[Music] [Robert Hranitzky] Hi, my name is Robert Hranitzky, and I work at Adobe as Senior Pro Video Evangelist and Community Advocate. Welcome to my session, Elevate Your Video Workflow with Premiere Pro and After Effects. Today, I will cover on how you can turn simple images into videos, how you can use generative video to create additional B-roll footage, and how you can extend the length of a clip. I'll also talk about media intelligence and the new color workflow, as well as take a look at some cool 3D features in After Effects. Let's get going. I would like to start with my Icelandic film that I call The Land of Fire and Ice. And I went to Iceland twice and captured some amazing footage and videos. And truth be told, there were some stops where I simply forgot to take videos. Only photos are what I have. In this instance, you can see that horse. We can scrape through some of the footage, beautiful landscapes, it was really epic. But for this shot, it's only a couple of images that I have of these beautiful horses. Now, I would like to turn that image into a video. And for that, I can go to my browser and on www.firefly.adobe.com I can choose the tab Video and then Image to video. Right here you're able to select the Aspect ratio. You can choose from Widescreen to Vertical. 24 FPS is always set, but you can choose the Shot size, Camera, Camera angle, and some Motion. But in this case, we are going to use a reference frame. So, I'm going to upload the very same photo of the horse. And now of course, all of the camera angles are grayed out because obviously we are defining the angle with the image. However, we're able to add motion to the camera, like Zoom in and Zoom out. I'm going to leave it as it is right now. I'm just going to enter my prompt, a cinematic shot in an Icelandic landscape with a beautiful horse, with some wind gently blowing. And I'm going to click on Generate. And it typically takes about 90 seconds for it to finish. We're going to speed that up a little bit and check out the result.
That's beautiful. Exactly how I envisioned it. I can click on Download. This will be downloaded. Now, going back to Premiere Pro, I'm able to simply go to my Downloads folder and actually drag and drop it onto the Timeline wherever I want to have it. Let's just put it over here and make it a little bit shorter and let's play it back. [Music] [Robert Hranitzky] Perfect. Let's carry on watching a couple of seconds of this. [Music] [Robert Hranitzky] Here's another example. Again, I was at this beautiful black sand beach, only a photo, but now I can turn this photo also into a video. I've done that already. Adding some motion to that with some sound effect will totally sell the idea. So, let's check it out. [Music] [Robert Hranitzky] That works nice. [Music] [Robert Hranitzky] Now for this shot, you can see two whales swimming in the sea. It looks beautiful, but I would like to have a shot that actually shows the whales from within the water. So, let's check it out. I go back to my browser, and I'm going to get rid of the reference frame, I'm going to get rid of the prompt, and I'm going to type a prompt in here that says, We're underwater in the deep sea, cinematic, slightly below the surface, a blue whale gently swimming. So, right now I'm not using any reference other than the simple text prompt to generate the video. Let's fast forward a little bit and let's check out the result.
So, here's our whale swimming. Yes, that looks beautiful. Let's just download this one, and go back to Premiere Pro. And again, from our downloads folder I'm going to drag it directly into our clip here. Let's check it out.
Maybe a little bit shorter. [Music] [Robert Hranitzky] That is pretty cool. So, now let's take a look at another thing that we can do here. And for that, I'm going to go to my clip here which features that waterfall here. I think it was a little bit further ahead. Here we are. This is the waterfall shot that I have. It looks pretty cool, but I have a little problem with this one. And the problem is that it's a little bit too short. Now, I want to extend it. And the way I can extend it is by going in and selecting the clip and choosing the AI Generative Extend feature. With this feature enabled, I can then simply drag and lengthen the clip. What is happening now is Premiere Pro is uploading portions of the clip, analyze it, extend it, and seamlessly download and integrate it into my Timeline. For video this works in HD as well as 4K horizontal and vertical and it will always be maximum of two seconds. For audio, it can be maximum of 10 seconds of length. It does not work with music and dialogue, for example, but it works really well with room tone and nature ambient sounds. So, if we look in here, we can see that the audio has already finished. So, this came first, and the video is still generating. So, if we hover over this area, we'll see that it still gives me generating extension indicator, and it's almost done.
And it's done. So, let's check it out. [Music] [Robert Hranitzky] Perfect. That works really well. Now let's take a look at media intelligence and the new Search panel in Premiere Pro. You can access it by clicking on that little Loupe icon here to open up the Search panel. The Search panel will allow you to visually look for anything in your open project. I can start with, a black sand beach, and it will find me everything that has black sand beaches in it. It's incredible. But I can be more specific, and I encourage you to be very descriptive, like write longer descriptions of what you're looking for - with ice. And it will find me all of the black sand beaches that feature ice. That is pretty incredible and a very useful feature. I can also look for a green mountain with a river, and it will find me that green mountain with the river, which is truly mind-blowing. It looks for visuals as well as text as well as metadata. So, for example, when I write something like bridge, it will find me not only all the shots visually that feature a bridge, technically it's an underpass, but also text that has been transcribed here in the clips. So, you can see whatever here is shown as saying bridge, it will find it. But I can be more specific, a bridge with a man running. And then you can see that it features all the shots and will actually go to the very, very moment in that sequence or clip where someone is running under a bridge. This is really helpful. You can also use words like close-ups, or wide angle, or macro, and it will find those shots as well. And it will look across all the open projects. It's looking through my New York as well as through my Iceland projects here that are all opened up. Video intelligence is super helpful. Let's take a look at color. It's one of my favorite new features because the color workflow has been entirely changed in Premiere Pro. If you're looking at the sequence, you will see that if you go to Lumetri Color and Settings, you will be able to toggle that on or off. And by default, it should be on Color Manage Auto Detected Log and Raw Media. For example, if you're shooting a log, you will always have this grayish log-ish kind of look, which is not pleasant to look at and is actually not pleasant to work with. Now, if this is on by default, it will automatically tone map and apply the corresponding LUT to that without you having to manually look for a LUT. In this case, it was shot with a Sony camera, so it gives me the Sony S-Log right away. There's also another thing I would like to point out here in the middle, which is the Color Setup because you can choose between six different color setups. By default, it's the Direct Rec 709 (SDR), which is the default setting that you have that you also had before. So, if you open up old projects, this is what you will have. But you can also choose the Wide Gamut (Tone Mapped), for example. And this will allow you to have a wider gamut to work with in color grading. Let me show you. Let's keep it with the old Rec 709 (SDR). And when going into our edit, and I want to basically reduce the exposure, you will see what happens. It will basically just cut off the highlights, and it doesn't look too cool. So, going back to my settings, and as soon as I go to Wide Gamut (Tone Mapped), look what happens. All of a sudden, all of the highlights are popping back in, and you can work with those to actually fine-tune the highlights even better than before. So, you can have a really nuanced image that looks much better and benefits of the higher color dynamic that you have here to work with your shots. Now, looking at a different sequence here, again, this was filmed in New York, again, completely in log. If I enable the Color Manage Auto Detected Log and Raw Media, this is how it looks. And this is actually also true for any clip that you have in the sequence, and it even works with iPhone footage. For example, this was shot with the iPhone in log. And if I enable that you will see that it will also recognize Apple Log Rec 2020. And I'm mixing different color spaces in here. Being able to color grade that much more, finally allows me to really quickly create a really cool look. So, for this one, I want to crank down a little bit the highlights and make this kind of like this coolish blue, and then Midtones I'm adding some green and in the Highlights some warmth. So, we can get that really cool New York look for this shot really quickly. It's a lot of fun to work with color. And that's the new color workflow for you. Now I think it's time for some After Effects, so let's dive in. One of the things that I really like about After Effects is working with 3D assets. We've been able to import GLB, GLTFs and OBJ files for quite a while, now we added FBX files, which means you can even use more 3D objects that you can download and buy separately to actually import into After Effects. One thing I would like you to check out is Mixamo, which is actually also an Adobe service. It allows you to browse different animations and pair those animations with characters, like with the zombies. You know, I love spaceships and monsters, so of course, I had to go with this character, and I can download this character as an FBX file, including the animation. After downloading that, you can see that I have this little image here, which is an Adobe Stock image just of this stage here, and I can add the FBX file right here, so I can navigate around. And looking at the animation options for this FBX file, you will see that I can open up the Mixamo animation track and play that back. And now you can see our monster dancing as of course it should. This looks not too realistic because it's missing light and camera, so let's go ahead and add a quick camera to that. Let's use the default, and go to Layer, and also add a Light... Let's make this an Environment Light. Make sure that we are casting shadows. As soon as that is on you will see that as soon as we rotate the light, this will look dramatically different because it's using an HDR to light our character. We're still missing a layer for the shadows. For that we're going to go to Layer, Solid..., and we're going to create a Shadow Catcher. I need to turn this layer 3D. So, of course, the shadow has to work in the proper angle. I need to turn this around by, let's make it I think 90 degrees, and just pull it down a little, just beneath his feet. And of course, we still need to adjust the camera, so I'm going to hold down the C key to get to the camera control, and I'm just going to make sure that it's aligned with the perspective. And now, you can see that the layer is still hiding, actually, the actual floor. So, for that I go to the Layer properties, to the Material Options, and click on Accept Shadows Only. That means that we are only seeing the shadow and nothing else from that layer. And now, all we have to do is go back to the light and reorient the light, so it's actually matching the backlit scenario that we have here. And maybe adjust it just a little bit upwards, so it's just below his feet. And now, if we play this back, you will see that now our monster is doing his ballet dance. Let's check this out with some added effects and a final render. So yes, this is our monster dancing as, of course, any monster would do. And let's check out another feature for this. I'm going to jump into another comp. And, of course, I love spaceships, so what I have here is a spaceship that I kit-bashed in Cinema 4D using some Substance assets and painted in Substance 3D Painter. There's a background that I created in Cinema 4D, which I rendered out, it's kind of like this light-speed effect, and I want to make sure that the light-speed effect is also visible in the reflective cockpit. So, for that, I can zoom in a little bit, and I can choose my Environment Light, and now, instead of just using HDRs, we have the option of choosing any layer in any composition as a light source. For that, I can go to my Light Options, and I can choose my background layer in this case. So, as soon as I choose that, you will see it changes the look entirely. And if I play that back, you can see that all the reflections are actually visible in the reflective cockpit. You can create compositions and compositing effects that look much more natural and realistic this way. Let's check it out rendered, and this is how it looks like. Thank you so much for checking out this quick tutorial. I hope it helped you to find out new workflows and see new features, it inspired you, maybe. And also make sure to check out all of the other exciting MAX sessions. Stay creative and I'll see you next time!
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