Motion & Animation: Motion And Animation Overview
Yay. We're moving forward, moving to something really exciting today for this lesson. It's motion and animation. I have these snarky little titles, you got to move, it's definitely a reference to a, I don't know, is it 70s or 80s dance music? Most people can start going I don't know what he's talking about and other people are going, yeah, that was a really bad era of music. And again, we'll be continuing to be flip in this class and learn things on the flip side. This is some of the things we're gonna be discussing. Scaling video and photos, making them smaller, and also making them larger, scaling them up. We're going to look at creating a picture in picture effect, so if you're doing an interview and they're talking about something you can do a cutaway to that. Animating the position and size, not just scaling but actually moving them around the frame or, better yet, panning across your photographs, panning around so you can bring motion and life into your st...
ill images. And then we'll look, there's some built-in motion effects that may save you some time that Adobe has and again, like we discussed in the effects lesson, there are some great third party plug-ins that allow you to do some of these even easier. It's just things to keep in mind. Before we hop in and start working with still images we're actually going to start dealing with the nuances of what happens when you bring in a photograph. Any questions or any requests that you might have?
Just to refresh my memory, what size photo as far as is it a TIF, or a JPEG, or what actual size is it because if we're going to be scanning a photo or moving around on the photo, is the photo changing in size within the frame or is it actually what we're doing video-wise?
That's actually an important question. It brings up a lot of elements that we need to deal with. I'm gonna step into the computer just so we can look at some images. But, let's look at some of the challenges that we're facing. First of all, you said what size, and this is a big thing because if you're used to working, say, printing photographs, you're thinking in DPI, dots per inch, so not only is it a frame size, how many megapixels, but it's also how many dots per inch or pixels per inch so you can get the quality. Well, guess what? With video, it's all fixed and when you bring in a photograph it ignores your DPI. All computer monitors, all television sets and considered 72 DPI. The point is, no matter what your settings are in Photoshop, it looks at it exactly the same. 3,000 pixels is 3,000 pixels, cause the dots aren't from the printer, it's how far they are apart on the television set or on the computer monitor. That's one thing to keep in mind, you don't have to worry about DPI. Now, just to give us a basic review of what we've talked about is what is the frame size of television, or even if it's not television, that people will be watching this on the web? The current standard is something called 1080p. It's 1,080 pixels high and 1,920 pixels wide, 1,920 by 1,080. That's pretty much the standard. Two megapixels as well talked about way back, and so your cameras are probably shooting way more than that, anywhere from 12 to 40 megapixels. You need to scale it down. You don't technically need to scale it down, because if you don't, Premier will do it, but you're making it do a lot of unnecessary computer processing and it makes it actually a little more challenging to work with. A lot of times when I work with photographs, if I know I'm going to be bringing them in I may run them through Lightroom or Photoshop with an action and convert them to similar sizes. Smaller size, or I'll do a batch process, which, if you don't know how to do a batch process, there's plenty of courses on CreativeLive that can show that, and then there's the web. I would scale them all down so that I don't have to do it in Premier. With that said, never say never, because there's been run and gun times where somebody just handed me a drive and said here is 100 pictures from this event, make me a photo montage, and I need it in 10 minutes. In that case, I'm going to leverage some of the powers of Premier and not worry about it. In an ideal world, you want things to be as comfortable as possible, especially if you're working over time and you have time. I'll scale it down. We looked at a chart in the opening class about if you're going to zoom into one quarter of the screen you should make it two times larger than a television set. Instead of 1,920 by 1,080, you make it 3,840 by 2,160. Ooh, I actually remembered that. That way you can zoom in and you don't lose any resolution because this is your objective. You always want to start with something bigger and then you can zoom into it to a one to one ratio and it's going to stay sharp. That's what you want to keep in mind. When you're fully zoomed in or panning around an image, you want to try to avoid going beyond a one to one ratio. An example of a bad thing. Somebody gives you a picture that 640 by 480, the old computer monitor. You put it in your show. If you need to blow it up, you're now enlarging it 2-300%, it's going to get soft. You can often get away with it, but you wanna start with something bigger and bring it down like you would in Photoshop or Lightroom, you want to scale down. It does scale up. It's a lot of math, especially when you're scaling up at that many frames per second. That's just one thing to keep in mind when choosing the image size. Does that address your ... I do want to add one more thing, because you did ask about TIF versus JPEG. Both will work. TIFs are larger. They're technically a little sharper because there's no compression in a compressed TIF, but JPEGs to the eye, once you're in video, look almost the same and you save yourself a lot of hard drive space as well as a lot of processing to deal with that many pixels and that size file at 30 frames a second. If I know that my show's going to be maybe shown on a really large screen in a theater, I might work with TIFs because I want that shade of improvement without artifacts, but for the most part, I find that the program is much more responsive to JPEGs, and you don't run out of memory and things. That's my preference, but it's very flexible. It will adapt to you, you just don't always want to make it adapt to you. Okay, yes?
I have a follow up question to that. If we do end up bringing photos that are bigger than we need, for example, if we're thinking that we're going to be panning a photo but then we decide not to, or whatever, is the only disadvantage that it'll be a little slower to work with them, or will that also affect the size of the exported video?
That's a great question, and the last part is really the key thing, which is will it affect the size of the exported video? No, it won't. As a matter of fact, no matter what size you bring in, it will do the math and convert everything down to, let's say we're working with 1,080p, to that frame size and whether it was 40 megapixels to start with or a one to one ratio, ultimately when it goes out, it calculates what it needs to be, and your file size is the same. What will, and we'll learn about this when we talk exporting, what affects the size of the file, is the compression or the codec that you use on the export. If you come from a photography background, you know that you can do uncompressed TIFs, compressed TIFs, and with JPEGs especially, you can really move that slider and say okay, I'll take more noise because I need a smaller file. With a photograph, you may not push it so hard because they're small anyway, but when you're dealing with a master file that might be two or three gigabytes, nobody's gonna download that unless they're watching a movie and you may need to crunch it down, and we'll talk about those strategies and how you compress that exclusively in that exporting lesson that we're going to be talking about. I did address the second part, I'm wondering if the first part was is it okay to just leave them as it is if you decide that, oh yeah, I'm not going to shrink it? I probably would. If it's more work to go back out and scale it down than the challenge of scaling down there, absolutely. Generally, if I'm going to be given a folder of photos and I know they're all big, and I'm not gonna zoom in, I'll scale them at the beginning. Sometimes, I'll even crop them, because this is the other thing that we need to deal with is that when you're dealing with photographs, you're dealing with default aspect ratios that are very different. Three by two and four by three are the height versus width, whereas the new televisions are all 16 by nine. You have to make a decision, what do I want to cut off? You can fix that in Premier, but if you want to go really quick and you want to make those decisions before and you're not going to do any moves, I sometimes do my cropping in either Lightroom or Photoshop. It all depends on my objective and the time, but you can do everything in Premier if you would like. It's where you're most comfortable.
This is the class I've been waiting for! Learning the software is one thing, but to watch an experienced editor at work is priceless. It also helps that Abba is an incredible teacher. He's able to hold my attention and explain things in a way that I actually retain the information." - April, Creative Live Student
Join one of the best editing instructors, Abba Shapiro, to learn how to work effectively in Premiere Pro®. In this series, you'll learn the tools that allow you to build a story with video.
Abba will cover essential topics such as creating time lapse videos, building a rough cut, working with audio and incorporating motion and titles in your videos. Abba will show basic color correction techniques as well as incorporating filters to enhance the look of your final video.
- Understanding Editing
- Tour the Interface
- Building a Rough Cut
- Refining Your Edit
- Working with Audio
- Filters & Effects
- Motion and Animation
- Titling and Graphics
- Speed Changes
- Color Correction
- Finishing: Prepping for Output
- Sharing and Exporting
- Ingesting Media
- Media Management & Archiving
- Multi-Camera Editing
- Creating Timelapses
- Advanced Editing Techniques
- Thinking Like an Editor
- Green Screen, Warp Stabilizer and other Special Tools
By the end of this class, you will feel proficient in creating video with this complex program. If you've been paying for Adobe®'s Creative Cloud, this is your guide to understanding and using one of the best tools within your subscription. You’ll be able to bring your images to life, organize your media and begin to build stories to share with your family, friends and clients. If you’ve been thinking about expanding your business to include video, this class will give you the tools to successfully start creating quality products that will impress!
For more interaction with Abba during the bootcamp, you can join his Facebook group:
Abba Shapiro CreativeLive Facebook Group
"Great class -- wasn't ready to take the leap into Premiere Pro until I had a framework. Not only did Abba give me that framework, but he gave me the tools to manage and balance the story, the editing process, and the start to-finish workflow to create a finished product. And it was fun!" - Creative Live Student
Software Used: Adobe Premiere CC 2017