folder to your iPhoto library at
| | 00:37 | this time.
| | 00:38 | With this virtual drive mounted,
go ahead, and launch iMovie.
| | 00:44 | Now depending how your system is set up,
and if you've used iMovie before, your
| | 00:48 | screen might look different.
| | 00:50 | The first thing you might notice is
that you don't see the disk that has been
| | 00:53 | mounted, and this is
just a preference in iMovie.
| | 00:56 | Go up to View and click on the Group
Events By Disk and the exercise files will
| | 01:01 | appear, and the event Catalina
Vacation highlights will appear within it.
| | 01:06 | Now if we click on the Catalina
Vacations event, you'll see some of the footage
| | 01:11 | that we'll be working with to
cut our vacation highlights reel.
| | 01:15 | If you've worked on other videos in
iMovie, you may see those event libraries
| | 01:19 | also in this section.
| | 01:21 | If you want, you can simply close
those sections so that you can focus
| | 01:25 | exclusively on the footage that
we're going to use in this course.
| | 01:29 | If you look in the Project Library,
you'll see the starting point for all of the
| | 01:33 | lessons that we'll cover.
| | 01:34 | Now let's take a deeper look at
how your Project Library might appear.
| | 01:39 | In the Project Library, you'll see all
the different hard drives attached to
| | 01:42 | your computer, externally and internally.
| | 01:46 | By clicking on the disclosure triangle,
you can reveal or hide these projects.
| | 01:52 | The projects we're going to be
working on are all contained in the
| | 01:55 | exercise files iMovie Drive.
| | 01:59 | If you create any new projects related
to this course, you can save them to this
| | 02:03 | drive and they will appear any time
you launch the Exercise Files disk image.
| | 02:07 | One caveat before we get going.
| | 02:10 | If you launch the disk image and
then put the assets or drag them to your
| | 02:14 | desktop, iMovie will either not see
them, or if it does, it won't have any of
| | 02:19 | the metadata attached to the projects.
| | 02:21 | Make sure you leave everything on
the disk image and work from there.
| | 02:25 | Now when you're finished working
with all the exercise files, go ahead and
| | 02:29 | quit iMovie.
| | 02:30 | The next step is simply ejecting the
virtual disk, right-click and choose Eject.
| | 02:37 | The disk image has been
updated with all of your changes.
| | 02:40 | The next time you want to work with
these media files, simply double-click, load
| | 02:44 | the disk image again, and get back to work.
| | 02:48 | One thing you may want to do is
create a backup of the disk image of the
| | 02:52 | exercise files as you go along.
| | 02:55 | This will be very useful if you've
accidentally deleted a project file or
| | 02:59 | perhaps some of the media off the disk
image, and you want to get back to an
| | 03:03 | earlier point where everything was intact.
| | 03:06 | If you're not a Premium subscriber
to lynda.com, you don't have access to
| | 03:10 | the exercise files,
| | 03:11 | but you can follow along from
scratch with your own assets.
| | 03:15 | Now let's get started.
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1. Getting Your Feet WetCapturing the moment: things to remember when shooting| 00:00 | Before we start editing our vacation
highlights video, let's talk about some
| | 00:04 | shooting strategies.
| | 00:05 | Let's step in to movie 01_01.
| | 00:10 | Now I've pulled some shots that we're
going to be using later and I want to
| | 00:13 | talk to you about some do's and
some don'ts when shooting your video;
| | 00:19 | first of all, cameras.
| | 00:21 | Now you may not realize how
many cameras you have with you.
| | 00:25 | I actually had three cameras in my
case and maybe that's a little crazy,
| | 00:28 | but never forget that your phone can
shoot video, and often times that still
| | 00:33 | camera you're carrying around can shoot video.
| | 00:35 | Now some of the footage we are going
to be using, I actually had a helmet cam
| | 00:38 | on, so we have the third camera and
a third set of angles to work with.
| | 00:43 | The other thing that you want to keep
in mind is try to put your camera on a
| | 00:47 | tripod if you can or a stable surface.
| | 00:50 | Now in some of the footage we're using,
we're under water or we're running down
| | 00:53 | the zip-line, so that's kind of unrealistic,
| | 00:56 | but as you can see, I've found a nice
flat piece of wood, so I could get a nice
| | 00:59 | stable shot for some of the zip-lining.
| | 01:03 | Now hold the camera horizontally.
| | 01:04 | When we watch television, the TV is
wider than it is tall, but people have a
| | 01:09 | tendency when they record things on
their cell phones, or if they're recording
| | 01:12 | video with their still camera, they
sometimes turn it sideways to get the
| | 01:16 | whole image in.
| | 01:17 | But then when you play it back, everything
is sideways, or if you need to rotate
| | 01:21 | it, you end up with big
black bars on either side.
| | 01:24 | The next thing to keep in mind is
grab voiceovers throughout the trip.
| | 01:28 | You can simply use your cell phone or
the camera and shoot yourself and just
| | 01:32 | give a little bit of a sound bite.
| | 01:33 | You never know how that's going
to work into your final video.
| | 01:37 | Always grab interviews, and when
you're doing an interview, it's important to
| | 01:41 | get close to your subject, because that
way, you're going to get better sound.
| | 01:44 | Don't stand far away and zoom in,
widen out, and get as close as possible,
| | 01:48 | that way you'll pick up the least
amount of background noise as possible.
| | 01:53 | Now those random cutaway
shots can be really useful.
| | 01:56 | This was simply -- we were flying in
the plane, I said, you know something?
| | 02:00 | It's a pretty shot, I held up my cell
phone, took a picture not knowing whether
| | 02:04 | I was going to use it or not, and
ultimately I got something I can use to show
| | 02:08 | from getting from point A to point B.
| | 02:12 | Another thing that you may want to
get is just some establishing shots.
| | 02:15 | In this case, I just have the kids at
the edge of the beach, and I could use
| | 02:18 | this anytime we get to any location
where there is going to be swimming, and it
| | 02:22 | allows me to do a voiceover if I want.
| | 02:25 | As you can see, there is nothing in the
foreground or background that tells me
| | 02:28 | this is a specific beach or a specific location.
| | 02:31 | Point-of-view shots are great.
| | 02:34 | It kind of lets your viewer see
exactly what you were seeing and experiencing
| | 02:38 | at the time.
| | 02:41 | Now you don't want to be
too far away from the action.
| | 02:44 | Wide shots are nice and they're good
establishing shots, but I have no idea
| | 02:48 | what's happening until he comes close.
| | 02:51 | So as you can see, closer is always
better because not only can I see what he is
| | 02:56 | doing, but I can actually see his face.
| | 03:00 | Be creative. As you can see, I started
this shot with him above water, and then
| | 03:05 | I was able to catch him
underwater and then come back out again.
| | 03:08 | How fun with the camera.
| | 03:09 | Now this isn't a fancy camera, this was
just a simple camera that probably cost
| | 03:12 | me about $100, yet lets me
shoot both above and below water.
| | 03:17 | And I can even drop it and it's
unlikely that it's going to break.
| | 03:20 | And finally, have fun!
| | 03:22 | If you're doing something that's fun and
people are laughing, these are the best
| | 03:26 | shots that you could ever put in any
kind of a vacation highlights video.
| | 03:30 | Now these are just some examples of
things you can shoot and things you should
| | 03:35 | avoid doing when shooting
your family vacation video.
| | 03:38 | The more you shoot and the more you
then edit that video, the better your
| | 03:42 | shooting is going to be.
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| Previewing the project| 00:00 | Before we dig in and look at some
preferences and actually start cutting our
| | 00:04 | vacation highlights reel, let's take a
look at a rough cut of the final project.
| | 00:09 | (video playing)
| | 00:27 | Narrator: Day 4 of our vacation.
My razor is still missing.
| | 00:30 | We are going to head over to Catalina
to see what happens on the island.
| | 00:33 | I hear there is good snuba
and even a zip line.
| | 00:36 | (video playing)
| | 01:17 | Narrator: Well it's early morning.
The kids haven't woken up yet.
| | 01:20 | But it's a big day. We are going to go
zip-lining and then maybe some snuba,
| | 01:25 | and some swimming.
| | 01:27 | My biggest hope; finding the razor, and shaving.
The mystery deepens.
| | 01:33 | (video playing)
| | 02:02 | Narrator: Well I discovered the razor.
It was in the kids' bathroom.
| | 02:07 | The mystery is only getting deeper.
| | 02:10 | (video playing)
| | 02:40 | Narrator: So Ian, why do you have
a Band-Aid on your cheek?
| | 02:43 | Ian: I was practice shaving and I didn't
ask for you to help -- Daniel turn that off --
| | 02:48 | so I cut myself, but I did do shaving cream
so I don't know how I cut myself.
| | 02:54 | Daniel: Why did he shave? He doesn't
have anything on his face.
| | 02:58 | Well as you can see, with the vacation
video, the main point is to have some fun
| | 03:03 | and keep it relatively short.
| | 03:05 | This was a little less than three
minutes long and that's about as long as you
| | 03:09 | want to make anybody watch
your vacation highlight reel.
| | 03:12 | Remember, you can do two, three,
or four highlight reels to encompass
| | 03:16 | your entire vacation.
| | 03:17 | Small bites are best.
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| Exploring important settings and editing basics| 00:00 | Now if you are going to be doing any
advanced editing in iMovie 11, there is a
| | 00:04 | couple of things you will need to
change with the interface, and one really
| | 00:07 | important preference that you need to change.
| | 00:09 | Now the Preferences in iMovie are
located under the dropdown menu where it says
| | 00:14 | iMovie, and the keyboard
shortcut for that is Command+Comma.
| | 00:19 | Now you may have already modified
some of your preferences if you've been
| | 00:22 | playing with iMovie, so your
preferences may not look exactly like mine.
| | 00:27 | Whatever you're comfortable with
is what's important.
| | 00:29 | But what's really critical is you
need to activate Show Advanced Tools.
| | 00:34 | Now I am going to go ahead and move this
a little bit to the side so you can see
| | 00:37 | what happens in my toolbar when
I turn on Show Advanced Tools.
| | 00:42 | You now have some additional options,
some additional buttons that you can click
| | 00:46 | that will allow you to edit
faster, smarter, and deeper.
| | 00:50 | The other suggestion I'm going to make
is that under the Browser setting, I want
| | 00:54 | you to switch that Clicking
in an Event Browser selects
| | 00:57 | 4.0s to simply deselects it all, that
way it will be very quick for you to
| | 01:03 | actually select the range of video
that you want to use when you're editing.
| | 01:08 | Now let's go ahead and close the
iMovie Preferences by hitting the red button
| | 01:13 | and step into 01_03_Preferences
and editing basics.
| | 01:19 | Now I want to point out that this is an
advanced iMovie title and if you haven't
| | 01:24 | used iMovie before, or if you're a
little bit rusty, it's critical that you go
| | 01:28 | back and watch the lynda.com
iMovie 11 Essential Training course.
| | 01:33 | It will really cover all of the
basics that you need to know because we are
| | 01:37 | going to step everything up to the next level.
| | 01:40 | Now just as a quick refresher I'm
going to show you a few of the basic
| | 01:45 | editing techniques before we hop in
and really take this vacation highlight's
| | 01:49 | video to the next level.
| | 01:52 | Now when I'm editing, I find I like to
change the interface a little bit because
| | 01:57 | it's faster and more efficient.
| | 01:59 | One of the things you can do is you
can switch the location of your Project
| | 02:04 | Library and your Event Library, and
that's simply pressing this little
| | 02:09 | button right here.
| | 02:10 | This will swap your events and your
projects, putting your events in the upper
| | 02:14 | left-hand corner and then putting
your Project Library down into the bottom
| | 02:19 | part of the screen.
| | 02:21 | Now there's one more change we are going
to make and that's how we actually look
| | 02:25 | at our Project Library.
| | 02:27 | Let me throw a few clips into the
Timeline and I'll illustrate that change.
| | 02:31 | Now to throw clips into the Timeline,
you can simply click and select a range
| | 02:36 | and then you could just drag
them down into the Timeline.
| | 02:40 | Now that may be how you've been doing it,
but let me show you a much faster and
| | 02:44 | more efficient way to organize
and slug clips into your Timeline.
| | 02:48 | Once you've selected the range you can
simply press the E key, think of that as
| | 02:53 | Edit, and it will quickly throw
whatever shot you have selected directly into
| | 02:57 | the Timeline.
| | 03:02 | Now if you want to edit even faster
and you just want to get a bunch of clips
| | 03:06 | in, go down here and click on this button.
| | 03:08 | Now this button was not available until
you turned on your Advanced Preferences.
| | 03:13 | If you have a clip already selected,
when you click on it, it's going to drop
| | 03:17 | it into the Timeline.
| | 03:18 | Let's go ahead and undo that.
| | 03:20 | I want to remind you Undo is simply
Command+Z. Now with nothing selected, you can
| | 03:27 | turn this or activate this
button and you see it's highlighted.
| | 03:30 | Now as I go through my Event Library,
if I want to grab a shot, I simply
| | 03:35 | click and drag.
| | 03:37 | Notice that I see a yellow range highlighted.
| | 03:40 | As soon as I let go of my mouse,
those clips actually get thrown into
| | 03:44 | the Timeline.
| | 03:45 | It's a very quick way to put clips into
your show without having to do lots of
| | 03:51 | clicking and lots of dragging.
| | 03:53 | One last thing that I want to show
you about the interface is if you notice
| | 03:57 | right now I have a nice smooth line.
| | 04:00 | I can go down to the bottom right-hand
corner and instead of looking at each of
| | 04:04 | my clips in its entirety as a single
picture, I could scroll to the left and now
| | 04:09 | I'm seeing much more detail in each of my clips.
| | 04:13 | I can actually skim
through and see what happens.
| | 04:16 | But you'll also notice that as I get to
the end of a line, the video just wraps
| | 04:21 | around to the next line.
| | 04:23 | In some cases, you might find this useful.
| | 04:26 | But I find that as a more advanced
editor, I like to look at a single line for
| | 04:31 | my editing that I can then put my
cutaways and my titles on top, and my music
| | 04:36 | on the bottom.
| | 04:37 | And to do this, I simply go over to the
right side of the screen and I click on
| | 04:41 | this button right here which changes
the layout to a single line editing view
| | 04:46 | that I can simply grab the bottom
bar here and scroll through my program.
| | 04:52 | Now I can still choose to look at it
in greater detail by moving this slider
| | 04:55 | to the left, or at a single clip at a
time by moving my slider all the way to
| | 05:01 | the right.
| | 05:02 | So those are some basic changes that
you'll need to make to follow along with
| | 05:06 | this video, as well as some changes that
you need to make to step into the world
| | 05:11 | of advanced iMovie 11 editing.
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2. Editing StrategiesOrganizing your story| 00:00 | Now I'm working under the
assumption that you've watched the iMovie 11
| | 00:04 | Essential Training or you've
worked with iMovie for a while.
| | 00:07 | So you know some basic organization
skills which is how to bring your clips in
| | 00:12 | to iMovie and maybe even keywording it.
| | 00:14 | But let's step into some other things
that you might want to think about when
| | 00:18 | creating your vacation highlights reel.
| | 00:20 | Let's step in to 02_01.
| | 00:24 | Now the key here is actually remembering
that you're telling a story, and you
| | 00:28 | want to keep it interesting.
| | 00:30 | So in your head you have to think
about what events are happening, or how you
| | 00:33 | want to tell the story.
| | 00:34 | Well in my case, I wanted to start off
with something exciting, with something
| | 00:38 | interesting to grab my viewers' attention.
| | 00:41 | So when I'm organizing this, I'm
going to grab an exciting shot to grab
| | 00:45 | their attention.
| | 00:46 | So I think the point-of-view of the
zip-lining really takes them out of
| | 00:49 | their comfort zone.
| | 00:50 | So I'm just going to grab a little
chunk of that, hit the E key, and throw
| | 00:54 | it into my timeline.
| | 00:56 | Now remember, right now I'm just
slugging things in to basically frame out
| | 01:00 | my story.
| | 01:01 | I can always refine, add music, add
cutaways later on, but I just want to
| | 01:06 | see how things feel.
| | 01:08 | So I have my establishing shot, and now
I need to go ahead and figure out, well,
| | 01:12 | what's the story of the trip?
| | 01:14 | Well we have to get there, and
once we're there, what are the things
| | 01:17 | we're going to look at?
| | 01:18 | Well I have three different things.
| | 01:20 | I have my little sound
bites I'm going to throw in.
| | 01:22 | But I can always throw those in later.
| | 01:24 | So I'm going to do maybe Coronado,
I'm going to do snuba, and then I'm going
| | 01:28 | to do zip-lining.
| | 01:29 | So I'm going to very quickly go through,
grab some footage from Coronado, and
| | 01:35 | that's when I arrived and met my
friend Steve there and we went on the
| | 01:38 | speedboat adventure.
| | 01:40 | So in that case, maybe I want to
grab some of the shots to tell the
| | 01:43 | speedboat story.
| | 01:45 | In this case, maybe I'll
have the kids on the boat.
| | 01:48 | Once again, in all cases, I'm hitting
the E key, or remember, I can deselect any
| | 01:53 | clips in my Event Library, activate this
button, and now simply go through and
| | 01:57 | start slugging out to tell the story.
| | 02:01 | Now I'm not committing to anything here.
| | 02:03 | I'm just throwing some shots into my
timeline that I can then rearrange, and
| | 02:08 | make longer or shorter with the Clip Trimmer.
| | 02:10 | So now I have my speedboat adventure.
| | 02:12 | The next thing I want to do is
maybe tell the snuba part of my story.
| | 02:15 | So maybe I'll grab some shots of the
kids getting ready, the kids and I in our
| | 02:22 | wetsuits, and then perhaps some great
underwater shots, and I'll just scrub
| | 02:26 | through, grab some elements here, there
are some thumbs-up, here's a close-up of
| | 02:32 | me to prove that I was actually there,
and maybe a close-up of me and my sons.
| | 02:38 | So as you can see,
organizing it is pretty easy.
| | 02:41 | If I put something in the wrong order,
I can simply drag it and reposition it.
| | 02:46 | Before we look at fine-tuning our
movie, let's take a look and see what our
| | 02:51 | story looks like so far.
| | 02:53 | (video playing)
| | 03:11 | So I have the basic outline of my
story, but with any good story, editing
| | 03:17 | is always the key;
| | 03:18 | writing and rewriting.
| | 03:20 | So I'll be shortening some of these
shots and changing where the cut points are
| | 03:24 | just so it flows a little bit better.
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| Cutting for flow-trimming techniques and fine-tuning edits| 00:00 | The art of making one of your
highlight reels much more exciting and much
| | 00:04 | more viewable for your audience is to
make sure that you have a really tight
| | 00:09 | fine-tuned edit.
| | 00:10 | Let's step into 02_02 and talk a
little bit about editing strategies and some
| | 00:15 | fine-tuning techniques.
| | 00:17 | Now I've simply slugged in six shots of
the kids zip-lining, and let's go ahead
| | 00:22 | and watch just a few seconds
of this to see how it feels.
| | 00:26 | Now I did had an establishing shot
of the kids where they are and then me
| | 00:31 | putting up my camera about to shoot.
| | 00:32 | (video playing)
| | 00:34 | And then I have Ian zip-lining and I
have him leaving and then it feels like
| | 00:40 | about an hour later, I have him coming back.
| | 00:43 | Now in real life, this did take
about a minute, but we don't want to
| | 00:49 | experience real-life.
| | 00:50 | If you watch television, most shots
change between every four to six seconds.
| | 00:55 | It keeps the pace going and makes it exciting.
| | 00:57 | So we're going to go ahead and
tighten this up to make it a much more
| | 01:00 | dynamic video.
| | 01:02 | The first thing I want to do is take
this establishing shot of the kids and
| | 01:05 | instead of it being about four seconds
long, I want it to be about half that
| | 01:08 | length, just to establish
they're going to the zip-line.
| | 01:12 | So to do that, I can simply click
and drag on the middle range and choose
| | 01:16 | about two seconds.
| | 01:17 | Now if I want to use this two seconds,
I can go up to the Clip menu and I
| | 01:21 | choose Trim to Selection.
| | 01:23 | The keyboard shortcut is Command+B.
So I'll let you use the pulldown menu
| | 01:27 | once, but from now on Command+B to
choose the best part of the clip that you
| | 01:32 | want to keep.
| | 01:33 | Think of it that way,
Command+B for the best part.
| | 01:36 | So now I've clicked on it and I
have two nice seconds here to establish
| | 01:40 | the kids.
| | 01:41 | We're going to come back to this shot
here of me working with the cameras in
| | 01:44 | just a moment, but what I really
want to do is I want to tighten up these
| | 01:48 | two clips here.
| | 01:49 | First of all, I have Ian leaving and
riding and riding and riding and then I
| | 01:53 | have him coming back and
coming back and coming back.
| | 01:56 | So let's go ahead and
shorten this to the best parts.
| | 01:59 | So the action starts pretty quick.
| | 02:01 | But after about this point,
I know where he is going.
| | 02:04 | So I'm going to go ahead, grab the edge,
bring it down to about the area where I
| | 02:09 | want to cut and simply hit Command+B,
and now instead of having 9 or 10 seconds
| | 02:14 | of video, I have a nice quick three-second shot.
| | 02:18 | On the flip side, when he's coming
back, I don't want to wait forever.
| | 02:22 | I want to pick it up right
where the action happens.
| | 02:25 | And I want to stop after he lands.
| | 02:27 | Now let's go ahead and select this clip
and trim out the area where he's taking
| | 02:32 | forever to come and about that
point I want to cut back to the clip.
| | 02:37 | Now before, I selected the range I
wanted to keep and hit Command+B. Another
| | 02:42 | thing you can do is select the range
that you want to delete and you can go
| | 02:46 | ahead and you can say Delete Selection.
| | 02:48 | The keyboard shortcut there is simply
the Delete key and this will remove the
| | 02:53 | beginning of that long
wait for him to come back.
| | 02:56 | Let's take a look at how that edit feels.
| | 02:59 | (video playing)
| | 03:02 | That's a little more exciting.
| | 03:03 | We may stretch out that edit a little
bit because we may want to hear the word
| | 03:07 | cannonball screamed by my other son.
| | 03:09 | So let's go ahead and fine-
tune that in our Precision Editor.
| | 03:14 | Now to get to the Precision
Editor, simply click on this cog and
| | 03:18 | choose Precision Editor.
| | 03:20 | What this brings up is our outgoing
shot and our incoming shot, and I can simply
| | 03:26 | do what's called a roll edit and move
the cut point back and forth to get the
| | 03:30 | exact words that I want.
| | 03:32 | Now I can't actually see the waveform.
| | 03:36 | So I'm going to go ahead and click
this button here and now I can see the
| | 03:39 | waveform of Daniel screaming
cannonball and Ian coming back.
| | 03:43 | Let's take a look and a listen.
| | 03:44 | (video playing)
| | 03:50 | So much to my surprise, my son does
not say the entire word cannonball.
| | 03:54 | So it really doesn't matter whether I
cut earlier or later, but as you can see I
| | 03:59 | simply move this back and forth and as
soon as I let go, the edit is updated.
| | 04:05 | When you're finished, click Done and
you can play it back in your Timeline.
| | 04:10 | Another thing I want to point
out is this great camera shot.
| | 04:12 | Now this is probably the best shot
I've ever taken in my life and it's me
| | 04:17 | holding up my cameras.
| | 04:19 | Okay maybe it's not the best shot yet,
because I don't quite get the camera
| | 04:24 | into frame before Ian starts his move.
| | 04:27 | So let's go ahead and go back to our
cog, and instead of choosing the Precision
| | 04:32 | Editor, we're going to choose the Clip Trimmer.
| | 04:36 | Now in the Clip Trimmer, I can actually
make a shot longer at the beginning or
| | 04:40 | longer or shorter at the end, but what
I really want to do is I want to move
| | 04:44 | this whole area because I think the
duration of two to three seconds is good,
| | 04:49 | but I want to make sure that at the
very end, the camera comes right up as if
| | 04:53 | I'm about to start shooting.
| | 04:56 | When I have my timing exactly how I
want it, I can simply press Done and go back
| | 05:02 | and see how it looks in context of my edit.
| | 05:04 | (video playing)
| | 05:11 | That's pretty good.
| | 05:13 | As you can see, shorter, tighter video,
cutting on the action and keeping the
| | 05:18 | pace of your video moving are all
elements that are going to make it a much more
| | 05:23 | enjoyable and
mesmerizing video to your audience.
| | Collapse this transcript |
|
|
3. Adding External AudioWorking with the voiceover tool and detaching audio| 00:00 | Now let's work with one of the basic
elements you need when telling a story
| | 00:03 | which is actually telling your story.
| | 00:06 | So let's step into 03_01.
| | 00:09 | The first thing we're going to do is
we're going to look at the Voiceover tool,
| | 00:12 | and then I'm going to show you how
you can detach the audio from one of our
| | 00:15 | video clips and use just the sound
effects of the underwater bubbles to put
| | 00:20 | under our still pictures.
| | 00:22 | Now to record a voiceover section,
what you need to do is turn on the
| | 00:26 | Voiceover mic.
| | 00:27 | If you want to explore this deeper,
this is also covered in the Essential
| | 00:31 | Training for iMovie 11 on lynda.com.
| | 00:33 | Now once you've opened up the Voiceover
dialog box, the first thing you'll need
| | 00:37 | to do is select where the
sound will be coming from.
| | 00:40 | Now if you're on an iMac or a MacBook,
it has a built-in microphone and that
| | 00:45 | would be one of your choices.
| | 00:46 | And then there's also the option of
using a Built-in Line Input microphone.
| | 00:50 | I'm using the headset in the studio, so
I'm going to select the Built-in Digital
| | 00:55 | Input, and the Hammerfall is something
that you won't have because that's the
| | 00:59 | mixer that we're using to record these movies.
| | 01:02 | Once I've selected the Built-in
Digital Input, as you can see I'm starting to
| | 01:06 | get an audio level for my voice.
| | 01:09 | Now if you start getting into the red
and if I start talking really loud, you
| | 01:14 | may want to turn the Input Volume down.
| | 01:16 | If you find you're sounding too soft,
you may want to grab this slider and move
| | 01:21 | it more to the right just so that you're
mostly in the green, occasionally going
| | 01:25 | into the yellow and maybe touching the red.
| | 01:27 | Another thing that you can adjust in
the Voiceover tool is Noise Reduction.
| | 01:32 | Now in the studio, it's a pretty clean
room, but in real life if you're sitting
| | 01:35 | in your office or sitting in your
living room, you might have some background
| | 01:39 | noise that you want to remove.
| | 01:41 | And in that case, using the Noise
Reduction slider, you can move it to the right
| | 01:45 | to remove a lot of the background
noise, but that may start sending out the
| | 01:49 | sound of your voice, or you can move
it to the left to give more voice and a
| | 01:53 | little more background.
| | 01:55 | I always like to check
the Voice Enhancement box.
| | 01:57 | Basically what iMovie does is it boosts
the volume level of the exact frequency
| | 02:03 | where your voice is so it really
sounds like one of those DJ radio nice warm
| | 02:07 | round voices instead of the high
squeaky voice that I normally have.
| | 02:12 | And finally, there's the option to
play the project audio while recording.
| | 02:16 | Now only select this if you're
wearing headphones because what this will
| | 02:20 | allow you to do is hear what's
happening in your video, but it doesn't get
| | 02:24 | recorded back into the mic.
| | 02:26 | If you turn this on without using
headsets, you're going to actually get
| | 02:29 | feedback and get non-usable voiceover audio.
| | 02:33 | Well once you've made all these
decisions, you're ready to start recording and
| | 02:37 | it's as simple as clicking over a clip
where you want the voiceover to begin.
| | 02:42 | Now you want to be careful because if
you have a single clip selected with only
| | 02:46 | that clip highlighted, you'll just
do a voiceover for that one clip.
| | 02:49 | I want to do a voiceover over a
variety of clips that's why I have nothing
| | 02:53 | preselected in my Timeline.
| | 02:56 | Let's give it a try to see
what it sounds and looks like.
| | 03:01 | As soon as you click, you'll get a three-
second count into your recording and at
| | 03:05 | this point, I can start describing my video.
| | 03:08 | One of the best parts of my
vacation was when I got to take the boys
| | 03:12 | snuba diving.
| | 03:13 | That's kind of a combination of
snorkeling and scuba, but we didn't have to get
| | 03:17 | certified and it was
really easy to get used to it.
| | 03:20 | The boys had an amazing time
and most of the fish were scared.
| | 03:26 | Now as soon as I hit the Spacebar,
the recording stops and you'll see my
| | 03:30 | voiceover recording is directly
below the clips that I talked over.
| | 03:34 | Now this clip is completely editable.
| | 03:37 | Let's go ahead and turn off the
Voiceover tool and I'll show you that I can
| | 03:41 | make this clip shorter if I want by
simply grabbing the edge, or if I want to
| | 03:45 | do some more refined editing, I can
simply click on it and open it up in the
| | 03:50 | Clip Trimmer.
| | 03:51 | Now if I listen back to what I recorded,
the beginning was me explaining how I
| | 03:56 | was going to use the Voiceover tool,
and of course I don't want that in my
| | 03:59 | final video.
| | 04:00 | (video playing)
| | 04:02 | Narrator: and at this point,
I can start describing my video.
| | 04:05 | Narrator: One of the best parts of--
| | 04:07 | I can simply grab the area that I
want to delete, I click on Done and now
| | 04:12 | it's properly trimmed.
| | 04:14 | I can go ahead and move this
back and forth wherever I want.
| | 04:18 | And if I want to pick up and do
another recording, I simply turn on the
| | 04:21 | Voiceover Recording tool, place my
cursor where I want to start talking
| | 04:25 | again and simply click.
| | 04:27 | (video playing)
Narrator: and most of the fish were scared.
| | 04:31 | Now the boys ate several of the fish,
so they didn't have anything they
| | 04:34 | needed to worry about.
| | 04:35 | (video playing)
| | 04:37 | And as you can see, I can continue
to add voiceover either shot-by-shot,
| | 04:40 | scene-by-scene, or over the entire video.
| | 04:44 | I'm going to go ahead and delete that
second voiceover recording because I want
| | 04:49 | to make sure we have a nice clean
interface to show you the next skill.
| | 04:53 | And that's detaching audio from
existing media, so I can put some sound effects
| | 04:58 | underneath these four photographs
that I have in my video timeline.
| | 05:03 | Now this is very easy to do.
| | 05:04 | I can simply select any clip in my
Timeline that might have good audio, and I
| | 05:09 | know I have a lot of good underwater
bubble sounds underneath this clip.
| | 05:12 | With it selected, I'll go up under
Clip and I'll simply say Detach Audio.
| | 05:19 | You'll notice now that the audio
or the sound for this clip is no
| | 05:23 | longer connected.
| | 05:24 | And because it's no longer connected,
it's very easy for me to grab the edge of
| | 05:28 | this clip and stretch it out as long as I need.
| | 05:32 | Now it's not quite long enough to go
directly underneath all of these clips.
| | 05:36 | So I do have a couple of options.
| | 05:38 | I could go in to the dropdown cog and
go up under Clip Trimmer and see if I had
| | 05:42 | any extra media maybe at
the beginning or the end.
| | 05:45 | In this case, I don't, so what I
want to do is simply copy it, Command+C,
| | 05:51 | position my cursor a little bit before
the first track ends and simply paste
| | 05:56 | it by pressing Command+V. And if I
scroll down, you will see that I have the
| | 06:02 | first track and a copy of my track
that I can fade to, to put underneath my
| | 06:08 | still images.
| | 06:09 | Let me go ahead and bring the volume
down a little bit and to make it a nice
| | 06:13 | smooth transition, I'm going to just
grab these little sliders here which will
| | 06:17 | appear as soon as I hover my mouse
over the audio file and I can do a very
| | 06:22 | simple fade between these
bubbles and these bubbles.
| | 06:26 | Let's go ahead and hear how my
voiceover and my newly added bubbles under my
| | 06:31 | still pictures sound.
| | 06:32 | (video playing)
Narrator: boys had an amazing time,
| | 06:34 | (video playing)
Narrator: and most of the fish were scared.
| | 06:41 | As you see by simply adding bubbles
under the still images, it has a presence
| | 06:45 | and a reality that I wouldn't
have had if I just had music.
| | 06:49 | Detaching audio is a great way to
move good ambient sound from one clip
| | 06:55 | to another.
| | Collapse this transcript |
| Reducing background noise| 00:00 | Now for a vacation video, you'll
probably be recording in a variety of locations
| | 00:05 | with a lot of background noise, whether
you're doing an on-camera sound bite to
| | 00:10 | add to your video or even doing a
voiceover or just interviewing one of your
| | 00:14 | family members or friends.
| | 00:16 | So let's go ahead and step into 03_02
and look at how you can fix the quality
| | 00:22 | of that sound.
| | 00:24 | Now the first two clips we'll work
with were me doing some quick sound bites
| | 00:28 | outside of the hotel.
| | 00:29 | Now if I went ahead and I hit Play,
I'm going to be distracted by the ambient
| | 00:34 | sound of my cutaway of the
kids playing at the pool.
| | 00:36 | For instance --
| | 00:37 | (video playing)
Narrator: My razor is still missing.
| | 00:41 | So let's go ahead for the time being,
and I can either grab the audio waveforms
| | 00:46 | and bring them down to a volume of zero,
or if I wanted to, I could step into the
| | 00:51 | Audio Adjustments pane by clicking on
the cog, or what would be even easier is
| | 00:56 | just pressing the A key for audio.
| | 01:00 | And here I can go ahead and just grab
the volume and drag it all the way down
| | 01:05 | to zero.
| | 01:07 | Now if we go back and listen to me
recording my sound bite, we can hear what the
| | 01:11 | true sound of my environment was like.
| | 01:14 | (video playing)
Narrator: Day 4 of our vacation.
| | 01:16 | Narrator: My razor is still missing. We are going to
head over to Catalina to see what happens on the island.
| | 01:20 | The audio is pretty similar.
| | 01:22 | So let's go ahead and choose the
first one and press the A key to open up
| | 01:26 | our Audio Inspector.
| | 01:28 | The first thing that we want to do is
we want to click on the Enhance button
| | 01:33 | and now we can start dialing down the
background noise by moving the slider
| | 01:37 | from left to right.
| | 01:39 | And I like to do this while playing
because I can hear the effect of the
| | 01:42 | noise reduction to both my voice
and to the background, because with
| | 01:46 | background noise reduction, a
little goes a long way and too much can
| | 01:51 | actually ruin the quality of your voice.
| | 01:52 | (video playing)
| | 02:01 | If you notice, when I got to about 62%,
I stopped hearing the background wind
| | 02:06 | and I could still hear my voice.
| | 02:08 | My voice did get a little bit
thinner because as I reduced some of the
| | 02:11 | background noise, I also reduced some
of the frequencies that my voice was in.
| | 02:16 | That's where the Equalizer comes into play.
| | 02:18 | By turning the Equalizer on, I can
tell iMovie how to enhance this audio.
| | 02:23 | For instance, if it was music, I could
do a Music Enhance, or if I wanted to, I
| | 02:28 | could go ahead and boost the bass area.
| | 02:30 | For me, a simple voice
enhancement is going to go a long way.
| | 02:34 | Let's go ahead and listen to the clip again.
| | 02:36 | (video playing)
| | 02:40 | Now with the Equalizer off --
| | 02:41 | (video playing)
| | 02:46 | So it just enhances it enough that I
know it's going to punch through if
| | 02:50 | there's music underneath.
| | 02:51 | Now some of the other buttons you
may want to work with might be the
| | 02:55 | Normalize Clip Volume.
| | 02:56 | This is useful if parts of your audio
are really, really loud and parts are
| | 03:01 | really, really soft.
| | 03:02 | What it does is it reduces the range
between the softest and the loudest part of
| | 03:06 | the clip and sometimes it can do great
things and other times you'll be shocked
| | 03:11 | at how bad it makes your voice sound.
| | 03:12 | Let me go ahead and turn it
on and you can take a listen.
| | 03:15 | (video playing)
| | 03:21 | Actually this works pretty well because
it really is going to make my voice cut
| | 03:25 | through the music as well
as the background sound.
| | 03:29 | Now when I'm finished with all these
adjustments, I can simply press Done.
| | 03:34 | Now if we look at the second clip,
because I recorded it at the same time,
| | 03:37 | instead of reinventing the wheel, I
can go over to the first clip and copy,
| | 03:44 | choose the second clip, or if I had
multiple clips that I recorded and put into
| | 03:48 | my video from the same location, I
could select all of them, go back up under
| | 03:53 | Edit, choose Paste Adjustments, and
paste all of my audio fixes onto the
| | 03:59 | second clip.
| | 04:01 | And let's go ahead and take a listen.
| | 04:02 | (video playing)
Narrator: We are going to head over to Catalina
| | 04:05 | Narrator: to see what happens on the island. I
hear there is good snuba and even a zip line.
| | 04:10 | So now I have my audio fixed very nicely,
I can go back and bring up the level
| | 04:14 | of my ambient sound and I'm good to go.
| | 04:18 | And realize you can use all of these
effects whether you're doing a sound bite,
| | 04:22 | or just even have ambient sound, or
background sound, or on-location music that
| | 04:27 | you want to boost the quality of the audio.
| | 04:30 | Cleaning up background noise in my
sound bite is one thing, but you can use
| | 04:34 | these same techniques on all of the
video whether you're doing interview with
| | 04:39 | your friends or your kids, or if you're
recording a band and you want the music
| | 04:43 | to sound better, just step into the
Audio Adjustment tool by pressing the A key
| | 04:47 | and you can start modifying your
sound and bringing up the quality of your
| | 04:51 | program to the next level.
| | Collapse this transcript |
| Adding and mixing music| 00:00 | The most important thing you can add to
your vacation highlights video is music,
| | 00:05 | because music really moves a video along.
| | 00:09 | Let's go ahead and step into 03_03 and
talk about different ways you can add and
| | 00:14 | mix music in iMovie.
| | 00:16 | Now I am going to go ahead and change
the view of my window so you can see a
| | 00:19 | little more of my Project pane.
| | 00:22 | You may be able to see more if you
have a higher resolution screen, but to do
| | 00:25 | what I want to, I am going to go up to
the Window dropdown menu, choose Viewer,
| | 00:29 | and in this case I am going to
choose Small which will give me less real
| | 00:33 | estate up top, but a lot more real
estate on the bottom, so you can more
| | 00:37 | easily see what I'm doing.
| | 00:39 | Now there are already two types of music here.
| | 00:42 | You notice, there is a big
green cut and a purple cut.
| | 00:45 | These are both background music pieces.
| | 00:47 | Now a green background music piece
is simply music that will play in the
| | 00:51 | background, no matter what's
happening to the video in the foreground.
| | 00:55 | It's kind of getting onto an
elevator with background music.
| | 00:59 | You don't know what's going to be
playing when, but you go along for the ride
| | 01:02 | and you listen long.
| | 01:04 | Now if I wanted to put this green cut
of music, this Island Short, against a
| | 01:09 | specific cut, all I need to do is grab
it and move it and wherever I position
| | 01:15 | it, it will be pinned to
that specific piece of video.
| | 01:19 | So if I go ahead and say, move this
globe a little bit earlier, the music
| | 01:25 | comes along with it.
| | 01:26 | Let me go ahead and hit Undo a couple
of times, so we have our regular cut
| | 01:32 | of music.
| | 01:33 | Now let me go ahead and move this
video clip with the green music behind it,
| | 01:37 | you'll notice that the video moves, but
the audio stays in its current location.
| | 01:42 | So if you have green background music,
it always stays where it lays, and if you
| | 01:47 | have purple background music, it's
always attached to a piece of video and
| | 01:51 | whenever you move that video
the music will go along with it.
| | 01:55 | Now there's another way that you can
bring music in the I like to use that's a
| | 02:00 | lot more specific and a lot more
controlled and that's attaching a piece of
| | 02:04 | music directly to a single clip in the Timeline.
| | 02:08 | Let me go ahead and delete this
background piece of music by selecting it and
| | 02:12 | simply hitting the Delete key.
| | 02:15 | If we step over here to the right side
of the interface you can see there is
| | 02:18 | a musical note.
| | 02:19 | If you click on that musical note,
it'll reveal your Music and Sound
| | 02:23 | Effects browser.
| | 02:25 | Now iMovie comes with a variety of
sound effects and even jingles that you can
| | 02:30 | use to put into your program.
| | 02:32 | You can also access anything you
might have in your iTunes Library from
| | 02:35 | this same location.
| | 02:37 | Let's go ahead and look at some of the
songs that are available for you to use
| | 02:41 | in all of your videos.
| | 02:43 | I am going to click under Jingles
under iLife Sound Effects, and I can see
| | 02:47 | there are 200 different cuts of music
with all different flavors that I can
| | 02:51 | put into my program.
| | 02:52 | Now I can search these alphabetically
if I click on Name, or if I know I want
| | 02:57 | something long or short, I'm going to
simply click on Time and I can see that
| | 03:01 | the shortest pieces are as little as
five seconds long while the longest piece
| | 03:05 | is over two minutes long.
| | 03:07 | I already know the kind of music I want
to use so I am going to simply go to the
| | 03:10 | dialog box and type in island.
| | 03:15 | So I want to use the Island Short
piece and I want to attach it to the
| | 03:19 | opening zip line clip.
| | 03:21 | But remember, I just moved that a few
seconds ago, but that's not going to be
| | 03:24 | a problem.
| | 03:25 | I simply grab the music clip and I
drop it onto the zip-lining clip where
| | 03:30 | I want it to start.
| | 03:31 | It now attaches itself to that clip, and
once it's attached, when I click on the
| | 03:36 | zip-lining clip, I can drag it to the
beginning and the music stays with it.
| | 03:41 | Let's take a listen at how that sounds.
| | 03:43 | (video playing)
| | 03:51 | Well, I like the music, but there
are a couple things I really hate.
| | 03:55 | I don't need to hear the sound of
me zip-lining, so overpowering at the
| | 03:59 | beginning of my show, and I really
would love to hear a sound effect of the
| | 04:04 | aircraft as I am shooting out the window.
| | 04:06 | So let's go ahead and bring the volume
down of our video clip by just dragging
| | 04:11 | the black bar and pulling it
to about 20 to 22%.
| | 04:15 | The next thing I want to do is
I want to add a sound effect.
| | 04:18 | There is a whole series of free sound
effects available in your iLife Library,
| | 04:23 | and the sound effect I
want is simply an airplane.
| | 04:26 | So I type in air and I see there
is a there's an Airplane Take Off.
| | 04:30 | And I am going to go ahead and
drag that and drop that on the clip of
| | 04:34 | the clouds.
| | 04:35 | Now what I would really like is to
start hearing the airplane taking off before
| | 04:40 | we see the shot and I don't need
to hear it once I start talking.
| | 04:44 | So I can go ahead and drag the sound a
little bit to the left, so we are going
| | 04:48 | to start hearing the airplane before we
see it, and I am going to grab the very
| | 04:52 | end of the sound effect and simply drag
it so that it ends when we stop seeing
| | 04:57 | the globe.
| | 04:58 | Now audio should fade off gently and
one of the things you can do in iMovie is
| | 05:03 | simply put your cursor over any audio
waveform and you see a little nodule
| | 05:07 | pop-up, and I can go ahead and drag
that and create a nice fadeout and a nice
| | 05:12 | fade in, and I'll do the
same thing with my music.
| | 05:15 | As a matter of fact I want my
music to fade out pretty much when the
| | 05:18 | airplane starts fading in.
| | 05:21 | Let's take a listen and hear how that sounds.
| | 05:23 | (video playing)
| | 05:44 | Perfect!
| | 05:44 | That's exactly what I wanted to hear.
| | 05:47 | Now let's go ahead and deal with
mixing my voice to some background music.
| | 05:53 | I am going to go ahead and close my
iLife Sound Effect window by hitting the
| | 05:57 | small X, and now we can see my entire Timeline.
| | 06:00 | What I want to show you is a really
cool feature of iMovie 11 called ducking.
| | 06:05 | For instance let's move our island
music completely behind my sound bite.
| | 06:12 | If I played this just the way it is,
it's going to overpower my speaking.
| | 06:16 | (video playing)
| | 06:22 | I could, if I want, bring the volume of
the music down at that point and to do
| | 06:26 | that I would simply take my cursor and
draw a little square over the area where
| | 06:32 | I want to bring the volume down and
drag this slider so the volume drops.
| | 06:38 | Let's go ahead and listen.
| | 06:38 | (video playing)
| | 06:43 | And I can bring it down a little bit more.
| | 06:44 | (video playing)
| | 06:51 | Now that works really well until I start
editing again because what would happen
| | 06:56 | if I decided to add another
shot between the globe and me.
| | 07:00 | We'll just go ahead and grab this
sunset clip and move it earlier.
| | 07:05 | Well I have this great sunset here,
but now the music ducks under the
| | 07:09 | wrong area.
| | 07:10 | So I have to go back and fix that.
| | 07:12 | Instead of going through all these steps,
let me show you a smarter way to work.
| | 07:17 | I am going to go ahead and press
Undo to move all the clips back into the
| | 07:21 | original position, and now I want to
reset my audio so I am going to simply
| | 07:26 | scroll up, go to my dropdown cog and
click on Audio Adjustments, or I could have
| | 07:32 | just pressed the A key.
| | 07:34 | Now if I want the audio to go back
to the way it was, I'd just simply
| | 07:38 | click Revert to Original.
| | 07:40 | And when I'm done, I can scroll down
and my audio levels are nice and even
| | 07:45 | once again.
| | 07:46 | The trick here is not to affect the
music, but to affect my voiceover, and if I
| | 07:52 | select my sound bite and press the
A key, there is an option here to do
| | 07:57 | something called Ducking and if you
notice as soon as I clicked on Ducking, take
| | 08:02 | a look at what happened to the music
levels directly under that sound bite.
| | 08:06 | I am going to click at on and off
again so you can see what happens.
| | 08:10 | With Ducking turned off, the music is at
full volume, with Ducking turned on, it
| | 08:15 | drops to only 15% of its original
levels, and I can do the same thing to my next
| | 08:21 | clip by simply selecting it and
turn Ducking on, on that clip.
| | 08:26 | Now if we listen to this,
the audio will be perfect.
| | 08:29 | (video playing)
| | 08:36 | Now let's go back and move that sunset shot.
| | 08:38 | I am going to grab the sunset shot,
bring it in front of me and behind
| | 08:42 | the globe.
| | 08:43 | And my sound bite gets pushed
downstream a little bit or further down
| | 08:46 | the Timeline.
| | 08:47 | But you notice that the music still
ducks directly under when I'm talking.
| | 08:52 | Now the great thing about working with
music and sound effects in iMovie is you
| | 08:56 | can have as many layers of audio as you want.
| | 08:59 | So you can have music and sound effects
and voiceover and they can all overlap
| | 09:03 | each other, so you can get a show
that sounds as good as it looks.
| | Collapse this transcript |
| Editing to the beat| 00:00 | In this next movie, we are going to
show you a really cool trick of how you can
| | 00:05 | cut video to the beat of a piece of music.
| | 00:08 | Let's step inside 03_04.
| | 00:12 | Now I've already put a cut of music
in here called Tour Bus, and it's the
| | 00:16 | medium length version which is 26
seconds long, but you can't really see that
| | 00:20 | at this point.
| | 00:22 | So the first step, if you have a
completely clean slate, is just to drop a
| | 00:26 | cut of music as a piece of
background music into your Timeline.
| | 00:30 | The next thing we want to do is we want
to tap out the beat of the music, and to
| | 00:35 | do this I need to click on
the cog and choose Clip Trimmer.
| | 00:39 | Now I actually see the waveform of my
music and I can go ahead and I can put in
| | 00:45 | beats manually by just clicking on this
little musical note and dropping it on
| | 00:49 | specific locations, or if you
have rhythm, you can tap it out.
| | 00:54 | Let me go ahead and hit Undo to remove
that one beat and I am going to show you
| | 01:00 | how little rhythm I truly have.
| | 01:02 | So let's go ahead and hit the
Spacebar to play and then every time I hear a
| | 01:07 | beat, I could tap in
putting the beat marker to cut to.
| | 01:11 | I think that might be a little bit too
quick for the video I have so I am going
| | 01:15 | to put a beat marker in on every other count.
| | 01:18 | I am going to hit the Spacebar to play
and then every time I hear a beat, I am
| | 01:22 | going to press the M key to make a beat marker.
| | 01:25 | (music playing)
| | 01:41 | No I am not going to go all the way to
the end of the song, but as you can see
| | 01:45 | it's pretty easy to put markers in
visually and by listening every time there's
| | 01:51 | a beat that we want to cut to.
| | 01:53 | If you don't quite have great rhythm
or maybe you're a little bit offbeat,
| | 01:56 | you can always grab any beat marker
and reposition it after you've placed it
| | 02:02 | onto the clip.
| | 02:03 | Now once your beat markers are
exactly where you want them to be, go ahead
| | 02:07 | and press Done.
| | 02:09 | Now your Timeline doesn't look any
different and you can't actually see
| | 02:12 | your beat markers, but watch what
happens when I start bringing clips into
| | 02:16 | my Timeline.
| | 02:17 | I am going to go ahead and change my
view so I can see a few more clips in
| | 02:21 | my Event Library.
| | 02:24 | Now I know those beat markers were
only a few seconds apart so I am not to
| | 02:28 | going to pick a 15 second clip, because
it's only going to put in the three or
| | 02:32 | four seconds between beats.
| | 02:34 | So I am going to go ahead and skim
through, find some nice action shots and
| | 02:38 | just select a range.
| | 02:39 | Now even if I select in this case five
seconds, it's only going to put in the
| | 02:44 | duration of the clip from the
first beat to the second beat.
| | 02:47 | I can either drag this directly to my
Timeline or press the E key and very
| | 02:52 | quickly move the clip
directly into the Timeline itself.
| | 02:56 | Let's go ahead and add a few more
clips and we can see how they line up
| | 02:59 | perfectly with our beat markers.
| | 03:02 | And even though I'm selecting really
long chunks, if I go down here to the
| | 03:06 | Timeline, each beat marker is only
about one and a half seconds apart, so it
| | 03:11 | really doesn't matter, it just takes
the first second and a half of my video.
| | 03:15 | I am going to go ahead and slug in
some video really, really quick, taking
| | 03:19 | advantage of one of the tricks
we learned in an earlier movie.
| | 03:22 | I am going to go ahead and select an
empty area, turn on my Auto Editing feature,
| | 03:27 | and now quickly scroll through my clips
and start putting some action shots on.
| | 03:34 | If you notice, each cut is exactly
placed on the beat and stops when the
| | 03:40 | next beat starts.
| | 03:41 | Let's take a look and listen.
| | 03:43 | (video playing)
| | 03:55 | Now that's a great start, but there are
a couple more things that I want to do
| | 03:59 | to really make this work.
| | 04:01 | First of all, I want to reduce
the level of all of this audio.
| | 04:05 | So I can simply select the first clip,
hold down the Shift key to select all of
| | 04:10 | them and now by pressing the A key to
step into the Audio Inspector, I can
| | 04:14 | reduce the audio level of
all of my background ambience.
| | 04:19 | So the first step is done.
| | 04:21 | I can really hear the music --
| | 04:22 | (video playing)
| | 04:25 | and I am not truly distracted by
the sound on the clips.
| | 04:28 | The next thing I might want to do,
because I kind of slugged it in so quickly, is
| | 04:32 | change the timing of some of these shots.
| | 04:35 | So as we learned in an earlier movie, I
can simply step into the Clip Trimmer,
| | 04:39 | the timing is perfect for my beats, but
I can simply move this back or fourth to
| | 04:44 | the exact location where I
have something exciting happening.
| | 04:49 | Click on Done, and let's
take a look and a listen.
| | 04:53 | (video playing)
| | 04:56 | So as you can see, using beat markers
allows you to cut a music video really
| | 05:02 | quick in just the right time.
| | Collapse this transcript |
|
|
4. Bringing Stills to LifeAdding photos and changing the timing of clips| 00:00 | In this next movie we're going
to start working with photographs.
| | 00:04 | Now we've put a folder of photographs
that you can use in the exercise files and
| | 00:09 | we need to go ahead and put that into iPhoto.
| | 00:11 | You can always drag photos directly in
to your iMovie Timeline, but that's not
| | 00:16 | the most efficient way to work.
| | 00:17 | So I am going to go ahead and quit
iMovie, and I am doing this specifically
| | 00:21 | because when you update iPhoto, unless
iMovie is closed, it won't update with the
| | 00:27 | new images that you drop in.
| | 00:29 | So pressing Command+Q we will quit
iMovie, and I see that I have iPhoto already
| | 00:34 | opened up without any pictures installed at all.
| | 00:37 | Inside your Exercise Drive,
there is a folder called Photos.
| | 00:42 | You can simply drop that into iPhoto
and it will populate it with all the
| | 00:46 | pictures we are going to use to
cut our vacation highlights video.
| | 00:50 | Now let me close the Exercise Drive
window, because I want to point out
| | 00:53 | something that's important that you
should do in iPhoto instead of in iMovie.
| | 00:58 | If you really want to enhance the look
of your picture, if you want to tweak it,
| | 01:01 | you can change the color, and cropping
in iPhoto, it's a lot faster and more
| | 01:07 | robust to work on a still picture in a
photo application than working on a still
| | 01:12 | picture in a movie application.
| | 01:14 | So if you needed to change any image
you can simply select it in iPhoto, choose
| | 01:19 | Edit; some of the things that can be
done much easier in iPhoto versus in iMovie
| | 01:25 | would be fixing red-eye, or if the shot
is crooked to straighten it up, or even to
| | 01:29 | retouch a blemish that
might be on a person's cheek.
| | 01:33 | You can also manually make adjustments
if you wanted to say boost the contrast
| | 01:38 | of the image, or maybe
even knock up the saturation.
| | 01:41 | Once you're done tweaking your photos
in iPhoto, go ahead and close the library
| | 01:47 | and re-launch iMovie.
| | 01:49 | Now that we're back in iMovie, let's go
ahead and step into 04_01_Adding photos.
| | 01:56 | Now to access the photos that you just
put in to your iPhoto library, simply go
| | 02:00 | over to the camera button and select it.
| | 02:03 | As you see all of our photos are
available, and one of the nice things about
| | 02:07 | accessing your photos through iPhoto, is
that if you've created events, it's very
| | 02:12 | easy to find the shots that you're looking for.
| | 02:16 | Now to work with any of these stills,
it's just as simple as selecting it and
| | 02:21 | dragging it and dropping it into the Timeline.
| | 02:24 | Now by default, iMovie will make the
duration of your photo four seconds.
| | 02:30 | But you could always select it and make
it shorter or if you need to take it in
| | 02:34 | to the Clip Trimmer to make it longer.
| | 02:37 | You can also click on the drop-
down cog and choose Clip Adjustments.
| | 02:42 | The keyboard shortcut for this
would be the letter I for inspector.
| | 02:47 | Once I am inside here I can
actually click on the Duration and type in
| | 02:51 | any number I want.
| | 02:52 | For instance, if I type in the
number 2, because I want everything to be
| | 02:56 | cutting pretty quickly with two second
intervals, I can go ahead and select two
| | 03:01 | seconds, and if I click Done now, all
future stills will be brought in with a
| | 03:07 | duration of two seconds.
| | 03:09 | If I uncheck this, only this clip will
be two seconds, and all further clips will
| | 03:14 | be four seconds in length.
| | 03:15 | I like the idea of two second clips,
so I am going to go ahead keep that
| | 03:19 | checked and say Done.
| | 03:21 | Now in addition to bringing in one clip
at a time, I could select multiple clips
| | 03:26 | by holding down the Shift key and then
grabbing any of them and dragging them
| | 03:31 | and dropping them into my Timeline.
| | 03:33 | As you see, each of these clips
is now exactly two seconds long.
| | 03:38 | Once I have the photographs in my
Timeline, they work just like any other clip.
| | 03:42 | I can select them, I can drag them left
or right to move them around, I can open
| | 03:48 | them up and clip adjustments, if I
wanted to make them longer, switch this say
| | 03:52 | to six seconds, I only want it to
apply to this one clip, so I am going to
| | 03:57 | uncheck Apply to all stills, and click Done.
| | 04:00 | And we can see, even though it doesn't
look like it got larger here, the first
| | 04:04 | clip cuts out of two seconds and
this one cuts out at eight seconds.
| | 04:09 | Let's go ahead and hit
Play and see how this looks.
| | 04:13 | (video playing)
| | 04:16 | Now you'll notice that there is actually
a slow move on each of these stills and
| | 04:22 | iMovie actually puts in something
called the Ken Burns effect to give some
| | 04:27 | motion to your otherwise still images.
| | 04:29 | We'll examine how to best use the Ken
Burns effect and even how to crop your
| | 04:33 | images in a later movie.
| | 04:36 | In an earlier move, we learned how you
can put beat markers on a piece of music
| | 04:40 | and quickly cut your video
to the beat of the music.
| | 04:43 | Well this works wonderfully with
still images also, because if you put beat
| | 04:48 | markers in, every time you drop in a
still photograph, it will be the exact
| | 04:52 | duration between beat to beat.
| | 04:56 | So cutting together a slide show
can be done quickly and efficiently.
| | Collapse this transcript |
| Cropping or fitting a photo| 00:00 | Using still images from your vacation
is a great way to add to your video.
| | 00:05 | But the problem is,
| | 00:06 | is that a camera doesn't always have
the same aspect ratio as a television set.
| | 00:11 | Let's take a look at how easy it is to
fix problems with photographs in iMovie.
| | 00:16 | We're going to look at our first
image, and this is a beautiful sunset.
| | 00:20 | Now what we want to do is we want to
make sure that the framing is exactly the
| | 00:24 | way we want it to be.
| | 00:26 | So if I go ahead and I hit Play, you see
there is a very gentle move on this and
| | 00:31 | that's called the Ken Burns effect,
which is automatically put on all your
| | 00:34 | images when you drop them
into your iMovie Timeline.
| | 00:37 | We'll look at working with the Ken
Burns effect a little more in a later movie.
| | 00:41 | For now what I'd like you to do is
select the first clip in your Timeline and go
| | 00:46 | over here and check this little button
here which is the Crop and Rotate button.
| | 00:51 | What you'll see is that the Ken Burns
effect is selected and it actually shows
| | 00:55 | us the start and the end, but we
are not going to deal with that now.
| | 00:58 | What I want to show you
are these two buttons here.
| | 01:00 | The first one is called Fit, and what
it will do is it will shrink your image
| | 01:05 | down so that every pixel you shot,
every part of the image you took in your
| | 01:09 | photograph, is seen in your video.
| | 01:12 | So in the case of most pictures, they
are not quite as wide as a television set,
| | 01:17 | so you may see black bars in
either side, which we call pillar boxes.
| | 01:22 | If you shot a panorama you may
actually see black bars in the top and bottom.
| | 01:27 | So in a nutshell, Fit just fits
your entire picture in the frame.
| | 01:31 | But if you don't want to see any black
bars on the edge, or maybe on the top on
| | 01:35 | a panorama, you may want to switch over to Crop.
| | 01:38 | And what Crop does is brings up a
green bounding box that's the exact aspect
| | 01:43 | ratio, or height and width of a TV set.
| | 01:47 | And I can resize this box however I
want and reposition it exactly where I want
| | 01:52 | it to be, to show just the part of
the photograph that I want to see in my
| | 01:56 | final video.
| | 01:57 | If I want to test it out, I can simply
press the Play button and I can see what
| | 02:01 | it looks like full frame.
| | 02:03 | By pressing the Spacebar, I can jump
back into my cropping box and I can
| | 02:08 | refine it.
| | 02:09 | Once I have the framing exactly the
way I like it, I can simply press Done.
| | 02:15 | Now let's take a look at another
image and another problem that we can fix.
| | 02:20 | Once again, I select the image in my
Timeline, select the cropping box and I see
| | 02:25 | that the Ken Burns effect has been applied.
| | 02:27 | I don't really want the Ken Burns
effect, so I am going to go ahead and I am
| | 02:30 | going to click on Fit to see the entire image.
| | 02:33 | What happened here is the camera was
rotated and I need to tell iMovie to turn
| | 02:38 | the image counterclockwise or clockwise.
| | 02:41 | In this case, clockwise would do the
trick, I simply click the button and
| | 02:45 | I'm almost good to go.
| | 02:47 | I still have those black bars in the
side, so instead of doing Fit, I'm going
| | 02:51 | to choose Crop, and now I can move it up
or down to frame the shot exactly how I
| | 02:57 | want.
| | 02:58 | I am going to zoom in a little bit,
so I don't see any of the people in the
| | 03:02 | foreground and just the boats.
| | 03:04 | I can hit the Play button to see how
it looks and when I'm happy press the
| | 03:08 | Spacebar and then click Done.
| | 03:11 | The third shot is a
little trickier to work with.
| | 03:14 | I shot this picture of my kids in the
airplane and I was using my iPhone, so
| | 03:18 | it's taller than it is wide.
| | 03:21 | if I drop this into the show the way it
is now, I have these big black bars on
| | 03:25 | the side and I am not really happy about that.
| | 03:27 | So let's go ahead, with the clip
selected once again step into our
| | 03:31 | cropping mode.
| | 03:33 | By default we have the Ken Burns effect,
and I am going to switch it over to Fit
| | 03:37 | and you can see I have
these big thick black bars.
| | 03:40 | So maybe the solution would be Crop.
| | 03:42 | Well when I choose crop, I have a
choice whether I want to Disallow or to Allow
| | 03:49 | Black, and at first blush it
might seem a little backwards.
| | 03:52 | But the button actually says what
you're going to allow iMovie to do.
| | 03:57 | So if I click on Disallow Blacks, what
it's going to do is, give me the ability
| | 04:02 | to frame my shot with a proper
aspect ratio, but I can never exceed the
| | 04:06 | boundaries of my original picture.
| | 04:09 | So I have to make a choice between my two sons.
| | 04:11 | Do I let Daniel be in the
picture or Ian be in the picture.
| | 04:15 | Well I like to compromise, so I am
going to allow a little bit of black and
| | 04:20 | this way I can frame the picture
exactly to the size that I want.
| | 04:23 | We move that to the middle so I
can grab the edges a little better.
| | 04:32 | And there we go, I can see both of my
kids, I have a lot less black, let's
| | 04:37 | look at that in Preview.
| | 04:39 | Yeah I can accept that in my final video.
| | 04:41 | Let me hit the Spacebar and Done.
| | 04:43 | Now just as a point of reference, I
use the cropping tool on still images.
| | 04:49 | It works exactly the same on your video clips.
| | 04:52 | So if you have an image that you need
to zoom in a little bit on, go ahead and
| | 04:56 | open that up with a cropping tool,
adjust it how you like and simply press Done.
| | 05:02 | Framing your images the way you want to
see them for your vacation highlights is
| | 05:06 | as simple as click, drag and accept.
| | Collapse this transcript |
| Animating motion to pictures: the Ken Burns effect| 00:00 | When you're working with still
pictures inside of a vacation highlights reel,
| | 00:04 | it's nice to be able to do a
slow push or a pan across the image.
| | 00:08 | These days that's called the Ken Burns
effect, actually named after a famous
| | 00:12 | documentary filmmaker who used this to
bring images alive in his documentaries
| | 00:17 | such as Civil War and Baseball.
| | 00:20 | Let's go ahead and step inside 04_03
and show you how you can use the Ken Burns
| | 00:26 | effect to bring your video to the next level.
| | 00:29 | Now by default, when you put any
clips into your Timeline, the Ken Burns
| | 00:34 | effect is going to be applied, but
it just does a random move of either a
| | 00:38 | push or a pull.
| | 00:39 | As a matter of fact, if you put
successive still images back to back, iMovie
| | 00:44 | likes to do a push in the first one, a
pull out in the second one, a push in on
| | 00:48 | the third one and so on,
just to keep the motion flowing.
| | 00:52 | We're going to change that a little
bit, but let's look at the default that
| | 00:55 | it created.
| | 00:56 | (video playing)
| | 01:03 | Well there is the pushes and the pull,
but it doesn't do exactly what I'd
| | 01:07 | like it to do.
| | 01:08 | So let's go ahead and step into the
first clip which is the pool in Coronado.
| | 01:13 | With the clip selected, let's go ahead
and select the Crop, Rotate and Ken Burns
| | 01:17 | tool, or you could just simply hit
the keyboard shortcut of C as in crop.
| | 01:23 | Now as you can see, there
is a start and a stop point.
| | 01:27 | It starts a little bit to the right,
| | 01:28 | it stops a little bit to the left.
| | 01:30 | The green is your beginning point,
| | 01:32 | the red is your endpoint.
| | 01:34 | Let's go ahead and modify that and
we're going to make a start point a little
| | 01:37 | bit smaller and go down here to the right.
| | 01:40 | And we'll do the same thing to the
endpoint, I am going to make it smaller and
| | 01:45 | move it all the way over to the left.
| | 01:47 | So now if we watch the clip, what
we'll see is we'll see a pan from right
| | 01:51 | to left.
| | 01:52 | (video playing)
| | 01:55 | Now I can see a preview by just hitting
the Spacebar, but if I want to see what
| | 01:59 | the entire clip will look like in my
final video, I'll simply press Play Clip.
| | 02:03 | (video playing)
| | 02:10 | I like it, but it's not exactly what I want.
| | 02:12 | I really would prefer for the image
to start on the left side and pan to
| | 02:16 | the right.
| | 02:17 | So if I wanted to do that, it's very
easy to click this little button right here
| | 02:21 | and it will switch the
start point with the endpoint.
| | 02:25 | And just to give it a little more drama,
I am going to go ahead and grab the
| | 02:29 | very corner of the end
and have the camera zoom in.
| | 02:32 | Let's go ahead and press
Done and see how it looks.
| | 02:35 | (video playing)
| | 02:46 | That's pretty nice, and now I am going
to go to the next shot, but I don't like
| | 02:50 | the move on this shot either, I really
want to parrot, or mimic, what I did in the
| | 02:53 | first shot, so it can flow through.
| | 02:56 | If I want to copy that move exactly,
since I have the first clip selected, I can
| | 03:01 | go up under the Edit menu and I can
select Copy or Command+C. I then can select
| | 03:07 | the next clip, and again under the Edit
menu, choose Paste Adjustments and I'm
| | 03:12 | going to paste the Crop.
| | 03:14 | Now if we step inside of this clip by
pressing the C key, I can see that I've
| | 03:20 | actually copied the same starting
point and ending point on my clip.
| | 03:25 | Let's go ahead and hit Done, throw in
a dissolve just to smooth things out,
| | 03:30 | so I'll step over to my transitions
and throw in a Cross Dissolve and see how
| | 03:36 | our effect looks.
| | 03:38 | (video playing)
| | 03:50 | Pretty smooth!
| | 03:51 | If I wanted to tweak it, I could
simply step inside with the C key, maybe
| | 03:55 | move this up a little bit so we don't
see the people, press Done and we're
| | 04:01 | good to go.
| | 04:03 | So if you're working with a lot of
photos in your vacation highlight reel,
| | 04:07 | using the Ken Burns effect to do moves
on the images can really keep your video
| | 04:12 | interesting.
| | Collapse this transcript |
|
|
5. Making Your Video Look BetterExploring basic color correction| 00:00 | In this next movie we are going to
take a look at basic color correction, to
| | 00:04 | make sure that all of your
footage looks as best as it can be.
| | 00:07 | And you color correct for several reasons.
| | 00:09 | Let's go ahead and step into 05_01 and
talk about some of the reasons you may
| | 00:14 | want to color correct your images
and actually go ahead and fix them.
| | 00:19 | Now I have three sets of images here:
| | 00:21 | I have a shot at the pool which is a
little bit overexposed and I want is
| | 00:24 | to punch.
| | 00:25 | I also have the scuba shots which are
a little green and don't have enough
| | 00:29 | contrast, I really want them to match
this shot here, and finally, I have the zip
| | 00:34 | lining which was shot with two separate
cameras, so the green background looks a
| | 00:38 | little bit different.
| | 00:39 | The whole point of color correcting
your footage, is not just to have it
| | 00:43 | look better, but have it look the
same as you cut from camera to camera or
| | 00:47 | shot to shot.
| | 00:48 | You don't want to have your
viewers suddenly say, wait a second, that
| | 00:52 | doesn't look right.
| | 00:53 | That's a little bit too yellow.
| | 00:54 | And stop watching your show and
start worrying about the footage.
| | 00:57 | So let's step back to the very
first clip and open up the Video
| | 01:01 | Adjustments Inspector.
| | 01:03 | Now you can do this by simply
clicking on the cog drop down and choosing
| | 01:07 | Video Adjustments.
| | 01:09 | The keyboard shortcut for this is
simply the letter V for video, and we'll be
| | 01:13 | using that keyboard shortcut
for the rest of this movie.
| | 01:16 | Now at first this may seem a little
bit confusing with all these sliders and
| | 01:20 | dials and graphs that you're looking at,
but it's actually pretty easy to make
| | 01:25 | just a few adjustments and really
improve the look of your video and your
| | 01:29 | still pictures.
| | 01:31 | So looking at the shot Ian jumping
into the pool, it looks okay, but I think
| | 01:35 | it can be better.
| | 01:36 | First of all it seems a little bit washed out.
| | 01:38 | So in most cases adding a little bit
of black and shadow to the image will
| | 01:43 | really make it pop, and that's what
these two sliders here allow you to do.
| | 01:48 | By moving this slider from the left to
the right, I'm actually adding a little
| | 01:52 | more deeper shadows to the image
and the image pops a little bit more.
| | 01:57 | If I grab the slider on the white, it
would actually blow things out and I tend
| | 02:01 | not to use this very much because it
doesn't give me the look that I want.
| | 02:04 | So go ahead and slide that back and
keep the slider here, in my case at 11%,
| | 02:10 | but the best thing to do is just play
with the slider until the image looks
| | 02:13 | the way you want it.
| | 02:15 | The next thing I want to
examine is Exposure and Brightness.
| | 02:18 | So this basically says, was my camera
overexposed or underexposed and again a
| | 02:24 | little bit goes a long way.
| | 02:26 | Now brightness kind of complements this,
and as I move this left and right I can
| | 02:30 | actually pull down some of the
luminance in the image and it's starting to look
| | 02:34 | exactly where I wanted to be.
| | 02:36 | When it comes to contrast, if you move
the slider to the left you get a
| | 02:40 | lower contrast image and it actually
looks a little bit washed out, kind of
| | 02:44 | like a cloudy day.
| | 02:45 | Punching up the contrast just a little
bit will increase the dynamic range, or
| | 02:51 | how dark the darks get, and how light
the brights get, and again can enhance
| | 02:55 | the look of your shot.
| | 02:57 | Saturation is always nice, but
something to keep in mind is the more you
| | 03:01 | saturate an image, a lot of
times the darker it will feel.
| | 03:05 | So go with just a little bit of
saturation, otherwise your footage will
| | 03:08 | look unrealistic.
| | 03:10 | For now I think we're in pretty good
shape with this image, but whenever you
| | 03:13 | are color correcting it's always
important to remember where you came from and
| | 03:18 | see where you are.
| | 03:19 | Now in this case I am going to simply
hit Revert to Original, which will turn off
| | 03:23 | all of my corrections and then I'll
do an Undo to bring them all back in.
| | 03:27 | So this was the original image, a
little bit more washed out, and now by
| | 03:31 | hitting Command+Z and bringing back
all my changes, I see an image that has a
| | 03:35 | little bit more punch.
| | 03:37 | Now let's move forward to look
at some of the underwater footage.
| | 03:42 | I'm going to go ahead and click on the
second clip in my Timeline, and by leaving
| | 03:46 | my Video Inspector open, it
automatically updates so I can adjust this image.
| | 03:51 | Now this image needs a lot
more work for it to really pop.
| | 03:55 | First of all, I want to make sure that
my blacks are really, really rich and I
| | 03:59 | can see that here
there's no blacks in this area.
| | 04:02 | So if I move this slider over, it
already starts to make my image look better.
| | 04:08 | And a little bit of contrast is going
to help with this image too, so now it's
| | 04:11 | a lot richer.
| | 04:12 | The other things that I may want to
do is turn the water from green to blue,
| | 04:17 | because as light filters through water,
it has different wavelengths and the
| | 04:21 | first thing we lose is the blue and then
we lose our red, and ultimately you just
| | 04:25 | get this washed out green look.
| | 04:28 | So I am going to go ahead and I'm going
to remove some of the green to turn the
| | 04:32 | water a little bit bluer.
| | 04:35 | If I wanted to, I could play with the
red a little bit, adding a little more red
| | 04:39 | into the image and as you see these
three mountains are starting to line up.
| | 04:44 | I don't want them to line up perfectly
because that's not going to give me the
| | 04:47 | image that I want, but this is a lot
closer to the way it really looked to me
| | 04:51 | underwater; a little bit of
saturation and I think I am there.
| | 04:56 | Let's go ahead and do what we did
earlier by reverting to the original and now
| | 05:01 | undoing to bring back all of our adjustments.
| | 05:04 | As you can see this image with just a
few adjustments has a lot more punch.
| | 05:09 | So let's go ahead and play this
clip back to see how the entire one and
| | 05:12 | half seconds look.
| | 05:13 | (video playing)
| | 05:16 | Well I agree with the diver, it's
the thumbs-up on the color correction.
| | 05:20 | Now I need to color correct some other
shots there were also taken underwater
| | 05:24 | and instead of reinventing the
wheel, I can simply copy and paste.
| | 05:28 | Let me go ahead and close this window
so you can see a little bit better what
| | 05:31 | we need to do.
| | 05:32 | This shot here is again too green, so
instead of bringing up that Adjustments
| | 05:36 | window and moving all the sliders, I'm
just going to go back here, select the
| | 05:40 | clip and press Copy, Command+C. And then
I am going to go over to the clip that I
| | 05:46 | want to make the changes to, right here,
and let's kind of pick one where he comes
| | 05:49 | into frame, and I am going to go back
up under the Edit menu where we got our
| | 05:53 | copy from and I am going to paste my
adjustments, and in this case, I'm going to
| | 05:57 | paste my Video Adjustments to paste the
color corrections that I tweaked in the
| | 06:02 | first clip onto this clip.
| | 06:04 | As you can see, it immediately
adjusted and now it looks a lot more blue.
| | 06:08 | If I wanted to refine that, I could
simply press the V key, open up the
| | 06:13 | color corrector on this specific shot,
and maybe add a little more contrast
| | 06:18 | and a little more black.
| | 06:20 | So color correcting from one
scene to the next is really easy.
| | 06:24 | Let's look at one more situation
where you may want to color correct.
| | 06:28 | I have two different shots here of zip-lining.
| | 06:31 | This one was shot with one camera and
this was shot with a different camera.
| | 06:35 | And as you can see this one's a
lot greener and has a lot more punch.
| | 06:39 | So I want the other three to match this one.
| | 06:42 | So I am going to step back to this
shot here where I can see the grass, open
| | 06:47 | up my Color Adjustments Inspector by
simply pressing V for video, and then I am
| | 06:52 | going to go ahead and punch it up by
adding a little more black to the area,
| | 06:57 | bringing the exposure down a little bit,
and punching up the saturation, maybe a
| | 07:02 | little more green and a little less red,
because I don't want to see this too
| | 07:07 | much.
| | 07:08 | If I want to compare how that looks to
my next shot, I can just toggle back and
| | 07:12 | forth and I can see if
they match or if they don't.
| | 07:16 | Now as I go back here I see that maybe
the saturation is a little bit too hard,
| | 07:20 | we'll open up the shot a
little bit, little more brightness.
| | 07:26 | So as you can see these
two shots match a lot closer.
| | 07:31 | I want to show you one more color
correction technique on this very last clip.
| | 07:36 | This clip is obviously way too yellow.
| | 07:38 | What happened was the camera did not
determine the proper white balance of
| | 07:41 | the shot, or perhaps it was shot late
enough in the day or early enough in the
| | 07:45 | morning that the color temperature was
a little bit different than it was at
| | 07:48 | high noon.
| | 07:49 | I can very easily balance any of my
shots by simply clicking on the white point
| | 07:54 | adjustment and then I get a little eyedropper.
| | 07:56 | I can tell iMovie what's truly
white in this shot by clicking on something
| | 08:01 | white in the area.
| | 08:02 | Now it's important you choose
something that's kind of neutral white.
| | 08:05 | You don't want to choose the sky
because that's pretty blown out and there is
| | 08:08 | not a lot of color in there already.
| | 08:10 | You want to pick something that's
like a light gray that's affected by
| | 08:13 | the colors in the shot.
| | 08:15 | So by clicking here, I can very
quickly turn what was off-color to
| | 08:20 | accurate color.
| | 08:21 | Once you're done, go ahead and close
your Inspector window, watch your video and
| | 08:26 | see how well it matches.
| | 08:27 | (video playing)
| | 08:34 | The color corrector is incredibly
powerful tool in iMovie and once you play with
| | 08:38 | it for a few minutes, you'll see how
easy it is to use and how quickly you can
| | 08:43 | make all of your footage look better.
| | Collapse this transcript |
| Dealing with problem footage: stabilizing shaky footage and correcting rolling shutter distortion| 00:00 | Now when you are on vacation, you
don't always have the luxury of having a
| | 00:03 | tripod or even a hard surface to lean
your camera against to, so there are times
| | 00:08 | when you need to stabilize
or smooth out your picture.
| | 00:12 | Let's go ahead and step into 05_02
and talk about stabilizing your images.
| | 00:18 | Now I have three different clips
here with all different levels of shake.
| | 00:23 | Let's take a look at the first one
which is going to be the easiest one
| | 00:26 | to stabilize.
| | 00:28 | If I select this clip and simply hit
the Forward Slash key, we can see that
| | 00:32 | the clip is pretty good, but it was
handheld and there is a little bit of shake.
| | 00:38 | Now you could probably get away with
putting that into your video without
| | 00:42 | anybody noticing, but if you wanted
it to look like it's on a tripod and to
| | 00:46 | really stabilize it, it's pretty easy to do.
| | 00:49 | To stabilize an image, once again you
need to step inside the Inspector and in
| | 00:54 | this case, we are going
to go to Clip Adjustments.
| | 00:57 | The keyboard shortcut for this is the
letter I. Now about two-thirds the way
| | 01:02 | down, you see there's an option that
says Smooth clip motion, and if I click on
| | 01:07 | that button, it will automatically
analyze the clip and blow it up a little bit
| | 01:13 | to keep it straight.
| | 01:14 | Now why does it blow it up a little bit?
| | 01:16 | Because if you move the camera down
to compensate for that, it's going to
| | 01:20 | want to move the entire frame up and
so you don't actually see that motion of
| | 01:25 | it adjusting for your camera motion,
it blows the image up a little bit, in
| | 01:29 | this case just about 4%.
| | 01:32 | If I slid this all the way down to the
left, it would blow it up less, but when
| | 01:37 | I play it, I would see a little more motion.
| | 01:42 | In this case 4% is not that bad, so I
am going to go ahead and blow it up.
| | 01:47 | Now I do want to point out one thing
you can do is, when it blows up your image,
| | 01:50 | it's not framed exactly as you like.
| | 01:53 | In an earlier movie, we
learned about cropping still images.
| | 01:56 | Well you can crop video images.
| | 01:58 | So if I go ahead and I click on the
Crop button, I can see what part of the
| | 02:03 | image iMovie is going to
use in my final program.
| | 02:06 | So if for some reason it framed me
down in this way when it stabilized it, and
| | 02:10 | cut off my head, I could easily slide
it up so I have all of our heads in the
| | 02:15 | shot and I don't need to see our
weight belts for this piece of footage.
| | 02:19 | I am simply going to click Done and
look at an image that's a lot more stable.
| | 02:25 | Now you do get a little bit of a warning
if an image has been stabilized, you'll
| | 02:29 | see a hand here and in this
case, it has a black outline.
| | 02:34 | Now depending on how much work iMovie
has to do to stabilize an image that
| | 02:38 | little box might be at different color.
| | 02:41 | Black means it was able to easily
stabilizing it without having to zoom in too
| | 02:45 | much and was pretty successful.
| | 02:47 | As we go further down, when it has to
work harder, you may see orange, which
| | 02:51 | means it has to blow it up a lot
and may not get all of the shakeout.
| | 02:55 | You may also see red, which means
excessive shake and you'll see some
| | 02:59 | improvement, but it will still be
shaky. And you may actually see a box that's
| | 03:04 | red with a line through it, which
means it really can't fix the shot at all.
| | 03:08 | Let's take a look at two other
shots and see how well it can stabilize
| | 03:12 | these images.
| | 03:13 | The next shot we are going to look at
is from the boat shooting the shore and
| | 03:18 | this is pretty shaky and it's a hard
image for it to stabilize because of
| | 03:22 | that flash of water.
| | 03:23 | But let's go ahead and press the I
key to step into the Inspector and turn
| | 03:29 | on Smooth clip motion.
| | 03:31 | Now you'll notice, if you looked at the
image, that when it smoothed it out, it
| | 03:34 | had to blow it up even more than
the scuba shot, in this case 117%.
| | 03:39 | But let's take a look at how
it appears when we play it back.
| | 03:42 | (video playing)
| | 03:45 | It's pretty impressive.
| | 03:47 | It doesn't look like we are on a
speedboat flying across the water without any
| | 03:51 | kind of a camera stabilization device.
| | 03:54 | You'll notice a little red
squiggly line in my image.
| | 03:57 | This is where iMovie has analyzed the
clip and determined this is the worst area
| | 04:03 | of shake, and it may or may not
do its best job fixing that area.
| | 04:08 | Now let's step into the third clip and
look at how we can stabilize this shot
| | 04:12 | of my son zip-lining.
| | 04:14 | This is the before and it's a pretty
good shot, but you can see it's handheld and
| | 04:21 | moving back and forth with the camera.
| | 04:23 | If I am going to go ahead and
stabilize it, I'll click Smooth clip motion.
| | 04:27 | In this case, it blows it up 115% and
my final image should look a lot better.
| | 04:33 | (video playing)
| | 04:37 | So this does a little bit of camera
movement, but nowhere near the shake that we
| | 04:41 | would have expected.
| | 04:45 | Now stabilizing an image is not a magic bullet.
| | 04:48 | If the shot is way too shaky, you
could click Stabilize and then what you
| | 04:52 | would end up with would be a shot that
isn't stable and actually has a lot of
| | 04:56 | distortion.
| | 04:57 | Let me go bring in probably one of the
shakiest shots in our show, which is this
| | 05:02 | shot here of the point of
view of the kids in the boat.
| | 05:05 | Now I know this is extremely challenging
because when it was analyzed, I can see
| | 05:10 | a lot of the red lines.
| | 05:11 | I'm going to go ahead and press the
E key to bring it in to my Timeline.
| | 05:18 | Now I had pre-analyzed this clip
and applied some stabilization to it.
| | 05:22 | I want to go ahead and turn the
Stabilization off just to show you what the
| | 05:26 | original clip looked like, and you can
see even the final one is pretty shaky and
| | 05:31 | a little bit too blown up.
| | 05:32 | I am going to press the I key to
open up the Inspector, and as you can see
| | 05:36 | Stabilization has been turned
on and it blew up the clip 150%.
| | 05:40 | By turning it off, this is what
the original shot looked like.
| | 05:44 | (video playing)
| | 05:47 | That's pretty all over the place, but
by turning it on, it's a lot better, but
| | 05:54 | in my opinion, it's a little too tight.
| | 05:56 | So let's go ahead and split the difference.
| | 05:58 | I want to make sure I see some of
the kids and I want it to be a little
| | 06:01 | more stable.
| | 06:02 | (video playing)
| | 06:06 | I think we reached a happy medium there.
| | 06:09 | I want to talk about one more check box
here and it's called Rolling Shutter.
| | 06:14 | With some cameras that use what's
called a CMOS sensor, C-M-O-S, the way it
| | 06:19 | records an image is it
draws it from top to bottom.
| | 06:22 | So if you're panning left to right,
you may get kind of a jello effect on
| | 06:26 | some of your images.
| | 06:28 | If you see this in your footage, go
ahead and try to remove the motion
| | 06:32 | distortion, and you have a choice
between how basic or how aggressive it's going
| | 06:36 | to try to remove that jello effect.
| | 06:39 | What I suggest is give it a try to
see if it improves the shot, but in some
| | 06:44 | cases it may actually make the quality
of the shot look worse and you will just
| | 06:48 | want to turn that off.
| | 06:48 | (video playing)
| | 06:53 | Now one more thing I want to
point out is that every time you apply
| | 06:56 | Stabilization to a clip, iMovie needs
to analyze it to see how much shake is in
| | 07:01 | that clip to determine how it can fix it.
| | 07:04 | Now you can do this on a clip-by-clip
basis as you apply Stabilization, or if
| | 07:08 | you want, you can go up to your Event
Library, select multiple clips, I'll
| | 07:15 | hold down the Command key and right
click, choose Analyze Video and Analyze
| | 07:20 | for Stabilization.
| | 07:22 | Again depending on how much footage you
select and how much footage is in those
| | 07:26 | clips, this could take just a few
seconds or it could take several minutes.
| | 07:31 | So you may want to do this before
you go have dinner or go to sleep for
| | 07:34 | the night.
| | 07:36 | But what it will show you is which
clips have excessive shake and where that
| | 07:40 | excessive shake is so you can easily
choose if you want to use that part of
| | 07:45 | the clip or not.
| | 07:47 | Fixing shake in a clip is very useful
because a lot of times you will have a
| | 07:51 | footage that is kind of marginal to
use in your final show, but with a little
| | 07:55 | bit of stabilization, you can end up
with a lot more footage to enhance your
| | 08:00 | vacation highlight video.
| | Collapse this transcript |
|
|
6. Special EffectsUsing travel themes to spice up your video| 00:00 | Now if you've noticed the video we've
been working on has some really cool
| | 00:04 | transitions and titles themes that you
may not see in your version of iMovie.
| | 00:10 | Let me show you these themes and how
you can access them to notch up your
| | 00:14 | vacation highlights reel to the next level.
| | 00:16 | Stepping in to 06_01, if we play the
first few seconds of this video we see a
| | 00:22 | couple of really cool overlays and transitions.
| | 00:26 | I see the postcard transition at
the very beginning and then it goes to
| | 00:30 | the sunset.
| | 00:31 | And then from the sunset I have a really
cool bulletin board transition with all
| | 00:34 | my video clips as we move on
into the next part of the program.
| | 00:39 | Well, if you look at your transitions,
as well as your title board, you may not
| | 00:45 | see these items that say Bulletin
Board, Credits, Credits, Lower Third etc.
| | 00:49 | and I want to show you
how you can turn those on.
| | 00:52 | And you will turn those on one of two ways.
| | 00:55 | If you're already inside your
Transitions or your title area there is the
| | 00:59 | option to set a theme.
| | 01:02 | And if I click on that it brings up
the same dialog box that you see whenever
| | 01:06 | you create a new project.
| | 01:08 | And in this case Apple has given you
8 themes, of course the first one has
| | 01:13 | nothing extra at all, but there's an
option to use Photo Album transitions,
| | 01:16 | Bulletin Board transitions, Comic
Books, Newscasts, Sports, Filmstrip etc.
| | 01:21 | I find that the best one is for the
family vacation are the Bulletin Board, the
| | 01:27 | Photo Album or the Filmstrip.
| | 01:29 | Now keep in mind, once you select one
of these themes, you can't switch back to
| | 01:35 | another theme and keep any of the
transitions or titles that you've already
| | 01:39 | built using say the Bulletin Board.
| | 01:42 | Let's step back into iMovie
and I'll show you how this works.
| | 01:46 | So for instance, if I wanted to use
the Bulletin Board transitions, which is
| | 01:50 | what we've been using for a traveler
vacation, I simply select Bulletin Board
| | 01:55 | and press OK.
| | 01:56 | Now there is an option to say
Automatically add transitions and titles.
| | 02:00 | I never turn this on because iMovie
just randomly puts in what it thinks
| | 02:05 | could be there, and actually I find it
more annoying than helpful and end up
| | 02:09 | deleting those.
| | 02:10 | So go ahead, press OK and now you
will notice under Theme you'll have all
| | 02:15 | these different options.
| | 02:17 | When I go ahead and I want to edit
them I can see my Bulletin Board themes.
| | 02:23 | Now if I switched -- if I changed my
mind and said you know I really think the
| | 02:27 | photo album would be much
better and I choose OK there.
| | 02:31 | What you'll notice, that underneath
my titles and my transitions, all of my
| | 02:37 | Bulletin Board transitions have now
changed to the Photo Album transitions.
| | 02:42 | And inside the project that I'm
already working on, iMovie has swapped out the
| | 02:46 | really cool transitions I had before and
replace them with the Photo Album ones.
| | 02:51 | So you can't have the best of both worlds
by mixing say Photo Album and Bulletin
| | 02:57 | Board you have to choose one or the other.
| | 03:00 | The nice thing is if you switch it and
then you regret your decision, just simply
| | 03:03 | go back to Set Theme and switch it
back to Bulletin Board, click OK,
| | 03:08 | and everything is back the
way you expected it to be.
| | 03:13 | Now let me show you how some of
these transitions and some of these
| | 03:16 | titles actually work.
| | 03:17 | This is I think really cool, if we look
at that transition when I go between one
| | 03:23 | clip to another clip, I am actually
seeing scenes from my entire video, but when
| | 03:28 | you do it you may notice
that you don't get that luxury.
| | 03:32 | Let me go ahead and put this
transition and from scratch.
| | 03:35 | I'm going to use the Bulletin Board
transition and I'll just arbitrarily drop it
| | 03:39 | between these two scuba diving clips.
| | 03:41 | If I go ahead and I press Play, when we
look at the transition I see images here
| | 03:48 | that sometimes repeat themselves, in the
case of I have three shots of the kids
| | 03:52 | diving and two shots of Ian under the
water, but I want a variety and here is
| | 03:57 | how you can select which images are
inside each of the photos in Polaroids.
| | 04:02 | With the Transitions selected, click on it.
| | 04:05 | And you'll notice little numbers here
one through six, when you drag one of
| | 04:10 | these numbers over another picture in
your timeline it changes that image in
| | 04:15 | the Bulletin Board.
| | 04:16 | So what I want to do is make sure
that I've are variety of images and I can
| | 04:20 | drag this to images anywhere in my
existing program to make sure they're on the
| | 04:25 | Bulletin Board.
| | 04:26 | So in the case of image number four,
not necessarily the best frame to use in
| | 04:30 | this image, I can go ahead and simply
grab that and drag it to where perhaps I see
| | 04:35 | him giving the thumbs-up.
| | 04:37 | Again if I look over here at this
shot, as well as the one number 2, they are
| | 04:41 | repeating themselves because this is
actually the shot we are transitioning from
| | 04:45 | and this is just an
arbitrary piece that they grabbed.
| | 04:48 | So I am going to go ahead and drag 2 to
a different location within the frame so
| | 04:53 | that I have a lot of variety in my transition.
| | 04:57 | I'll do the same thing with 4,
because I do feel it's a little bit
| | 05:00 | redundant here.
| | 05:04 | That's good, we will
show the shot from Coronado.
| | 05:06 | Now when we go ahead and the Play
instead of having repeated images in our
| | 05:10 | Bulletin Board we have the
exact images that we want.
| | 05:15 | You'll also notice that if you switch
over to the titles you have a lot more
| | 05:19 | options other than the default titles,
and in the video that we did, we actually
| | 05:23 | used the upper third title by simply
grabbing it, dragging it, dropping it onto
| | 05:28 | the clip that we want and we can see
that it animates on and it follows the same
| | 05:33 | theme of the Bulletin Board.
| | 05:36 | So as you can see leveraging some of the
preset themes and in iMovie 11 can give
| | 05:41 | your movie a look way
beyond the default settings.
| | Collapse this transcript |
| Setting the location with travel maps| 00:00 | Well you noticed that when we watched
the entire video, that I used a travel map
| | 00:05 | to show where we started which was in
the Washington DC area and were we ended
| | 00:09 | up, which was in Southern California.
| | 00:11 | Let's step into 06_02 and I'm going to
show you how you can customize the maps
| | 00:17 | to use for your travel video.
| | 00:20 | Now we have the beginning shots, we
have the zip-line and we have us in
| | 00:23 | the plane.
| | 00:24 | Now we're going to go ahead and add the maps.
| | 00:26 | Now the maps are located on the far
right underneath the button that says Show
| | 00:31 | and Hide Background and Animatic
browser, and if you look at the bottom of this,
| | 00:35 | there's actually some other things that
you can generate, whether its some shot
| | 00:39 | shooting for future shots that you want
to put in, general backgrounds as well
| | 00:43 | as moving backgrounds.
| | 00:45 | But we're going to focus on the
different maps that you can create.
| | 00:48 | And there's basically three different
flavors of maps that you can work with.
| | 00:52 | You can work with globes, you can work
with flat maps and both of these animate,
| | 00:57 | or else you can just work with the still,
again using the same thematic design.
| | 01:02 | Let's go ahead and build the blue
marble globe, to show you how we can create
| | 01:07 | a map for our aircraft flies from the
East Coast of the US to the West Coast
| | 01:11 | of the US.
| | 01:12 | I simply select the map that I want to
put in and drag it into the timeline.
| | 01:18 | Now by default, it comes up with a four
second duration, which for what we want
| | 01:22 | to do works just fine.
| | 01:24 | Don't worry about the video effects now,
what you really care about is choosing
| | 01:28 | your starting location, and
perhaps your ending location.
| | 01:33 | Now if you don't click an end location,
it'll just draw a dot of where you are.
| | 01:37 | So in our case we want the
starting location to be in Washington DC.
| | 01:40 | Now I'm going to go ahead and type in
Washington and it can be as specific as
| | 01:47 | say a landmark such as the Lincoln
Memorial or the Jefferson Memorial.
| | 01:51 | But we flew out of Dulles
international Airport, so I'm going to select that
| | 01:55 | as my option.
| | 01:56 | I also can choose how I want to name it.
| | 01:58 | So maybe I'm really close to Dulles
but I want to say this specific city I'm
| | 02:03 | living in, so I might say Arlington or
Reston or another Virginia City, so I can
| | 02:09 | be very precise as to our starting location.
| | 02:11 | I'm going to keep it generic
and keep it to Washington for now.
| | 02:15 | And then I simply press OK.
| | 02:17 | For choosing our end location, I can
click there and once again type in the
| | 02:22 | city that I want.
| | 02:23 | Now I could type in San Diego, or if I
knew the exact coordinates of San Diego,
| | 02:28 | which happens to be these long numbers,
I could type the coordinates in and it's
| | 02:33 | going to put an end marker
in that specific location.
| | 02:37 | And instead of saying San Diego, I'm
actually have a type in Coronado because
| | 02:41 | that's where we took the
boat to Catalina Island.
| | 02:45 | I'm going to simply press OK and
iMovie will start to generate the map.
| | 02:49 | Now there's a couple of other
things that I think are really cool when
| | 02:52 | generating a map, that adds a
lot of pizzazz to your final video.
| | 02:56 | First of all, I love the idea of
adding clouds because that makes it seem a
| | 03:00 | lot more realistic.
| | 03:02 | The other thing is, the world's a
pretty big place so I'm going to add the
| | 03:06 | option to Zoom In and that way, we're
closer in when we go from Washington
| | 03:12 | to Coronado.
| | 03:13 | Once you've made these decisions, you
can simply press Done and iMovie will
| | 03:18 | now generate the map.
| | 03:19 | Let's take a look at how it plays.
| | 03:21 | (video playing)
| | 03:25 | Pretty slick, huh? Now if you change your
mind and say you know the blue marble globe
| | 03:32 | is nice but I want an old world globe feel.
| | 03:35 | I can simply select that map,
drop it directly on the one that I've
| | 03:39 | already built.
| | 03:40 | It will remember, that we started in
Washington and that we ended up in Coronado
| | 03:45 | and recreate a new map with that theme.
| | 03:48 | As you see Washington and Coronado, I
am going to have it zoom in and we're
| | 03:53 | going to go ahead and click on Done.
| | 03:55 | So now I have a slightly
different feel for my map.
| | 04:01 | Just to quickly show you, if I wanted
to choose a flat map and let's choose the
| | 04:05 | watercolor map, just to have
something a little bit different.
| | 04:08 | I could once again drop that on.
| | 04:10 | It uses the data that's in the map
already there, to create the new one.
| | 04:16 | Simply press Done and as you can see,
I've a very simple map, without a globe
| | 04:23 | and then of course we have the still
maps and feel free to play with those to
| | 04:27 | see which maps work the best for you.
| | Collapse this transcript |
| Creating a picture-in-picture effect | 00:00 | In this next movie we are going to
look how to create a picture-in-picture in
| | 00:04 | your vacation highlights video.
| | 00:06 | Let's step into 06_03_PIP.
| | 00:11 | Now what I have put on this timeline is
the original picture-in-picture that I
| | 00:14 | have created in the final video, and then
just the shot of the clouds that we can
| | 00:19 | work with to add picture-in-pictures
to our image.
| | 00:23 | So we are going to working with three
images here: the boys sitting on a plane,
| | 00:28 | a cutaway of the actual map that you
can look at on the back of the seat in
| | 00:32 | front of you, and then proof that
I was actually flying with them.
| | 00:37 | So to get these three pictures, go ahead
and switch over to your iPhoto library.
| | 00:42 | You should've brought
these in, in an earlier movie.
| | 00:45 | If they're not there now go ahead and
watch that earlier film and bring in the
| | 00:49 | photographs that are on the Exercise
Files image into your iPhoto library.
| | 00:54 | Now let's go ahead and scroll over
and start working with our first picture
| | 00:57 | in picture.
| | 00:58 | We want to have an establishing shot of
just the clouds because this is nice and
| | 01:03 | pretty, but it would get boring if
we watch this for full eight seconds.
| | 01:06 | So I am going to park my playhead
pretty much where I want the first clip.
| | 01:11 | I think about a third or
quarter of the way in is great.
| | 01:14 | Let's go over to the first image that
we want, grab it and drag it and drop it
| | 01:20 | where we want that picture-in-picture to start.
| | 01:22 | When we let go off the mouse you'll see
a pop-up window that will give us lots
| | 01:26 | of choices as what we can do with this image.
| | 01:29 | Now what we want to create is a
Picture in Picture, so this is our choice and
| | 01:32 | we will click on that.
| | 01:35 | iMovie will go ahead and place the
picture in a default location in the
| | 01:39 | upper right-hand corner.
| | 01:40 | Now this is a good place to start but
this image needs a lot of work to do
| | 01:45 | what we want it to do.
| | 01:47 | So if I wanted the image to be larger,
I can simply go up to the Viewer window
| | 01:51 | and grab the edge of the image and
stretch it out to make it as large or as
| | 01:55 | small as I want it to be.
| | 01:57 | And since the clouds really don't
change much, it's more important to see the
| | 02:01 | contents of this image.
| | 02:02 | So I am going to go ahead and
stretch this out to a pretty good size.
| | 02:06 | Now I have another problem with this
image and that's that I shot it vertically.
| | 02:10 | We learned in an earlier movie that I
can use the Cropping tool to adjust what
| | 02:15 | part of the image we see, and that
works perfectly when working with a Picture
| | 02:19 | in Picture.
| | 02:20 | So now that I have it positioned well,
I'm going to go ahead and click on
| | 02:23 | the Cropping tool and I can go ahead
and focus on how I want the picture to
| | 02:27 | look inside my box.
| | 02:30 | So let's go ahead and switch from Ken
Burns to Crop, and we are going to go ahead
| | 02:35 | and grab the edges and frame this picture
so we see both boys and just a little
| | 02:41 | bit of the black on either side.
| | 02:44 | Feel free to go back and watch the
cropping movie to help you better work
| | 02:48 | with this window.
| | 02:50 | When we're happy with what we've
accomplished, go ahead and click on Done and
| | 02:53 | you now see the framing is a lot better
for my picture-in-picture and I can live
| | 02:57 | with a little bit of black bars.
| | 03:00 | Now I want to be able to take this to
the next level because just having one
| | 03:03 | picture pasted over another
isn't quite giving me what I want.
| | 03:07 | So let's go back down to our image,
click on the cog and go to the drop down
| | 03:12 | window under the picture-in-picture.
| | 03:15 | And what I want you to do
is select Clip Adjustments.
| | 03:20 | With the Clip Adjustment window open
you will now see it as an option for
| | 03:23 | PIP Effect.
| | 03:25 | And there are a couple
things you may want to change.
| | 03:28 | When it's clicked to None, the image is
going to pop on and pop off when we play
| | 03:34 | it back, let's take a look.
| | 03:41 | Now let's step back into the
Inspector for our picture-in-picture and
| | 03:44 | switch over to Dissolve.
| | 03:46 | Once again we will go down to the
timeline to play it and you'll see that in
| | 03:51 | this case, the image fades on and fades off.
| | 03:56 | I really want the image to pop on
because I am going to have two more images
| | 03:59 | afterwards and I don't want to see
images fading off an on and off and on again.
| | 04:03 | So I want them just to change
from within the picture-in-picture.
| | 04:07 | So back to the Clip Adjustments and of
course you can get here by just pressing
| | 04:11 | the I key as in inspector, and we
are going to switch it back to None.
| | 04:16 | A couple of other things I really like
to do to make my picture-in-picture pop
| | 04:20 | is to give it a border.
| | 04:21 | Now there's three borders you can
choose from, you can choose no border at all,
| | 04:25 | a thin edge or a thick edge.
| | 04:27 | Now it's kind of hard to see them
because of the black background but I can
| | 04:31 | change that from black to gray, or what
I prefer is a nice white edge because
| | 04:36 | that looks more like a photograph to me.
| | 04:39 | And finally to give it some depth I
am going to go ahead and turn on a drop
| | 04:43 | shadow and you'll see that there's a
little shadow now behind the picture again
| | 04:47 | giving this some depth.
| | 04:50 | So I have the picture perfectly sized,
perfectly positioned with the edge I like
| | 04:55 | and the shadow I like.
| | 04:56 | Let's go ahead and add two more
picture-in-pictures and I'll show you how you
| | 05:00 | can quickly line them up so you
don't have to reinvent the wheel.
| | 05:04 | Let's go ahead and click Done and
choose the next image that we want to
| | 05:08 | bring in.
| | 05:09 | We are going to go ahead and cut to
the shot of the aircraft flying from the
| | 05:13 | Washington area over to California.
| | 05:16 | I can simply drag that into my
timeline and once again, I need to bring it
| | 05:20 | down onto the cloud picture and try
to line it up exactly where the first
| | 05:26 | picture ends and let go.
| | 05:28 | Now if I'm too far to the left I don't
get the option for picture-in-picture.
| | 05:33 | So if this happens to you simply go
ahead and hit Cancel, drag the picture over
| | 05:38 | again and make sure that your image
is a little more to the right and will
| | 05:43 | adjust its find location in just a moment.
| | 05:48 | As you see, I have the choice for
Picture in Picture once again, though as you
| | 05:52 | see, it does go back to its default.
| | 05:54 | I am going to go ahead and grab the
third picture, drop it in and we are going
| | 05:59 | to fix the location and the design of
those two images with just a few clicks.
| | 06:04 | So now I have my three images, and
they are not quite touching if I play them
| | 06:08 | back but we will fix that in just a moment.
| | 06:11 | The first thing I want to do is
select the first image, go to Edit and
| | 06:15 | select Copy.
| | 06:17 | And then select the second image, go
back under the Edit menu go to Paste
| | 06:21 | Adjustments and choose Picture in Picture.
| | 06:24 | Since you can only paste one image at
a time, you may want to remember the
| | 06:29 | keyboard shortcut for this, which is
Option+Command+U. As you see as soon as I
| | 06:35 | paste the picture-in-picture
parameters the second image now looks exactly
| | 06:39 | like the first.
| | 06:41 | Let's go to the third image, use our
keyboard shortcut, Option+Command+U and now
| | 06:47 | that matches the first two.
| | 06:50 | Now you want to make sure that the
picture doesn't disappear and there's not a
| | 06:53 | lot of space so you may want to zoom
in to a lot more detail on this image.
| | 06:58 | Let's go ahead and drag this all the
way over to where we are looking at this a
| | 07:02 | half or frame at a time
and scrub over to our images.
| | 07:08 | We are pretty good here because they're
already touching but I do have a problem
| | 07:12 | with the huge gap that I can see once I zoom in.
| | 07:15 | If I wanted to, I can just grab that
image and drag it over until it touches.
| | 07:21 | And now we have a direct cut.
| | 07:22 | I am going to continue to scroll all
the way to the end and make sure that my
| | 07:26 | last image actually ends at the same
time that my cloud ends otherwise it'll be
| | 07:32 | distracting when the
picture-in-picture pops off.
| | 07:35 | I can select the clip and drag a
little bit over to the right and then I am
| | 07:40 | going to take my mouse and just step
through the image just to make sure that
| | 07:44 | the picture-in-picture doesn't
disappear before the cloud shot ends.
| | 07:49 | Let's zoom back and watch our
picture-in-picture in its completion.
| | 07:53 | (video playing)
| | 08:02 | Now remember, because you're dealing with
pictures, iMovie will always put the Ken
| | 08:06 | Burns effect on your image so you
will have a little bit of motion.
| | 08:09 | If you want to change that just select
the picture open up the Cropping dialog
| | 08:14 | box and switch from Ken Burns to Crop.
| | 08:18 | And in this case, I want to make sure
that really we are just looking at the
| | 08:23 | path of the aircraft.
| | 08:25 | All the things you can do with the
clip in the main part of the storyline
| | 08:29 | you can do with the Picture in Picture;
cropping, effects, as well as color
| | 08:34 | correction.
| | 08:36 | Now I do the picture-in-picture using
three stills but remember you can do a
| | 08:40 | picture-in-pictures with a
piece of moving video also.
| | Collapse this transcript |
| Creating a split screen| 00:00 | In this next movie we are going to look
at how to create a split screen, and I
| | 00:04 | used a split screen in my final video
at the very beginning, not only to solve
| | 00:08 | a problem but to make my edit be more
continuous and to give the video a really
| | 00:13 | cool look.
| | 00:14 | Let's go ahead and step into 06_04 and
take a look at some of the problems that
| | 00:20 | I had to deal with, and how I
fixed them with a split screen.
| | 00:24 | Now in the original footage, I actually
did two sound bites using my cell phone
| | 00:28 | and in one case I held it horizontally,
and in the next version I actually
| | 00:33 | held it vertically.
| | 00:34 | And I wanted to be able to use bits
of both sound bites without distracting
| | 00:37 | my audience.
| | 00:38 | Let's look at the original two clips.
| | 00:40 | (video playing)
Narrator: Day 4 of our vacation.
| | 00:42 | Narrator: My razor is still missing.
| | 00:43 | Narrator: We are going to head over to Catalina
to see what happens on the island. I hear there is
| | 00:47 | Narrator: good snuba and even a zip line.
| | 00:49 | So this was really nice, it actually
allowed me to set up the rest of the
| | 00:52 | video, and just for your reference you
see that I actually have two copies of
| | 00:56 | the images here.
| | 00:58 | The first one are the original images
that we'll work with during this movie,
| | 01:01 | but for those of you who downloaded the
exercise files, I have kind of given you
| | 01:05 | a head-start and shown you the fixed
images if you just want to work directly
| | 01:09 | with the split screens.
| | 01:11 | So now how do I go ahead and solve the
problem that I have, which is, here I see
| | 01:16 | a little bit of black on either side
because it's horizontal but not quite full
| | 01:21 | widescreen, and in the second one I shot
it with my iPhone holding it vertically
| | 01:26 | and I have a lot of black bars.
| | 01:28 | So what we want to do is we want to
resize my image so my head is the same size
| | 01:34 | as we go between shot one and shot two.
| | 01:37 | Now we learned this basic skill when we
were working with photographs and we are
| | 01:41 | going to leverage this when
creating our split screen.
| | 01:44 | You can go ahead and click on the cog
to the dropdown and choose Cropping and
| | 01:49 | Rotation or simply press the C key.
| | 01:52 | Now we want to switch from Fit to Crop,
and with Crop selected I'm going to go
| | 01:58 | ahead and change the size of this
green box so I can just basically frame my
| | 02:03 | head and lose a lot of the black on the sides.
| | 02:06 | Now make sure that you have
it checked for Allow Black.
| | 02:11 | If you have iMovie set up to Disallow
Black, which means Allow Black is being
| | 02:15 | shown, you'll only be able to make the
image as large as the edge of the frame.
| | 02:20 | So go ahead, click on Allow Black and
now you can use the entire image and the
| | 02:27 | black pillar boxing on the
outside to frame my head.
| | 02:31 | Once I have it the way I think I like it,
I am going to go ahead and press Done,
| | 02:35 | and step over to the next
movie and do the same thing.
| | 02:38 | I am going to press the C key to get
into the Crop mode, I am going to click on
| | 02:44 | Crop, I am allowing myself to see the
black edges and I'm going to frame it just
| | 02:49 | about where I am cutting below the
chin and at the top of my forehead.
| | 02:52 | I am going to click Done and now step
back and forth between the two images to
| | 02:58 | see if my head is about the same size.
| | 03:01 | And I notice that it's a little bit
further back in the first shot, so let me go
| | 03:05 | into the second shot and zoom out a
little bit just so that they match.
| | 03:11 | Now it doesn't have to be perfect but
this is a nice way to get us started.
| | 03:19 | Almost there, one more tweak to get
the eyes set up, and I think we're
| | 03:26 | good enough.
| | 03:28 | So now that we have the pictures lined up.
| | 03:29 | (video playing)
| | 03:32 | We are going to go ahead and leverage
the side-by-side technique to fix the
| | 03:36 | problem of the jump cut between the two images.
| | 03:40 | The first shot that we are going
to use is Ian jumping into the pool.
| | 03:44 | Now if I go down to my first sound bite,
I see it's about three seconds long.
| | 03:48 | So to make life easier I am going to
choose about three good seconds of him
| | 03:52 | jumping into the pool, and I think
I'll do it backwards from when he actually
| | 03:55 | jumps in, and drag my cursor so I
get a range of exactly three seconds.
| | 04:00 | I will now drag this down, and I
want to drop it at the very beginning of
| | 04:05 | the image.
| | 04:07 | I don't want to go all the way over
to the left where I see the green line
| | 04:09 | because that will do an insert edit.
| | 04:11 | I want to make sure that the green
line disappears, and when I let go, I will
| | 04:15 | get a popup window to give me all my choices.
| | 04:18 | Now we've done the Picture in Picture,
what we want to select is Side by Side.
| | 04:23 | With Side by Side selected what
iMovie will do is put the image on the left
| | 04:29 | for basically the cutaway, or the newly
added split screen, and keep my face on
| | 04:35 | the right side.
| | 04:36 | Now if you notice when I scroll through
it actually runs a little bit long so I
| | 04:40 | may grab the end and just drag it and
snap it so that the Side by Side ends of
| | 04:45 | Ian jumping in the water with
me ending with this sound bite.
| | 04:48 | I am going to do the same thing with
the next image and this one is about 5.1
| | 04:53 | seconds long, and we are going to choose
part of the scene where Daniel jumps in
| | 04:56 | the water, and I think I am going to
end right there with him smiling and I'll
| | 05:00 | just click and drag backwards
just so it's about 5.1 seconds.
| | 05:06 | If I don't get this exactly I can
always trim it once it's in the Timeline.
| | 05:10 | Again I will drag it down, try to
line it up with the very beginning of my
| | 05:14 | image, let go and choose Side by Side.
| | 05:19 | Now let's go ahead and watch this
and see if we need to tweak it just a
| | 05:22 | little bit more.
| | 05:23 | (video playing)
| | 05:33 | Well I kind of like that, it's fun to
work with, but I think we can tweak it and
| | 05:37 | make it a little better using a
couple of more tricks in iMovie.
| | 05:40 | The first thing I want to do is make
sure that I cut in and cut out precisely
| | 05:44 | when the split screen starts.
| | 05:46 | So in that case I want to simply grab
this slider over to the right and zoom in
| | 05:52 | to get as much detail as possible.
| | 05:54 | And if I scrub over here I see that
my Side by Side actually starts about
| | 05:59 | one frame too late.
| | 06:01 | So I can simply select that Side by
Side, and using the left and right arrows I
| | 06:07 | can move that image just so it
starts right when we cut to me.
| | 06:13 | So that's pretty good and I see Ian's
action, he jumps in, I see the splash
| | 06:17 | and life is good.
| | 06:18 | Now as we go to the second image, I
see there's actually a flash frame
| | 06:22 | around full screen again.
| | 06:24 | So what I want to do is make sure
that this image starts again right where
| | 06:28 | I start talking.
| | 06:29 | So I can select it and
literally drag it over one frame.
| | 06:34 | So now as I cut my Side by Side works perfectly.
| | 06:40 | Now I could leave it at that because
the picture changing on the left side
| | 06:44 | actually distracts the viewer from
seeing that I have made a cut on the right
| | 06:48 | side, but sometimes you won't be so lucky.
| | 06:51 | So let me show you a really cool trick
you can do with the Side by Side image to
| | 06:55 | actually give you movie a really
cool effect while hiding a bad cut.
| | 07:02 | If I go to the dropdown menu and I
choose Clip Adjustments, it'll bring up the
| | 07:07 | Inspector for my Side by Side.
| | 07:10 | Now earlier on we saw this as a
Picture in Picture and now we have the
| | 07:14 | control for Side by Side.
| | 07:16 | On the second one instead of putting
the Side by Side picture on the left, I am
| | 07:20 | going to move it to the right.
| | 07:22 | So this way my head will pop from the
right side of the screen to the left side
| | 07:26 | of the screen and the viewer will
think I'm just being artistic instead of
| | 07:30 | trying to hide a cut.
| | 07:32 | Go ahead and click Done and let's
take a look at how that appears.
| | 07:37 | (video playing)
| | 07:45 | So what I've been able to accomplish
is using a camera shot that had a lot of
| | 07:50 | black on either side and use the Side
by Side effect to hide that as well as
| | 07:56 | hiding a jump-cut within my video.
| | Collapse this transcript |
| Using one-step video and audio effects| 00:00 | Now in this next movie we are going
to look at some really quick one-step
| | 00:03 | effects that you can apply to parts of
your highlights video, just to give it a
| | 00:08 | little bit of a different
look or just to have some fun.
| | 00:11 | Stepping into 06_05, we see we have
three clips here of the kids jumping into
| | 00:17 | the water and one of me talking.
| | 00:18 | Now if I want to do a one-step effect,
I can simply select the clip, go to the
| | 00:23 | dropdown cog and choose Clip Adjustments.
| | 00:27 | Once again the keyboard shortcut for
that is simply the I key for inspector.
| | 00:32 | Now in the upper-third of the screen,
there is an option for Video Effects, and
| | 00:36 | if I click on that I actually see a
total of 20 different effects that I can
| | 00:41 | apply to my video clip.
| | 00:44 | And I can see how those effects look
by just simply scrubbing my cursor over
| | 00:48 | them and deciding which one
may give it a feel that I like.
| | 00:53 | Now some important ones to keep in
mind is, this is where you can find the
| | 00:57 | Flip Effect.
| | 00:58 | Now this doesn't mean it makes them
flip into the water, but what it does allow
| | 01:02 | you to do is, if you're shooting
several scenes and everything is moving from
| | 01:06 | left to right, perhaps somebody is
running or jogging, or in a speed boat, and you
| | 01:10 | have one shot that you did from the
other side to where it's going right to left
| | 01:15 | instead of left to right, using the
Flip Video effect is great because it
| | 01:20 | reverses the way the shot looks.
| | 01:22 | So I use this a lot of times to fix an image.
| | 01:26 | Also if the color is really off in an
image or if I want two or three image to
| | 01:29 | look very similar, even though they
originally didn't look similar, a lot of
| | 01:33 | times I'll throw the same effect on
all of the clips to make them look as if
| | 01:38 | they were shot at the same time.
| | 01:41 | Some of the ones I really like are
the Film Grain effect and the Aged Film
| | 01:46 | effect, and I really like the Vignette
because it focuses the eye of the viewer
| | 01:50 | directly into the center of the screen.
| | 01:53 | Feel free to go back and forth and try
these different effects, because if you
| | 01:57 | go to one that you don't like, you can
always jump back in and switch to none.
| | 02:03 | When you finalize the effect that
you want, you can simply press Done.
| | 02:07 | Now one of the challenges with
these effects are, you can't change them
| | 02:11 | over time.
| | 02:12 | So if I wanted to go from say black-
and-white to color using one of these
| | 02:16 | effects, it would be
impossible unless I did a trick.
| | 02:20 | And here is the trick.
| | 02:22 | I want this clip to start off with him
jumping into the water and maybe as he
| | 02:26 | is swimming towards me, I want it to
go from say an Aged Film effect to the
| | 02:31 | current look 2012 video.
| | 02:34 | So what I want to do is select
this clip and cut it in half.
| | 02:38 | Now to cut a clip in half, there is a
keyboard shortcut of Shift+Command+S,
| | 02:44 | which is how to split a clip.
| | 02:47 | Now if you can't remember what that
keyboard shortcut is, remember you want to
| | 02:51 | perform this on a clip, so go to the
Clip menu, select where you want the clip
| | 02:56 | to split and simply go Split Clip.
| | 03:00 | Now with the clip split, I can play it --
| | 03:02 | (video playing)
| | 03:06 | and it looks perfectly normal.
| | 03:08 | As a matter of fact, if you look closely
at your Timeline, the split clip has a
| | 03:13 | sharp edge where it's continuous and a
round edge at the beginning and the end.
| | 03:18 | That's how I know that I've split a clip.
| | 03:21 | So the first part I simply
want to add an effect to.
| | 03:24 | So I am going to go to my Inspector, the
I key or choose Clip Adjustments, go to
| | 03:29 | Video Effect and let's go to the Aged Film look.
| | 03:36 | Now if I watch this, it's great it goes
to old film and then it cuts to new film
| | 03:41 | and that's a little more abrupt than I want.
| | 03:44 | So I am going to go over here to my
Transitions, choose a Cross Dissolve and put
| | 03:50 | it between my two clips.
| | 03:52 | Now we will slowly dissolve between
old scratched film and brand new video.
| | 03:59 | (video playing)
| | 04:02 | It's a pretty nice way to
transition from one one-step effect to
| | 04:07 | another one-step effect.
| | 04:09 | While we are in the one-step effects, I
want to show you one more thing that you
| | 04:13 | can do with sound as opposed to video.
| | 04:16 | I'm going to go ahead, step into the
Clip Adjustments and instead of changing
| | 04:21 | my video effect I can actually change
my audio effect to a variety of different
| | 04:26 | sounds.
| | 04:28 | Let's go ahead and preview a few
so you can hear how they sound.
| | 04:32 | (video playing)
| | 04:50 | So as you can see, you can really
have a lot of fun with the audio.
| | 04:55 | But don't get too crazy with some of
these audio changes, because it can
| | 04:59 | actually distract your viewer
from the enjoyment of your video.
| | 05:03 | So let's go back to none and click Done.
| | 05:08 | One-click effects are a great way
to quickly notch up the look of your
| | 05:13 | vacation highlights reel.
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| Changing speed and adding freeze frames| 00:00 | In this movie we're going to examine
speed changes, slowing down a clip,
| | 00:04 | speeding up a clip, instant replays
and even how to make a freeze-frame.
| | 00:08 | Let's step into 06_06_Speed Changes.
| | 00:12 | Now I have four clips that
we're going to work with.
| | 00:15 | The first one is the shot of the clouds
out the window of the aircraft, and if
| | 00:19 | you remember that lasted a good
long while in the original video.
| | 00:23 | In reality I only grabbed
about two seconds of footage.
| | 00:27 | (video playing)
| | 00:29 | So what I want to do is I want to
slow this clip down and I can do it one
| | 00:33 | of several ways.
| | 00:35 | I could go down to the dropdown
menu and jump into Clip Adjustments.
| | 00:39 | But for a real quick-fix, I can just
simply select the clip, go up under Clip
| | 00:44 | and select Slow Motion.
| | 00:47 | If I change it down to about say 25% of
its original speed, the duration of the
| | 00:52 | clip is going to change from two
seconds to about nine seconds and I can then
| | 00:57 | trim the head and tail to make it eight
seconds long which is what I wanted to
| | 01:01 | use in my final show.
| | 01:03 | If I go ahead and do step into the Clip
Adjustments dialog box, or press the I
| | 01:08 | key, I can see that I have slowed down
the clip to 25% of its original speed and
| | 01:14 | its new duration is now 8.9 seconds.
| | 01:18 | I can type in any number I want at
this point, so I'm not locked into 10, 25
| | 01:24 | or 50.
| | 01:25 | So for instance, if I want it to slow it
down to say 30%, I could simply type in
| | 01:30 | 30% and it will automatically update
and slow it down to a little less than
| | 01:36 | one-third of its original speed.
| | 01:38 | I can also choose to reverse this image,
which means it's going to play the last
| | 01:42 | frame first and then the first frame last.
| | 01:46 | So if I watch this the end result will
be slowed down, and instead of me flying
| | 01:50 | forward, I fly backwards.
| | 01:52 | So we are going to go back and we are
going to uncheck Reverse, and we are going
| | 01:57 | to leave it at 30% and change the speed
to one-third of its original duration.
| | 02:02 | Let's go ahead and look at
speeding up a clip with the next shot in
| | 02:06 | our Timeline.
| | 02:07 | In this case I have a 12-second
clip of Daniel zip-lining towards me.
| | 02:12 | And I want the action to seem like it's
happening a little bit faster, so I want
| | 02:16 | to speed up this clip.
| | 02:18 | Now before we went up to the dropdown
menu for Clip, in this case we're going to
| | 02:22 | jump directly into Clip Adjustments
and we can achieve the same end game.
| | 02:27 | I can grab the slider and move it right
or left to speed it up or slow it down,
| | 02:31 | but you'll notice it automatically
jumps to each of these notch points.
| | 02:36 | If I wanted to go say to 150% of
normal speed, I would have to go in and
| | 02:41 | type in that number and I can actually
have it speed up the exact percentage
| | 02:46 | that I want.
| | 02:48 | Let's take a look and see how this plays.
| | 02:50 | (video playing)
| | 02:59 | Now it moves fast enough that it
seems exciting, but not so fast that it
| | 03:03 | seems crazy.
| | 03:04 | Now one of the things that I would have
to change here is that when it speeds up
| | 03:08 | the video, it speeds up the audio.
| | 03:11 | So Daniel sounds a little more like a
chipmunk on a zip-line than a little boy
| | 03:15 | on a zip-line, and I could either fix
this by going into my one-step effects and
| | 03:20 | shifting my pitch down or
detaching the audio and not speeding it up.
| | 03:25 | But for now it's probably going to
be covered with music, so it's not a
| | 03:28 | big issue.
| | 03:29 | In the next clip, I am going to show you
how to create a freeze frame out of any
| | 03:34 | image in your video.
| | 03:36 | Now I can choose something that's
either in my Timeline or I can choose a clip
| | 03:40 | that's in my Effects Library.
| | 03:43 | I positioned my playhead exactly on the
frame where I want to freeze the image,
| | 03:47 | I right-click and in the dropdown
window I see a choice of Add Freeze Frame.
| | 03:52 | What iMovie will do is actually take
that clip and create a still frame which I
| | 03:57 | can make longer or shorter as I see fit.
| | 04:01 | Just to show you how I can do that in
my Effects Library, I can scroll through
| | 04:05 | any clip that I want to create a
freeze frame, in this case may be a close up
| | 04:09 | of Ian, again right-click, add a still
frame, but if you notice it says Add a
| | 04:15 | Still Frame to Project.
| | 04:17 | Because this clip is not already in my
Timeline, it creates a still frame and
| | 04:22 | places it in the Timeline, which I can
now move around or modify just like any
| | 04:27 | other clip in my program.
| | 04:29 | Finally I am going to show you one of
the really cool effects that you can do
| | 04:33 | automatically in iMovie
which is instant replay.
| | 04:36 | So I really like the shot of Ian
jumping into the water and I want people to be
| | 04:40 | able to see that again.
| | 04:42 | So I am simply going to select the
range of the clip that I want to be the
| | 04:46 | instant replay, as soon as he
hits the water, I'm good to go.
| | 04:50 | I'll go up under Clip, choose Instant
Replay and then I have to choose how much
| | 04:56 | I want to slow down that instant replay.
| | 04:59 | I'm thinking 25%, it's about a one-
second clip, so if I slow it down 25%, it'll
| | 05:05 | be four seconds long, I think 50
% would be a little bit better.
| | 05:09 | I want to give my audience
interested and not having to wait for the shot
| | 05:13 | to end.
| | 05:14 | As soon as I click that, take a
look at what happens in the Timeline.
| | 05:17 | iMovie splits the clip into thirds
with normal speed at the beginning, normal
| | 05:22 | speed at the end, and then creates
an instant replay frame of the range I
| | 05:27 | selected and actually adds an
instant reply title card to the upper
| | 05:32 | right-hand corner.
| | 05:33 | Let's watch and see how this looks.
| | 05:35 | (video playing)
| | 05:42 | Pretty slick, for only a couple of clicks.
| | 05:45 | Now if I decide that the instant
replay isn't slow enough, I can always step
| | 05:49 | back into my Clip Adjustments,
| | 05:52 | change that from say 50%,
down to 25%, click Done.
| | 05:58 | It's now going to slow the clip down
even more and then I can stretch out my
| | 06:01 | instant replay to last the duration.
| | 06:05 | (video playing)
| | 06:11 | So as you can see it's
easy to slow down, speed up,
| | 06:16 | create freeze frame, and even instant
replays of your video in iMovie 11.
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|
|
ConclusionNext steps| 00:00 | I hope you've enjoyed learning how
to create a vacation highlights video.
| | 00:04 | Here are a few more resources
you can go to get some more help.
| | 00:08 | Of course there's all the iMovie
training on lynda.com, and through this course
| | 00:13 | I've recommended that you make sure you
get your basic understanding of iMovie
| | 00:17 | by watching the iMovie Essential Training.
| | 00:19 | In addition to iMovie '11
Essential Training there is also iMovie for
| | 00:24 | iPad Essential Training.
| | 00:25 | There are versions of iMovie that are
available for your iPhone and your iPad,
| | 00:30 | and as a matter of fact you can import
those movies that you create on those
| | 00:34 | devices directly into your Macintosh
and continue to edit them in iMovie '11.
| | 00:38 | Of course another great resource for
iMovie information is at Apple itself.
| | 00:44 | So you can go to the iMovie homepage,
just simply type in apple.com/imovie and
| | 00:50 | it will take you to this
page within the iLife Suite.
| | 00:54 | If you need to dig a little deeper two
great areas of the iMovie page are your
| | 00:58 | Resources, where you can find
additional information that will support you on
| | 01:03 | using iMovie, and of course there's
the lynda.com titles, but there's also
| | 01:07 | another great resource on this page
and that is the supported cameras.
| | 01:11 | Simply click on Learn More and you
can find out if your camera works well
| | 01:16 | with iMovie.
| | 01:17 | And finally, another great resource
you can find on the Apple web site are the
| | 01:21 | Apple support communities specifically
for iMovie, and here you can post
| | 01:25 | your questions and find out the latest
changes that may have happened to the
| | 01:28 | application.
| | 01:30 | iMovie is a great application to get
your feet wet in the art of editing.
| | 01:34 | Now it's your turn to create a
great vacation highlights reel.
| | 01:39 | Thanks for watching!
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