Up next in 10
First hand tips and techniques for editing GoPro Karma drone footage in Adobe Premiere Pro CC with Leighton Milne.
In this video Leighton covers:
* Project settings in Adobe Premiere Pro CC
* Adjusting audio for drone footage/rotor noise
* Cutting and rearranging footage in a sequence
* Fitting clips to your project settings
* Panning up and down with drones and metering modes
* Speed duration for sped up/slowed down zooms
* Straightening the horizon throughout a video
* Adding LUTs to your footage and customizing them
* Manipulating highlights and shadows in post production
* Adjusting vibrance and intensity on LUTs
* Working with adjustments layers in Premiere Pro
* Best export settings in Adobe Premiere Pro CC for drone videos
* Adding your project to the Media Encoder for rendering
* Exporting your final project to your folders/hard drive
If you're looking for more, check out this tutorial on adding exciting transitions to your videos: https://www.youtube.com/watch?v=eSrmZg8Iih4&t=1s
Show More Show Less View Video Transcript
0:00
[Music]
0:02
hello and welcome to another filter
0:03
grade tutorial my name is Layton in this
0:05
video I'm gonna give you some tips and
0:06
show you my technique for how I edit
0:08
GoPro karma drone footage alright so
0:10
I'll be using Adobe Premiere Pro today
0:12
to be editing on my footage this is what
0:14
I prefer to edit in I've already gone
0:16
ahead and dumped a couple Clips here
0:18
into my project I always make sure that
0:20
my project settings are set to 1080p at
0:23
30 frames per second or 29.97 whatever
0:26
that decimal is always make sure it's
0:28
set to that that way when I drop in to
0:31
point 7 K or 4k Clips I'll be able to
0:34
scale them up or down and use that
0:36
actually as a technique in the editing
0:38
process same with the frame rate I
0:39
usually shoot in 60 frames per second
0:41
just in case I think crazy happens as
0:43
I'm recording and I can slow it down and
0:45
post all this footage taking with the
0:46
GoPro Hero 5 attached to the karma drone
0:49
I always have Pro tuned on if you don't
0:51
shoot with pro to non I would highly
0:52
recommend you turn that on even if you
0:54
just do like simple basic adjustments on
0:56
the settings it's better than no protein
0:58
at all I believe the settings are ISO
1:00
800 white balance I think was forty
1:02
eight hundred Kelvin sharpness low and I
1:04
have the auto shutter speed on just
1:06
because oftentimes lighting condition
1:08
changes and I want to make sure that my
1:10
shots are all properly exposed I also
1:12
shoot with the linear field of view
1:14
always unless I'm trying to take a photo
1:16
then I'll switch to the wide field of
1:18
view that way I can actually control the
1:20
fisheye effect if you shoot with this
1:21
linear field of view nobody can really
1:23
tell that your footage is taken with a
1:25
GoPro because doesn't have that super
1:27
wide angle look to it and it looks a lot
1:29
better when panning up and down not
1:31
creating this awkward curvature of the
1:33
earth know nothing about protune is that
1:35
you could also shoot in flat color I
1:37
always shoot in GoPro color just because
1:38
oftentimes when I'm on trips I want to
1:41
get the footage off quickly and put it
1:43
on Instagram or just throw together a
1:45
quick video and I don't have a lot of
1:46
time to color correct it if I know ahead
1:48
of time that the footage gonna be used
1:49
for a bigger project I will actually
1:51
shooting flat color that gives me more
1:53
options when recoloring the footage in
1:56
editing alright so let's get into it if
1:57
you're like me you take very long Clips
2:00
usually as soon as I'm in the air I hit
2:02
record and I leave it for a long time so
2:04
these are just very large clips as you
2:05
can see this one's linked it's like six
2:07
minutes long the very first thing you
2:08
want to do if the sound isn't already
2:10
down or off you want to make sure that
2:12
is gone so as you can see this clip
2:13
the sound is already gone usually with
2:15
the Karma footage the audio file is
2:18
separate which is a great feature so
2:19
that you don't always have to go in and
2:21
make sure that your audio is off so
2:22
double check and make sure on all any
2:24
kind of drone footage really that your
2:26
sound is off because no one wants to
2:27
hear your rotors so do that even though
2:28
my audio is empty
2:30
just right-click on your clip you can go
2:32
down to where it says unlink click on
2:35
link then just simply click your audio
2:37
file and delete it all together another
2:38
quick tip here when editing your footage
2:40
when you start to cut things up always
2:42
cut the clip before the movement or the
2:44
shot is finished so as you can see this
2:46
clip right here this it's slowly panning
2:48
up but you see it kind of jitters a bit
2:50
when the panning reaches its max right
2:53
there so I'm gonna cut that I'm gonna
2:55
find the beginning of the clip here so
2:56
let's just start that there so like I
2:58
said I want to cut it right before it
3:00
actually stops moving so right there I'm
3:02
gonna cut it delete so I'm not quite
3:04
sure where I'm gonna use this in the
3:06
actual project yet I just want to cut my
3:09
individual shots so for the sake of this
3:10
video I'm just gonna get rid of
3:12
everything before that and then I'm
3:14
gonna move on to another clip of me kind
3:16
of orbiting around this rock right here
3:18
let me go ahead and cut it there and
3:21
then cut it here I'm just gonna get rid
3:24
of this clip and then the one here as
3:25
well so one of the reasons why I always
3:28
shoot in a higher quality than 1080p so
3:31
this video is actually taken in 2.7 K
3:33
often I find that the gimbal it's not
3:36
perfectly level so if you go back to
3:37
first shot we cut together it's not
3:39
quite straight it's pretty close but
3:41
I've had some clips where it's
3:43
completely off so I always shooting 2.7
3:45
K that way I can double click on this
3:47
clip here change this to 25% as you can
3:50
see my project settings have cropped in
3:52
on the video and I've turned it into a
3:54
1080p view so I can zoom out and get all
3:58
this information back into the video
3:59
then just go back to fit play it out and
4:01
there's so much more information in
4:03
details in the water that weren't there
4:05
before so always double check on your
4:06
clips to see maybe you shot it in 4k and
4:09
you just didn't remember so again with
4:10
this clip you can see all this
4:12
information that we're not using I'm
4:14
gonna save that for later technique
4:15
another thing I want to talk about is
4:17
the four second rule which is a personal
4:19
limitation I've kind of put on myself
4:21
just as I've seen videos across the
4:23
internet you should never have a clip
4:25
that exceeds four seconds if you
4:27
have an unbelievable clip that the world
4:29
just has to see you can make it for
4:31
seconds or even more than that it would
4:32
have to be a serious exception so this
4:35
clip here it's pretty long it's
4:37
definitely over 4 seconds 4 second rule
4:39
essentially just means that your clip is
4:41
too long and you're making it boring you
4:43
don't want your viewers to sit and watch
4:45
the same thing for a longer period of
4:46
time just because you found it so
4:48
fascinating that you actually took this
4:50
video yourself so let's just find the
4:52
best parts of this clip try to keep one
4:54
fluid movement the entire time so it
4:57
looks like it's more of a slider shot
4:59
that turns into orbit right about here
5:01
I'm shooting go ahead I'm gonna cut this
5:03
there so as far as the shot goes that's
5:05
great movement looks good but it's still
5:07
a little bit too long this is where you
5:09
can apply another technique which is
5:11
retiming your videos I shot this in 60
5:13
frames meaning that I could slow it down
5:14
and it would still look okay but in this
5:16
case I want to speed it up you always
5:18
need to be careful when you are changing
5:20
the time or reversing the clip
5:22
whenever you're close to water and
5:24
there's waves because it looks very
5:25
unnatural and people pick that up and
5:27
know that you're kind of cheating and
5:28
you filmed it differently this clip
5:30
doesn't have any obvious waves crashing
5:32
in and there's no birds flying through
5:33
the scene giving away that the shot is
5:36
being sped up I'm gonna hit the R button
5:37
on my key which changes the time
5:39
duration I'm just gonna bring it down to
5:41
about there so it's just over four
5:43
seconds I'm gonna bring it down a little
5:45
bit more even faster and it looks good
5:47
so I'm gonna throw that together with
5:48
this clip over here this one's a little
5:50
bit long as well I'm gonna speed this
5:52
clip up a little bit not too much just
5:55
because there are seagulls flying and
5:57
there's waves crashing people will pick
5:58
up that the clip has sped up a little
6:00
bit too much and again this clip is over
6:02
4 seconds I'm going to cut it there and
6:04
I'm gonna speed this part up quickly
6:05
part where there's really no birds or
6:08
waves crashing it's just the panning up
6:10
might just cut the beginning off a
6:11
little bit there so you don't really
6:13
need it so I'm gonna leave those two
6:14
there I'm gonna move on to another video
6:16
that I took at sunset so this brings up
6:18
an important point you need to be
6:20
careful whenever you're panning up and
6:22
down where there was a bright sky and a
6:24
darker foreground or just or just a
6:26
normally lit landscape as most consumer
6:29
drones have very small sensors in them
6:31
in their metering modes aren't the
6:33
greatest so if I pan up or pan down
6:35
you're gonna see the foreground change
6:38
brightness in the background change of
6:39
brightness as well
6:40
panning down the ground is getting much
6:43
brighter and exposure changes completely
6:45
what essentially this means is that I
6:47
probably just won't use this clip of the
6:49
panning down it's not a great clip to
6:50
begin with but I just try to avoid those
6:52
types of shots there are ways of getting
6:54
around it if you do some clever cutting
6:56
and recoloring but personally I just try
6:58
to avoid it all together let's just try
6:59
to find some context in this shot may be
7:02
fine
7:02
try to find some cars or some people or
7:04
any other another thing that would help
7:06
your viewer kind of gain a sense of
7:08
scale so again like I mentioned before
7:10
try to cut as things are moving and
7:12
before it stops try to keep the movement
7:15
the same throughout the entire clip
7:17
alright so there it stops I'm gonna use
7:19
this clip here so the pull back shot is
7:21
cool but I don't really have a lot of
7:23
interesting elements that I'm
7:25
introducing they're all just trees I'm
7:26
actually in Reverse this clip so that
7:28
looks like I'm coming up on the cars in
7:30
the parking lot and that will kind of
7:31
change the viewers perspective really
7:32
get a sense of scale so make sure you
7:34
clicked on the clip right click and
7:35
you're gonna go down into speed duration
7:38
under these options you can actually hit
7:39
reverse speed right here hit okay so
7:41
there we go it's change my clip around
7:43
now it looks like I'm flying towards the
7:45
parking lot this is a rather slow clip
7:48
and you hit the R key and speed things
7:50
up a little bit more you can always add
7:52
a warp stabiliser if the movement is a
7:53
little too jittery alright so another
7:55
technique I'm going to talk about is
7:57
kind of one of the reasons why I shoot
7:59
in a higher quality knowing that I'm
8:01
gonna export for a 1080p video you can
8:03
actually do a digital zoom in editing
8:06
just to add another element of interest
8:08
into the video kind of creating the
8:09
dolly zoom effect if you've ever seen
8:11
that which is a popular cinematography
8:12
technique so here you want to make sure
8:14
that your effect controls are up here in
8:16
the top left panel
8:17
I'm gonna go from zoomed in to zoom out
8:19
so start this clip I want to go to the
8:22
very beginning I'm gonna hit the scale
8:24
button the stopwatch that's gonna add a
8:25
keyframe for my scale and at the very
8:27
end of the clip I want to do the same
8:29
but add a keyframe using this button
8:31
here I'm gonna put this keyframe here
8:32
where we can see it and then I'm gonna
8:33
move to the very end of the clip once
8:35
we're done changing the scale so it has
8:37
this number value here you can actually
8:38
click and drag to the left and you can
8:39
zoom out you want to get to the point
8:41
just before you see the edge of the
8:43
video so there we go I've done that I'm
8:44
gonna move the keyframe over to the far
8:46
right which is the very last frame if
8:49
you play it out there's actually kind of
8:50
a parallax effect
8:52
a little bit more interests so as the
8:54
clip plays you're slowly zooming out but
8:56
it feels like you're zooming into the
8:57
trees and I might actually just cut this
8:59
clip even more don't think I'd be able
9:01
to use this little camera movement at
9:03
the very end and it adds almost a bit of
9:05
mystery as the camera is kind of pulling
9:07
you in to see something and then cut
9:09
away to something different now this is
9:11
not a normal project usually I'd inter
9:13
cut this with regular footage on the
9:15
ground as well as kind of giving more
9:17
context with other drone shots but
9:19
that's more for a larger project or a
9:21
travel video so here I've got another
9:23
one flying along a road and right here
9:25
you can see the horizon is definitely
9:27
not straight so again this is why I
9:29
shoot in a higher quality is shot in two
9:31
points I'm okay as well so same thing
9:33
I'm gonna double click on this here make
9:35
sure that you have this 25 percent or 10
9:37
percent if it's a larger clip just so
9:38
that you can see the edges and then from
9:40
here you want to just rotate it however
9:42
you need to you can zoom back into 50 if
9:44
you want it's not quite there yet let's
9:47
go back at the 25 tilt it a little bit
9:49
more alright that's good enough it looks
9:51
like may not be a hundred percent
9:53
something you also have to watch out for
9:55
is that I find that if the camera turns
9:56
as we've gone the other direction our
9:59
corrections are totally off so you can
10:00
just fix this by cutting the clip every
10:02
once in a while and making sure that
10:04
each shot has a straight horizon in it
10:06
it's a bit more time-consuming but if
10:07
you shot in 1080p and your project is in
10:10
1080p you're not gonna have the ability
10:12
to just simply correct it like I just
10:14
did you're gonna have to zoom in a bit
10:15
more compromising some of the quality of
10:17
the video alright so as I play through
10:18
I'm gonna take this shot of it these
10:20
cars driving across the road it's gonna
10:22
find a point where there's not a lot of
10:24
jittering and one consistent movement so
10:27
I kind of want this to be a shorter clip
10:29
and just remember the four second rule
10:31
that I mentioned before when it comes to
10:33
drone footage less is more this clip
10:35
doesn't actually have the horizon
10:37
visible so I don't need to worry too
10:39
much about keeping it straight however
10:41
we don't want to have an unrealistic
10:42
Road
10:42
you can apply the same scaling technique
10:44
that I did before whether you want to go
10:46
left to right I just find that a zooming
10:48
in and zooming out tends to be more
10:50
subtle and it kind of makes your brain
10:53
more attentive as to what's going on
10:54
through this video I'm gonna use another
10:56
scaling technique I'm gonna start the
10:58
keyframe the beginning so I put a
11:00
keyframe at the end and the beginning
11:02
for this technique we're assuming in so
11:04
you don't need to change the last
11:05
keyframe but you will need
11:06
change the first keyframe again just
11:08
scale it out while clicked on that first
11:09
keyframe until you start seeing the
11:11
black outline and play it through it
11:13
almost looks like a helicopter shot of a
11:15
car commercial you've probably seen and
11:17
you can also change where you want the
11:18
zoom to finish so we wanted to zoom in
11:20
and then just follow the cars you can
11:22
move the keyframe up if you want to
11:24
transition from going from a fast zoom
11:25
into a slow zoom I'll have to do is add
11:26
another keyframe with this button here
11:28
and then move the scale up to about I
11:30
mean 95 so we play it out it's still a
11:33
bit jittery we can fix that by adding
11:35
another keyframe you can spend as long
11:36
as you want on this adding keyframes
11:38
making it seem more smooth zooming in
11:40
and out going right to left alright so
11:42
I'm satisfied that clip let's just throw
11:43
them all together real quick this is a
11:45
very fast paced video a little bit too
11:47
much movement actually at the beginning
11:49
here with the zoom out and zoom in this
11:51
is where I'd enter cut with some more
11:53
footage in between here of just some
11:55
stable kind of b-roll shot on the ground
11:58
so lastly I'm going to color correct
12:01
these videos really quickly so I'm gonna
12:03
go up to the top and hit window and I'm
12:04
gonna open my lumetri color and if I'm
12:07
editing for a travel video or general
12:09
GoPro drone shots I like to use lots
12:12
so under creative where it says look you
12:14
can select I'm actually to browse and
12:16
add one of my own Lots that I've created
12:17
so go ahead and use my Irish Coast LUT
12:20
just because this was shot in Ireland
12:22
and you might as well and I do like the
12:24
soft blue in the sky rather than kind of
12:27
that dark purple membrane oh the
12:29
intensity a little bit just cuz I want
12:30
to keep it looking dramatic I'm gonna go
12:31
back to my basic Corrections and with
12:33
these small sensors there's not a lot of
12:35
capability of capturing and metering for
12:37
highlights and shadows so you probably
12:39
gonna have to manipulate this in post so
12:41
I'm gonna bring down my highlights
12:42
pretty far here just about to the bottom
12:44
bring up my shadow I was just so I can
12:45
see the foreground a bit more that's
12:47
more contrast
12:48
you know whites I'm gonna bring him up a
12:50
tiny bit into the blacks and bring him
12:52
up a little bit as well also kinda gives
12:54
it a soft shadow I'm gonna skip the
12:56
saturation here and going to creative
12:57
and bring up the vibrance GoPro footage
12:59
is known to be very vibrant so I'm gonna
13:00
keep that going just nice simple
13:02
correction there bringing out more
13:04
detail in highlights and shadows I
13:06
actually go more in depth of how I color
13:08
grade for a cinematic look as well as
13:10
how I just personally color grade in my
13:11
workflow in previous videos you can go
13:13
ahead check those out but for the sake
13:14
of drone footage I just want to make
13:16
sure that my exposure is correct and
13:18
throw a lot on there that I'm
13:19
copy with so for this clip let's add
13:21
another lot it's a green space so I want
13:23
to keep that looking vibrant I'm gonna
13:25
throw the simple daylight LUT on there
13:26
kind of adds a bit of a teal and orange
13:28
look to it
13:29
bring down the intensity just a little
13:30
bit I rarely ever keep my intensity at a
13:33
hundred percent whenever I use let's
13:34
just because I want to add my own flair
13:36
to it and I don't want all my clips
13:37
looking the exact same so I'm gonna
13:39
sharpen this one up a little bit and
13:41
increase the vibrance go back to my
13:42
basic correction but a decrease the
13:44
blacks just to get more contrast as well
13:47
as add contrast you bring the exposure
13:50
up to correct what we did in the blacks
13:51
if you're not shooting into the Sun or
13:53
you have a lot of sky in your video you
13:55
don't need to do extensive shadow and
13:57
highlight repair because there is less
13:59
for the sensor to meter for for this one
14:01
you can see there's a lot of bright
14:04
rocks skies bright a shot maybe a little
14:07
bit overexposed so let's go back and be
14:09
creative pick up a lot I'm gonna use the
14:11
Irish coast LUT again try to heat the
14:13
LUT Styles similar or consistent clip to
14:15
clip can get the underlying theme of
14:17
soft blue and the shadows and all these
14:19
clips here like I said before bring down
14:20
the intensity that's just my personal
14:22
preference and I'm gonna go back up to
14:24
the basic more contrast less highlights
14:27
bring up the whites down the blacks a
14:29
little bit there's a lot of shadows in
14:31
this clip so I'm gonna not gonna move it
14:33
around too much alright that looks good
14:35
to me so let's go on to the last two
14:36
here something I haven't mentioned is
14:38
whenever you're color grading you should
14:39
you should always have an adjustment
14:40
layer that you edit on instead of
14:42
editing on the actual video clip itself
14:44
it doesn't matter too much in this case
14:46
when you have clips that have been split
14:48
this is where the adjustment layer comes
14:49
in handy so editing on this adjustment
14:51
layer I want to find another LUT this
14:53
one's heavy on the blues I'm gonna use
14:55
the Irish coast LUT on this clip just
14:57
because I use it in the clip before and
14:59
it's actually the same location bringing
15:00
down the intensity sharpen the details
15:02
up a bit I had more vibrance not too
15:05
much don't want to go completely insane
15:07
to want to make this scene look
15:09
extremely colorful so you can see it's
15:11
kind of overexposed here and some of the
15:13
rocks and the waves bring the highlights
15:15
down leave the shadows where they are
15:17
since it really isn't any shadows or
15:18
detail that needs to be brought out
15:19
bring them to blacks just to add a bit
15:21
more contrast as well bring up the
15:23
whites to keep things bright I'm just
15:25
kind of editing on the fly here it
15:26
really depends on what your scene looks
15:28
like especially for drone footage these
15:29
shots can be completely different and
15:31
unlike anything you've shot on the
15:32
ground
15:33
she with the ability to see so much sky
15:34
and to see the earth from a different
15:36
perspective and lit completely different
15:39
than what you might be seeing on the
15:40
ground alright so there you go that's
15:41
how I edit and color some of my drone
15:44
footage
15:44
lastly I'm just gonna export this and
15:46
show you how I do it alright so let's go
15:48
up to the top export media rename it I'm
15:51
saving it to an external hard drive just
15:53
because my Mac is almost full down here
15:55
under the video codec I have a Mac so I
15:56
actually have the ability to choose
15:58
Apple ProRes I usually go with 4 2 2
16:01
sometimes I do HQ my go-to is always
16:03
Apple programs for - 2 ne1 hit match
16:05
source that way it automatically adjusts
16:07
to what your project was setting it to
16:09
1080p make sure that your source range
16:12
is sequence in out and that you have
16:14
your whole timeline here and then I
16:16
don't usually hit export but I hit cue
16:18
that way it brings up my media encoder
16:19
and just does a better job of exporting
16:22
and including all the data in the video
16:23
itself so I hit cute it's gonna bring up
16:25
my media encoder projects gonna pop up
16:27
right here all I have to do is hit the
16:28
screen play button click it and it's
16:30
gonna export your video on the bottom of
16:32
the screen and show up wherever you told
16:34
it to this case is gonna show up in my
16:35
hard drive and there you are that's how
16:37
I edit my GoPro Karma footage whether
16:40
it's cutting putting together in a
16:41
timeline or recoloring this is a basic
16:43
quick overview of how I go about doing
16:45
it and as always for the best Photoshop
16:47
actions Lightroom presets capture 1
16:49
styles and video let's check out filter
16:51
great calm
16:52
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