Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
Go behind the scenes with some of the biggest digital celebrities to see what life is like when the blogging and tweeting stops.
The story of punk rock singer Laura Jane Grace of Against Me! who came out as a woman in 2012, and other members of the trans community whose experiences are woefully underrepresented and misunderstood in the media.
Documentary shorts conceived of and directed by famous actors. Jeff Garlin, Katie Holmes, Alia Shawkat, Judy Greer, and James Purefoy
Park Bench is a new kind of "talking show" straight from the mind of born and bred New Yorker and host, Steve Buscemi.
Digital influencer Justine Ezarik (iJustine) is back. After covering the world of wearable tech last season, iJustine is expanding her coverage this year by profiling the hottest tech trends across the country.
A 12 episode documentary series following 5 startup companies competing in the 2013 San Francisco TechCrunch Disrupt Startup Battlefield as they fine tune their products and eventually present in front of a panel of judges in hopes of winning $50,000 in funding.
Enter the graceful but competitive world of ballet through the eyes of executive producer, Sarah Jessica Parker. This behind-the-scenes docudrama reveals what it takes to perform on the ultimate stage, the New York City Ballet. Catch NYCB on stage at Lincoln Center.
Nicole Richie brings her unfiltered sense of humor and unique perspective to life in a new series based on her irreverent twitter feed. The show follows the outspoken celebrity as she shares her perspective on style, parenting, relationships and her journey to adulthood.
Explore what it means to be human as we rush head first into the future through the eyes, creativity, and mind of Tiffany Shlain, acclaimed filmmaker and speaker, founder of The Webby Awards, mother, constant pusher of boundaries and one of Newsweek’s “women shaping the 21st Century.”
Gwyneth Paltrow and Tracy Anderson spend time with women who've overcome hardship, injury, and setbacks to triumph in the face of adversity.
Hank Azaria’s touching, humorous, and often enlightening journey from a man who is not even sure he wants to have kids, to a father going through the joys, trials and tribulations of being a dad.
ACTING DISRUPTIVE takes viewers inside the businesses and passion projects of Hollywood’s top celebrities.
Now, we have got our basic Edit created. We have got several clips dropped in, and our sequence of the clips one after another is all setup. What I would like to do now is take a look at that Video Track 2 and Video Track 3, and let's look at layering our video.
Now, I just want to try this out, so I am going to scroll back to the beginning of our Timeline, and I am just going to pull up a video that we have already added in here, where we have wave kind of scanning the horizon there; that was our wave movie clip. What I am going to do is just drag it out of the Project Window and drag it down to our Timeline, but this time I am going to pop it into the Video 2 track.
Now as you can see, I have dragged it right on top of the three other videos down in the Video 1 Timeline, and as you could probably expect, if we scrub our playhead across here, since that wave movie is on top of the other ones, that's the way our movie appears. You can see it completely blots out the shaving movie that we had before and part of the tent movie and the ski ridge movie.
Well, that's because our video layers are exactly that, they are layers. But rarely would you want to just have one piece of video completely overtake the other video. So let's take a look at some of the controls we have available to us in every video track.
Now, you notice my Video 1 track is a little taller than the Video 2 track, and I can make the Video 2 track look the same by twirling down this little triangle control here, and now I have the same thing; I have got my Video 2 track showing this little yellow line here.
Now, I mentioned the pull-down menu at the top, the pull-down menu actually controls what the yellow line is going to do for us. By default, it's set to Opacity, and actually if I grab that yellow line, you can see my cursor changes a little bit; I can reduce the Opacity of my layer. It gives me some feedback in the numbers there, and if I set the Opacity down to about 30 or so, you will notice that that whole layer becomes transparent and we can see the other layers of video through it.
Now, that's exactly what this yellow line is going to do in each one of the clips we have already placed. But in our final Edit, I don't really want a ghost of the video of wave hanging out over the top of this as he floats along, but I could use this Opacity and the Video 2 Layer in order to achieve that.
Now, what's also kind of interesting about this line is that we can add some animation to this line inside the program by adding keyframes to it. Now, all of you know how keyframes work inside Flash movies, and functionally they are going to do the same thing for me inside of Premiere, but we are going to set them up a little bit differently.
First of all, we should notice that if we just drag this line around, we move the Opacity for the entire clip. But if you hold down the Ctrl key and click on the Timeline or that would be Command on the Macintosh, that's what you will use to create a keyframe.
Now, making one keyframe doesn't seem like it changes much of anything, but if I make two keyframes; I want to make a second one up in front, again, I am going to hold down the Ctrl key and click, now I have got a second keyframe and I can drag this one down, and you can sort of see what we have with the yellow line here. We are getting a little ramp up.
If I drag the first keyframe all the way down as far as it will go, then this video will be completely transparent and it will ramp up to whatever Opacity setting is on the second keyframe. In fact, if I push this one up as far as it will go up to the top, then we will have our video completely opaque at this point. if I scrub between these two keyframes, you can see that at the beginning we don't see any of the ghost of wave, we start seeing wave fading in here, and there you can see it's at 100% Opacity, so it's completely blotting out the clips underneath, just like before.
Now, this type of thing makes for great special effects, especially if we combine this with one other thing, and that is, if you have a layer selected in the Timeline window and you click on that layer inside the Program Sequence window, you can see what you get is a whole bunch of handles around that layer element, and these handles allow you to do exactly what you probably think you could do, which is scale and manipulate that element. We can scale it down, we can move it around, and now we have seen that we can change the Opacity. Like I said, that makes for great special effects in our clips.