4 TRANSITIONS from SHERLOCK in Premiere Pro – LG UltraWide Class

4 TRANSITIONS from SHERLOCK in Premiere Pro – LG UltraWide Class


[Cinecom’s intro music] Hey guys, my name is Jordy from the YouTube
channel Cinecom and this is not a usual episode. We’ve actually partnered up with LG UltraWide,
and, together with a bunch of other creators, we are making an educational series
called ‘LG UltraWide Class’. Now, we are kicking it off as the first
contributor with this tutorial video, on how to recreate 4 transitions
from the Sherlock Holmes series in Adobe Premiere Pro. There is a link in the description below
to the LG UltraWide YouTube channel, and if you subscribe to them, you will see
the next tutorials coming from other creators to you very soon. The series Sherlock Holmes is famous
for its amazing visual storytelling, definitely their transitions are
often quite simple yet amazing. In the first transition we see
Sherlock sitting in the car. The right side fades away
and then also the left side. So, we’ve recreated that. Here we have a shot of Lorenzo
cracking the next case in his car. And also a shot through the window
which represents his view. We’re going to dive into
Adobe Premiere Pro, where Yannick is going to show you
guys how to recreate that transition. You’re gonna start off by placing the shot
of the car on the bottom of your timeline. On the point where you like
the transition to start you add the second shot
on top of that clip. We’re going to draw a mask on this clip
that goes right next to the chassis of the car. So, we want to see
the layer below. And that’s why I’m going to disable
the output of the second layer. But I keep that clip
in there selected. Then you head over to your Effects Controls
and under the opacity click on the Pen tool. This allows you to draw a mask
around the chassis of the car. Once you’re done, you can enable video track #2
again to reveal what you’ve just created. Under the Mask Properties you might
want to feather it a little bit. And, if your shot wasn’t perfectly still,
we’ll have to animate the mask with the movement of the car. To do that, enable the
Mask Path animation. Now you can move forward in time
and adjust your mask where needed. Finally, go back to the opacity and change
its value to 0 in the beginning of the clip, Then go a little bit forward in time
and change it back to 100. And this already gives you
the first half of the transition. The second half is super simple. What you want to do is select the
upper clip, hold down the Alt key and drag it to the track above
to make a duplication of it. This also duplicated the effects
and everything with it, so, we’re going to remove the mask from it
and reset the opacity back to a fixed 100. Then just trim the clip a little bit
and add a Cross-dissolve transition to the beginning of the clip
and that’s it. [Music] Many of the transitions in Sherlock
Holmes are created using masks, so, a lot of the stuff that
we’ve just seen will come back. The next one is where Sherlock
bends over to a car window. He goes from an interior shot
to an outside shot, And this is created by first filming your
actor bending over in the first scene. And you can already place this shot
on the first track in your timeline. Then have a second shot
of the same movement with an actual car in the foreground. Place this in the track above. What you want to do now is
match the position of the two clips. The easiest way to do this is by decreasing
the opacity of the clip on top. You can now see through it,
which will help you to reposition and scale it using the Motion properties. You can also nudge the clip forward or backwards
by holding down the Alt key on your keyboard and then just using the
left or right arrows. Try to really match the two clips so that
it seems like one fluent movement. Once that is done, set
the opacity back to 100 and take the Pen tool again to draw
a mask around the hood of the car. Enable Animation and
move your mask over time. If everything went well the
transition should already work, but we’re going to fine-tune it
a little bit more. And, since there are
two different scenes, you can give two different color
gradings to it as well using Lumetri. But I’m actually going to
start with the first one and copy its Lumetri effect
to the second clip. They will now have
the same color tone, which is good for when the hood
of the car starts to reveal itself. From the Lumetri effect
on the second clip, I’m going to enable the Animation for all
the properties that I want to change. If you’re not sure which one,
you can enable all of them. Then move a little bit further in time
and change the Lumetri settings to the color grading that you would
like to see in your second scene. And now the transition is much
more fluent and natural. [Music] Next up is the Pass by transition. You take a panning or
a sliding shot of your subject with some kind of a foreground to have
a better sense of the movement. I’m going to actually shoot this
against a dark background. So, in my second shot I’m making sure
there’s also a dark foreground object. Here I just had a black jacket
laying over the red fridge. Make sure that both of the movements
are somehow at the same speed. In Premiere Pro you place the
first shot on the second track and the second shot on
the first track, like this. We’ll then draw a rough mask
on the upper clip in the dark area. Make sure to feather the mask
a bunch as well. Then, like before, animate the mask
path to reveal the clip below. And once that is done, you might
wanna nudge the clips a little bit to get them into
the right spot. And as a final touch, you could also use
Lumetri to have the dark areas match in deepness and color tone. [Music] And that brings us to the last transition,
which is for once not a mask. We have one shot
of an open door, but I also pay attention
to the left side of the shot, and make sure that there is
a straight vertical line. Then we take another shot
of a door opening, and it’s important now that the side of the door
matches with the position of the window from your first shot. In Premiere Pro the first clip goes on top
and below that, the second shot. Like before, I decrease
the opacity of the layer on top So that it can match the scale
and position with the one below. Reset your opacity back,
and what I’m gonna do now is duplicate the top clip. On that duplication I will
add the Crop effect. With the effect selected you can now visually move the right side
to where you want the door to open. Then you copy the value of the right property,
add the Crop effect to the second layer which is the same clip, and then paste
the value in the left side’s attribute. Now select your upper layer again
and animate the right property to follow the door
as it opens up. And just like we’ve
seen previously, you can duplicate the
bottom layer to the top, trim it and add a cross dissolve to let
it fade completely into the next shot. [Music] And those were the 4 iconic transitions
from the Sherlock Holmes series. As part of the LG UltraWide class, I’m going to leave you with a short
life experience as a YouTube creator. I used to focus a lot
on the numbers and the keywords that I should
use to grow my audience. But I’ve stopped doing that, as
it was not only exhausting me, but also it didn’t have
much effect. So when I gave up on that, I started
to focus solely on the creative process. I would only create things
that I would love to work on, videos or topics that come
straight out of my heart. And even without realizing it
our channel was blowing up. And I believe that goes for anything
that you as a creative person create. In the first place, always do it
from the heart, and focus on the production of your
film project rather than on the outcome. So, thank you so much
for watching, thank you LG… …for letting me be part
of this educational series and I look very much forward
to what follows next, and if you do too then make sure
to check out their channel as well. And as always, remember: stay creative! [Music]

35 comments / Add your comment below

  1. if was sherlock yannick in the third transition is not a legit waiter if you take a look on his hand on how he holds the stuff he carries

  2. I like Sherlock Homes and always wondered how they did the transitions to a point. If I thought it through I could figure it out. However. I'm kinda old fashion filmmaker in a way how when you watch something your not supposed to bring attention to how it's 'edited' or that it's edited. So I was fascinated by the idea in a movie. Since Sherlock was arrogant, the transitions kinda matched his personality, so it worked. I would only apply this type of transitions to commercials, music video, tv show, fantasy and sci fi. Well done all the way around. Great video. btw, the car scene where he bent over to look in the window of the car is a Hitchcock move. Then Spielberg use it in Color Purple. Less dramatic and noticeable but transitioning time and space in such a elegant way. 😎 Thank you for the incite.

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