 create a project directory. This isn't, you don't have to do this, I'm just recommending that you do this. So I'm gonna just create a folder. I'll call it my project directory. And I would do this for every distinct video project that you're working on. That way you can keep all of your assets together, which video editing applications tend to like. They want to know where all the clips that they need to organize for you are located on your hard drive. Now, I have a methodology that I use to organize all of my media. I have it set up as a little shortcut in my file manager. You don't have to, there's no standard set of directories that you have to use just from work experience, I tend to use things like audio, edit, graphic, photo, render, title, video. These are the different kinds of files that I'm going to be using within Kdenlive. So I've got a demo directory full of random clips. And ideally, I would go through each of these clips in real life and play them and figure out what they're clips of and then name them something accordingly. So for instance, maybe close up, Seth walks, take one, or I might just put one. And I would go through all of my footage and do that. That's professionally, that's sort of the assistant editor's job. They look through all the footage and they make it something other than random strings of letters and numbers and timestamps and things like that. So that's what I would do if I was going to do this in real life. I'm not going to do that right now because that would be boring to watch. So I'm just moving all of my footage over into my project directory, putting my video in my video folder. I'm going to put my audio in my audio folder. I think that's all I've got. Okay, now I'm ready to actually start Kdenlive. Okay, so this is the interface of Kdenlive. The very first step that I recommend is to go to file and save as. Seems weird to do that because you haven't done anything, but trust me, that's a good thing to get into the habit of doing. So I put that in my edit directory and I'll just call this my project. And so now I've got a project saved in with all of my other media assets. That's going to let me archive my entire project directory at the end of all this if I need to and Kdenlive will know where everything is in relation to each other. So I'm going to tab back over to my project directory and I'm going to take my video folder and just drag it right into my Kdenlive project. Now, you'll notice that Kdenlive detects that my footage here, that I'm feeding it, is some format HD 1080p 30 frames per second, 1920 by 80 30 frames per second. Doesn't matter what it is, it's just detecting what your video is and it is noticing that for whatever reason, your Kdenlive profile, like the setup of this editing project is not set to that format. That's not a problem. It's just telling you that there's a mismatch between what you're going to be editing in and the source video that you're feeding it. So in this case, because I happen to know that these are my primary clips, these are going to be my, that this is the story I want to tell. So I'm going to switch my profile to match my video footage. That's not always the right answer. If you happen to know that you need to go out as 1080p 25 frames per second or 24 frames per second, for whatever reason, maybe you're working with someone else who has requested specifically that format or maybe you know that 1080 is too big for whatever you have in mind. And so you actually want to go out a 720p or something like that. Then you can keep your profile at a different setting and Kdenlive will happily adapt. It's just hopefully reminding you or notifying you that there was a mismatch. Okay, so I've got video and I've got audio. This is my project, Den, up here in the upper left corner here. This is the default layout of Kdenlive. It's the one that I typically use. I don't know that it's the best, most efficient screen real estate. There are different layouts and you can move everything around but I tend to just settle for this. So the first thing that I typically do is I look at all of the footage and figure out which clips I want to use. And especially because a lot of the clips have multiple takes in them, you kind of have to figure out which version of that take you want. I don't imagine sound from this is probably coming through if I play that. So this middle screen here is sort of your auditioning stage. There are lots of different theories on how to select or the workflow of getting footage from your project bin to where it's ultimately meant to go, which is this project timeline down at the bottom. One is called the three-point edit. You'll hear people talk about that sometimes. Three-point edit means in, out, and then target. So if I'm here in the middle screen, I can kind of audition a certain take. It's okay. Usually the best take is honestly the last take. That's usually what I find is that's why you stopped recording because you got what you wanted. But for fun, I'll take this one. So I'm gonna hit I on my keyboard, the letter I. And you can see that that has marked this timeline. And then I'll advance my playhead or I could just let it play through and press O for out. So I for in, O for out. And that is just marking the section of this much larger clip that you actually want to keep. And then you can just drag the picture straight from this middle window down to the timeline. And you have your first cut. Your timeline always plays over here on the far upper right side of the screen. Now, usually when you're marking in and out, you're not frame specific. You just kind of, you grab the general section that you want. And the advantage to that methodology is that you're cutting out what this clip is like a minute long. And I've only selected like 15, seven seconds of the footage. So it's a little bit less to deal with. I don't have to do that though. I'll select this and hit the delete key to remove it from my timeline. I could just, I can just grab a whole clip, throw it into my timeline straight from my bin and then grab onto the edges of the clip and sort of shorten it to get just the part that I want. And if that's the way that you prefer to work, that's fine. You're allowed to do that. It's just a question of how your brain thinks about it. I think of moving things into an audition staging area and finding the correct part and then dragging that into the timeline. That's what I typically do, but that's just one way to do it. Okay, so now that I've got a clip, I will maybe zoom in a little bit. So I'm holding the, what am I doing? Holding the control key and scrolling up in my mouse to sort of get, like I said, Kaden Live gives you control over the minutia. So as you can see, we're pretty close, almost down to like, almost to the sample level. It's just pretty close. Definitely the frame level anyway. So there's this dead space here, which isn't always a bad thing, but probably don't need it. Couple of different ways to trim clips within the timeline. One way, as I showed you before, is just to sort of grab the edge of the thing, click and drag. That shortens where we come in on that clip. Now it leaves a little bit of dead space before it. So we'll want to get rid of that. And to get rid of that, click and drag the video clip over. This is hard to do at the sort of the zoomed out level. You really kind of have to get in there and take a look at really the frame level. To move around the timeline, you can middle click as well. I mean, you can use the little slider down at the bottom of the window, like you would any window. But I usually just middle click and scroll around. So we've got a pretty close cut there. I'm gonna put the output to my speakers and maybe you can hear the sound over. Everybody, welcome to the Creative Freedom Summit hosted by the Fedora design team. My name is Seth Kinlan, and I'm gonna show you how to edit video with Kate live. Okay. So another way to trim this up a little bit is I'm going to position my playhead just by clicking and dragging where I want to cut out of this clip. And then I'm gonna hit the right parentheses. And that shortens the clip to wherever my playhead is positioned. It's a really, really useful clip, especially if you're editing in the timeline. Like let's say I wanted to cut out there. So I know where I need to be. The playhead is there. That's where I wanna stop. Hit the right parentheses and it tugs the video clip from the right side and brings it to the left. I'll undo that because I don't want to cut out there. Okay. So that's the initial cut. We have one cut of our little movie here. So now we need more content. And for that I'm going to start following this impromptu script that I have, which I happen to know because I would be the assistant editor and I would have the script written down somewhere. And I would know what clips go in what order. Now, if you don't have a script, if you don't have a screenplay, that's fine. That's perfectly acceptable. But you do have to know obviously sort of the narrative that you're trying to tell which is up to you. You're the editor. I happen to know because I wrote the script. This is the next clip. Now notice that this clip doesn't have video associated with it. This is just audio. Okay, live. First, select some. So pull that in a little bit. That's fine, but there's no image here. So we've just got a black screen. So we need footage for this. We need B-roll is what they would call it. When you've got audio for which there is no video, you need B-roll. So I'm gonna switch over to my file manager here and look through my stock footage and find something that seems appropriate. This is Alhambra audio. Here's an Alhambra courtyard. It seems like it's almost made for each other. So I'm gonna drag that from my stock footage over to my video folder in Cayden Live. Now, if you've been paying attention, you'll know that I've just violated one of my own rules which was keep everything in a central project directory. So that's still true. It's still a rule. Best practice if you're going to add video to your project and it happens because you're gonna find stuff that you wanna include that you didn't remember to have in your project directory initially. So ideally, you're gonna add everything to your project directory. And that way again, at the end of your project when you have 80 gigs of video clips that you've edited down to like 350 megabyte movie file you can offload that 80 gig project directory with all your raw footage half of which you're not using. You can offload that into a hard drive and put it on a shelf somewhere for cold storage and everything stays together. Now, another method of organization though is to acknowledge that you have stock footage that you use across several different projects which is exactly the case here. So this heaps of video folder is just stock footage that I use across lots of different projects. So it doesn't change. It's always in slash home slash Seth slash video slash heaps. That's just a thing that's in my home directory forever. So as long as you have sort of a schema for yourself certain things that you're sort of comfortable taking for granted, that's fine. I just want you to be aware of where all this stuff comes from because if you just start throwing stuff and indicating live willy nilly then in two weeks or three months or five years you'll try to open that project again and it won't know where anything is located. So just keep that in mind. All right, so I've got a Alhambra courtyard here. So I can again, I can do either an in and an out and a target so a three point edit on this or I can just drag it straight to the timeline. In this case, I'm gonna just drag it straight to the timeline because I don't really know how much of this stock footage I want. In fact, it doesn't even look like I have enough to cover my sound here. So these two clips, as you can possibly tell I can click them individually. Video, audio, video, audio. They're in no way related to each other. One was wild sound and one was ADR technically and one is just B roll footage. This clip that I initially imported, you can see is kind of linked to each other or grouped to each other. Should you ever need to unlink video from sound, you can right click on your grouped clips and select ungroup clips. Now, Katie and live is happy for you to treat them completely separate. You do kind of have to be careful about this, especially if it is dialogue. Because if I accidentally shifted over a little bit or a design team, then we get a misalignment of voice and the lip syncing, which you might not be able to tell over a stream, but I could see it myself. So that's nice. And what that allows you to do then is maybe for instance, I don't know we could linger on me for a little bit longer maybe. First, select some video. That's kind of weird actually, because I start talking without moving my lips. Okay, that's fine. We could cut to Alhambra maybe a little bit sooner. My name is Seth Kinlan and I'm gonna show you how to edit video with Katie and live. First, select some video. And that kind of thing is kind of nice because you get, this way you get to blend clips together for instance, I mean, not literally blend them together, but you sort of disguise cuts in audio with different cuts in video. Happens all the time in movies. You have cutaways, look over there. We hear the dialogue and then we look across the street at to where the character is looking. So that's pretty common to drop in a clip of some video that doesn't actually belong. Now another way to do that is to simply place the video on a higher video track. So Katie and live in this right hand monitor, clip monitor or timeline monitor, it's a top down view. So everything on a higher timeline track is visible and or is positioned over a clip on a lower timeline track. And Seth Kinlan and I'm gonna show you how to edit video with Katie and live. First, so even though I've got two video clips here, the one on the top track takes precedence over the second one. We could also do a really quick fade in. So if you can see as I sort of hover over the left corner of this Alhambra clip, I get this little node. If I click and drag that node over, it's kind of hard to see because there's a lot of text there sort of in the way. But there's a little curve there. And now if I play that again, it should fade in. So you're looking at the top right. And Seth Kinlan and I'm gonna show you how to edit video with Katie and live. And there's a quick fade. You have to be careful about your fades when you manually do them. Because what you're doing is you're essentially saying, give the top clip full transparency until this point at which point it has full opacity. Now, if you delay the opacity thing too much, then you lose anything underneath it. At some point, the fade is gonna look a little bit weird because there's no fade and the clip underneath it just pops away. So you have to edit video with Katie and live first. See, that's not a fade. That's a video with Katie and live first. That's a fade and then a cut. So you do have to kind of be mindful of what's underneath a video clip when you're doing your manual fades. I'm gonna show you how to edit video with Katie and live first. That's a lot smoother. Okay, so let's talk about editing with the scissors tool, I think is what we call it, razor tool, whatever. Okay, I was gonna call it razor. So you can do individual cuts to your clips. You don't have to click and drag. I mean, that's handy, but that only lets you adjust the in and out point of your media, which is useful, but sometimes you need to take something out. For instance, we have this video clip that lasts only whatever second, six seconds, let's say. And this audio that lasts for eight. So there's a mismatch. We have to do something here. I mean, we could find other video to just stick over here. We could totally do that, but I'm gonna try to edit this down. So... First, select some video. That's useful. Take this Alhambra courtyard, for example. That's useful. It's pretty, it has movement. Actually not a lot of movement. It's pretty, let's open with it. Okay, so there's some redundancy here in the script. So I can cut some of that out and you can kind of get a feel just from the sound waves, what you're targeting. So this part here... Actually not a lot of movement. It's pretty. That's a little bit of commentary and some redundancy we don't need, but then we do want the bit out here at the end. Let's open with it. Yeah, okay. So I'm gonna select the razor blade tool and now my cursor becomes an eye beam with this sort of red extension to it. And at this point, I can just make cuts where I need to make cuts. These are ungrouped clips. So if I click here, notice that it is only cutting the audio track. Okay, here. That's different than a grouped clip. So if you'll recall, these were grouped. Oh, did I ungroup them? Yeah, I ungrouped them and never grouped them back again. Okay. So I'm gonna, to group clips again, click, shift click, right click, group clips. Okay, so now they're grouped again and now if I grab my razor tool with the X keyboard shortcut and make a cut to one, then the other gets cut as well. So that's kind of one of the advantages of having grouped clips is that you can cut both the video and the audio. Now you can make cuts without really affecting anything. So I've just made a slice through this grouped clip, but I haven't removed any footage. So Kayden Live doesn't actually care that there's a cut there. My name is Seth Kinlan and I'm gonna show you how it's perfectly smooth. My name is Seth Kinlan. It's not a problem. It can be a little bit confusing to yourself, like why is there, why is there a cut there? But I mean, in terms of actual results, it doesn't really shift anything. So then we're going to do something with this redundant footage here or ADR, which I didn't like. Actually not a lot of movement. Yeah, so I'm just gonna select this. I'm gonna hit the delete key on my keyboard. And then I'm gonna grab this little straggler here and bring it over. Let's open, it's still a little bit off. I've got a little bit of a mismatch, but that kind of thing is we can fix that. And I'm gonna fix it with I think the ripple tool. So notice how, that doesn't help. Notice how there is this little overhang. It's just a couple of frames, probably like six frames. One, two, three, four, five, five frames. So I need to rescue five frames. I need to buy five frames back. So I'm gonna grab this, what's called a ripple tool where I could hit the R on my keyboard. I'm going to drag, I'm gonna select the right portion, the right edge of the clip before my straggler clip. And I'm gonna pull it back a little bit. Now you can see that it is pulling the clip after it along with it. That's why they call it a ripple. Because even though you're making an edit over here on the left, you're also affecting the placement of the thing over on the right. So let's say, let's put it back for a moment just to compare and contrast. Here's a standard adjustment. So now I've got a big old gap here, which is fine, I could fix it manually. That's not a big deal. But if you are efficient, efficiency minded, you can grab the ripple tool, grab that, pull it back and now we've got a nice clean clip here with sound, audio all matched up. Let's put in some more footage here. It's been with it, but then we'll cut to a city street. Oh no, that's way too empty. Okay, so we need an empty city street now. So I'm going back over to my stock footage stash. Here's a street, which I'm gonna drag into my video folder over in Kayden Live. Now notice that all of these clips that I'm dragging in and I actually don't know off the top of my head what their specs are, but I'm not being warned by Kayden Live that they don't match my project. And a lot of them probably don't match my project. Like this one is 2997, which doesn't match my project because if you'll recall Kayden Live told me I had a 30 frames per second project. So in other words, Kayden Live is happy to adapt to whatever you need it to adapt to. It's just doing transcoding and stuff in the background. And that goes for a lot of stuff actually. You can grab stuff off of your phone, import it into Kayden Live. And if it needs to adjust anything for optimization, it'll offer to do that for you. So I used to sort of do a talk about how to get your media ready for editing. And nowadays Kayden Live just kind of does it for you. I'm gonna save, I'm gonna take this moment to save, which you should do often. Shocked that even sharing my screen, nothing has glitched out yet. But okay, so I've got a city street. I'm gonna pop that over my audio. And then I'm going to shorten the video and shorten the audio. And then I'll take another clip. And this is how, this is it. This is editing. You're taking clips from media that you have collected for some purpose and you are putting it into a timeline. What life to that? Oh, that's too much life. And then you're finding footage or matching footage to it. And I think there's one more. Yep, there's my plot twist. Okay. I think they're afternoon. Better yet, maybe it's a romance. Okay. Now, I'll take this moment to point out that as you're adding stuff to your project, you can also just drag straight from your file manager. So this isn't Kayden Live. This is just my file manager. This is my computer. You can add stuff straight into your timeline. Now, Kayden Live knows that you did that. It just doesn't know where to put your footage. So one of the steps, if you do that sort of thing, grab your footage and put it into the correct sub-directory in your project, Ben. Kayden Live actually doesn't care where it is inside of Kayden Live. It just happens to be a lot better when you go to find it again later to cut back to it or something like that. Better yet, maybe it's a romance. Here's a man and a woman enjoying an afternoon together on bicycles. Okay. So. Better yet, maybe it's a romance. Here's a man and a woman enjoying an afternoon together on bicycles. But maybe there could be clouds overhead. Okay, I added it from outside of Kayden Live, so I'm gonna go back into Kayden Live and put it into my video folder. Okay, so here's an interesting one. We've got a clip that you'll notice over here in the right-hand monitor. Got a clip that goes from sort of edge to edge. It's a 16.9 aspect ratio, but then I cut to a clip and it looks like there's a little bit of an aspect ratio issue. So there's a couple of ways to fix that. Probably the easiest way is to use an effect. Effects are stored, I think, by default here in this little tab at the bottom of the middle window. I say I think because I guess this could be where I keep it. I don't remember where Kayden Live puts it itself, but this is a big old list of effects and I think I'm going to get into that now because I think I only probably have about 20 minutes left. So these are effects. It's a big old list. There's a lot to cover and I can't cover it all obviously and it would get pretty repetitive. Here's the general idea. Up at the top are filters. These are filters. You can show your custom effects. You can show your favorite effects or you can just show, for instance, all just the video effects, which is what I'm going to go over. There are some audio effects as well. I don't tend to use them to be honest, so I'm not going to go over them anyway, but there's the video effect filter and now I've got this list here. In this case, the one that I use for sort of adjusting things within the frame is a transform effect. That's in transform, distort and perspective. There's a lot to choose from and a lot of them sort of do the same thing. So for instance, position and zoom would work. I can just click and drag that effect down onto the video clip in the timeline. Effects always go into the timeline. You're never going to put an effect, I don't think, into your project bin, for instance. I don't know of any reason why you would want to do that. So you're going to always put an effect onto a clip. All right, down here in the lower right corner, as long as you have selected the video clip with the effect on it, then the effect details appears over here on the right of your timeline. This can get confusing because sometimes you'll have your playhead parked over here on your bicycle footage, but the effect exists over here on the cloud footage, which you do have selected. And so you'll do things like increase the size of something and it's not happening, like why isn't it working? Well, that's because you're looking at the wrong thing. So you have to kind of just remind yourself that you want the video clip selected and you need your playhead over that clip as well, or else you won't see what you're doing. I mean, that's not a bug, that is a feature because you can actually go through and change effect settings independent of your playhead, which is nice, but it can also be confusing. So I'm over my clip now, I've got it selected, now I can do things like zoom in a little bit to bring it out, I could, I don't know, I could move it around as well if I wanted to, that's not really the goal in this case. So yeah, that's an easy fix there. The one that I actually use typically is the transform effect, which looks really similar, but it gains you the ability to rotate as well, which is kind of fun. So there's a cloud footage and I can position it anywhere, sort of on my canvas that I want. And maybe I want more, maybe I can't decide which clouds I like, here's some big puffy blue clouds. So I'm gonna position that over my other clouds, and then I'm gonna go back to my effects tab over here, take the transform filter again, drag it onto my big puffy blue clouds, select my puffy clouds, make sure that my playhead is over the clouds, it is, and now I could, for instance, resize it and put it there. I could have a whole collage of clouds if I wanted. Oh wait, I've, didn't need to do that. Oh wait, I've run out of room. I want more clouds, but I don't have any more video tracks available. No worries. So I'm gonna go over here to the left panel of my timeline and just sort of find an empty space that isn't an entry field and just right click, insert track. I can insert lots of tracks. I could do four tracks of a video type above video track two. Maybe I want to, for some reason, put them, I don't know, below video track two. I could do that if I wanted to. I could name the track. I never named my tracks. Probably, probably should. It's probably a good thing to do, but I never do. Okay, so now I've got a whole bunch of space here where I can just start adding more clouds. Some dark clouds, fly by of clouds, fly over of clouds. All right, well, this is a lot of clouds now. So now I've got a new problem, which is I need to position them all so that I can see them in my canvas, right? Because I know that I have two, I know I have two little cloud shots sort of underneath all this stuff. One of them's over it. But yeah, I need to get all that sorted. So here's a cool, cool thing that I like to do. And this isn't really what I use it for usually, but it's a handy trick to know. So go to a clip where an effect exists, right click on it, copy. So you have that clip, including all of its effects in your clipboard now. Now I can go to another clip without an effect on it, right click on it, and just paste the effect. And I can do that for every clip that I need to effect. Now that's just, that's obviously, that's unifying everything. It's making everything exactly in the same spot. It is copying the traits of that effect exactly, which may not be what you want all the time, but maybe sometimes it is certainly for the purpose that I actually use it for usually, that's exactly what I want because I usually use it for color correction, which is the thing we'll go over next because it's actually really, really important. Okay, so there's some basic compositing. It's not necessarily the prettiest effect that you've ever seen, but maybe it's something to look at while I drone on about the project. All right, I'm gonna go over here, well actually first I'm gonna save again, always save. I'm gonna go back over here to the beginning of my project now. And this is fine, this is fine footage, but you can kind of tell a little bit that some footage is maybe prettier than other footages. Some of it, I mean, I've taken this from a lot of different sources. So there's not really a unified look to this. And also believe it or not, I mean, this looks acceptable to me, like it looks fine, this is okay, but believe it or not that we can make it better. So I'm gonna go over to effects again and I am going to look into color and image correction. Once again, lots of things here and honestly a lot of them sort of collide with one another or sort of implement the same thing. So there's two that I actually use, Bezier curves and color balance and Bezier curves. That there is this one, the three point balance, which is sort of more or less the auto filter. So I'll show it to you real quick. So I'm gonna take my three point balance, drag it over onto my video clip in the timeline. Nothing changes, but now that I have my clip selected and my play head positioned over it, I can go over here to the right hand side of the screen and there's, well, maybe I will zoom back in here. There are three options here. There's black color, gray color and white color. So what that's talking about is it's asking me to locate for it the very, very darkest part of the image or the part of the image that I want to treat as the darkest part. So I'm gonna click the little eyedropper icon over here. I'm gonna just take my eyedropper icon over to my timeline monitor and I'm gonna click something that feels like it should be very deep in shadow. And I'm kind of targeting, you might think, well, that shirt looks pretty black and it does, it's fine, that would work. But what I'm, see the problem with video that persists still today, it persists more in the cheaper your video camera and this was done on like my cell phone. So it, and I don't have a fancy cell phone. But the problem with video is that it, once you start to get into the minutiae of a question of whether something is black or dark in shadow, it just sees everything sort of as one thing. It doesn't really have the, the gradiation that analog film like celluloid had. So even though the shadowy parts of this tree in the background should be what I would think just completely impervious, completely dark, it's kind of treating it as sort of an 80% gray almost. It's pretty bright really. So I'm gonna click there and you can probably see how just with that one adjustment, just turning it on and off with this eye icon here. That one adjustment, it almost like you're just sort of taking a washcloth and just wiping away a layer of grime over the video. That's kind of how I think of it because it is just sort of not quite night and day but you can definitely tell. I usually also set the bright spot as well. So I use the white one to select something that I consider very, very bright. That usually works pretty well. The gray you don't usually need unless you happen to have used a gray card which is a physical item with a very specific shade of gray. You can hold that up at the beginning of your shot and use that as your color balance reference point, which is a great thing to have, but I don't have it. So there you go, that's the three point balance. That's pretty easy. I think probably if nothing else you should be doing a three point balance. I'm not going to do a three point balance. I'm going to show you the Bezier curve really quick. Oh, I'm running out of time swiftly, aren't I? Okay, Bezier curve, drag that onto the clip. This one is a little bit more complex but the control that you get is just super nice. So you have to select your channel. Right now it's on everything, RGB, all colors. I'm going to set it over to Luma which is the black and the white, the darks and the highlights. So I'm just going to be adjusting the brightness of this image. You might have, if you're into video games and stuff you might think of this as the gamma. So on the left side of this curve at the bottom those are your darks, those are your shadows. And then it goes up in a linear fashion towards the brightest spot. So what we really usually want is to kind of give a little tiny artificial boost to the lights and give a little tiny artificial reverse boost to the darks. So you want to crush the shadows and you want to have the highlights pop. Now you can grab the middle here too if you feel like your subject's face is maybe overexposed or underexposed. Human skin tone tends to be in the middle, somewhere in the middle. It depends on the complexion of the human. I happen to be pretty reflective, pretty pink. So your subject might be a little bit higher, a little bit lower, it just depends. Actually your subject's probably not going to be any higher than my skin tone. Okay, so there you go, there's something. Now the cool thing about the Bezier curves is too that you can kind of get some interesting effects by suddenly at the last minute switching what you've been affecting. So if I go over to the red channel, I get almost a bleached bypass. I need to quit element. I almost get a bleached bypass look. I could do blue and get sort of an old sort of old super eight look. So that's kind of a fun thing. So Bezier curves, you can have as many as you want. So I just put another Bezier curve on clips and then I target something different. I target just the red channel and maybe I want to boost the amount of red just within the mid-tones. So just in my flesh, I just want a little bit of red. Humans like red, humans like yellow. So those are the two shades that human skin tone really likes. Alternatively, you can use the other one that I sometimes use, which is color balance. And this doesn't have the same sort of curve interface as just a series of sliders, but it breaks it down into RGB. And for each RGB, it shows you, it gives you a slider for the shadow areas, for the mid-tone areas and for the highlight areas. So that's kind of nice. You can kind of, less is more here. So I'll just click and drag and just add a little bit of red to the mid-tones. And then the opposite of blue is yellow. So I'm gonna lean towards yellow in the mid-tones to give myself a little bit of an amber filter. Now you might notice that that kind of changed the look of the trees in the background. The trees I know are in the shadow so I could maybe boost the green in the shadows if I wanted to, to restore a little bit of green. Doing this a lot more hasty than I would normally do in real life probably, but you get the idea. I'm gonna turn the filters off and then turn it back on and see what we have. So here was the original clip and there's the new clip. Or here's the clip with just the Luma control. So it is a lot better. So I'm gonna right click on this. I'm gonna do a copy. So now I have the clip and the effect. And so I'll go over to this other clip that I'd accidentally cut earlier and paste effects to unify myself. And I could do that over each clip. I mean, I could, you don't really usually want to just copy and paste straight into, you know, without like the same exact filter because different footage is gonna require different levels of adjustment. But sometimes that is a good starting point. At least you kind of know, well, this is the darkness of my other clips. And so that's what I'll do for these others. So it kind of just, it depends. Definitely independent passes for filters is important. And I think my time is probably up. So I should probably stop now. I will say one more thing. Project Render, that's to export your video as a final product. Your best bet without question. WebMVP8, Vorbis Libre. It is an amazing, amazing codec. It is, yeah, we used it all the time at former jobs. Big fan of WebMVP8. It is lossy. So you're exporting it, you're losing information technically, but it'll compress it into a nice small size. And it's really, really great. I think maybe I have time for questions, maybe not. Yeah, so we have about, I say four questions. So the first one is, is there a limit of resources, video, audio images that you can add to a project? I haven't found it if there is. Interesting. Okay, and then can you copy paste from Audacity or other software, or do you need to export first and add it as a resource? You'll need to export first and add it to a resource. Okay. How does Kaden Live work with multiple video files with different frame rates? Really, really well. So it will, it will transcode the frame rates for you. It will adjust those frame rates sort of instantly for you in the timeline. There are some formats that you'll get from like, especially on like cell phones that are super, super compressed because it's a cell phone and they don't have the space and stuff like that. And then when you bring it at the Kaden Live, it's just like, oh, this isn't enough. It will transcode that for you and save a copy of that transcoded version in your project directory. But for other stuff, like a lot of that cloud footage that I was using, that wasn't 30 frames per second. And Kaden Live just up whatever converts the frame rate. So yeah, really easy. That's great. Okay. And then the last question here is, can you use a second or third monitor for full screen playback or monitoring? And how do you do that, I guess? Yeah, I think you can. I haven't done that in ages. I believe what I used to do was just because Kaden Live is a cute-based application, you can grab any panel within Kaden Live and put it onto a different screen. But that's not, I think, if you're talking about like, oh, I wanna pipe this through a black magic card and I have a video monitor, I've done that before, but not recently. So I don't remember the specifics of it, unfortunately. It is possible. It is possible. That's awesome. Thank you so much for such a great talk. You've gotten great, very positive feedback in the chat throughout, so thanks so much.