Motion & Animation: Motion And Animation Overview

 

Adobe® Premiere Pro® CC Video Editing: The Complete Guide

 

Lesson Info

Motion & Animation: Motion And Animation Overview

(audience applauding) 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.

Class Description

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.

Lesson Plan

  • Understanding Editing 
  • Tour the Interface 
  • Building a Rough Cut 
  • Refining Your Edit 
  • Working with Audio 
  • Transitions 
  • 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

Lessons

1Understanding Editing: Bootcamp Overview 2Understanding Editing: Overview 3Understanding Editing: Video Examples 4Tour The Interface: Digital Video Workflow 5Tour The Interface: Project Panel 6Tour The Interface: Choosing Your Shot 7Tour The Interface: Music And Voice Over 8Tour The Interface: Video Tracks 9Tour The Interface: Edit Markers 10Building a Rough Cut: Cut Planning 11Building a Rough Cut: Selecting Media 12Building a Rough Cut: The Edit 13Building a Rough Cut: Edit Points 14Refining Your Edit: Preparation 15Refining Your Edit: Making Cuts 16Refining Your Edit: Using Markers 17Refining Your Edit: J and L Cuts 18Refining Your Edit: Replace Edit 19Working with Audio: Overview 20Working with Audio: Levels 21Working with Audio: Music 22Working with Audio: Mixing And Syncing 23Transitions: Overview 24Transitions: Effect Controls 25Filters & Effects: Overview 26Filters & Effects: Using Multiple Filters 27Motion & Animation: Motion And Animation Overview 28Motion & Animation: Movement With Still Images 29Motion & Animation: Picture In Picture 30Motion & Animation: Motion Effects 31Titling & Graphics: Overview 32Titling & Graphics: Advanced Tools 33Titling & Graphics: Roll And Crawl Effects 34Titling & Graphics: Working With Photoshop 35Speed Changes: Overview 36Speed Changes: Stills And Variable Speeds 37Color Correction: Overview 38Color Correction: Lumetri Scopes 39Color Correction: Contrast 40Color Correction: Advanced Tools 41Color Correction: Adjusting To A Master Clip 42Finishing: Prepping for Output 43Finishing: QC Edit Points 44Sharing & Exporting: Overview 45Sharing & Exporting: Size And Quality 46Ingesting Media: 47Ingesting Media: Transferring And Importing 48Media Management & Archiving 49Multi-Camera Editing: Overview 50Multi-Camera Editing: Creating A Sequence 51Multi-Camera Editing: Switching Multiple Cameras 52Multi-Camera Editing: Finalizing 53Creating Timelapses: Shooting Strategies 54Creating Timelapses: Editing Images 55Creating Timelapses: Importing Strategies 56Creating Timelapses: Animation 57Advanced Editing Techniques: Take Command Of Your Timeline 58Advanced Editing Techniques: Transitions 59Advanced Editing Techniques: Keyboard Shortcuts 60Advanced Editing Techniques: Preference Hacks 61Thinking Like an Editor: Editing Choices 62Thinking Like an Editor: Telling the Story 63Special Tools: Warp Stabilizer 64Special Tools: Morph Cut 65Special Tools: Green Screen

Reviews

a Creativelive Student
 

I've never even tried video editing before this class. I opened the program once and panicked. After only 9 lessons I was able to throw a short video together (basic of course, but still pretty cool). I wish all of my teachers growing up were just like Abba. He goes over everything without dragging anything on for too long. He repeats things just enough for me to actually remember them, and he is funny. He keeps it fun and shows that even he makes mistakes. I can't even believe how much I have learned in less than a quarter of his class. I have a long way to go and am very excited to learn more. This class is worth every penny and more! I was hesitant on buying the class because I have CS6 and he works with CC, but I have already used what I've learned in his course to create a video. The first 9 lessons were already worth what I paid for the entire course. Thank you, Abba! You are an awesome teacher! You have me absolutely obsessed with creating right now! I highly recommend! You won't find this thorough of a course for this decent price!

a Creativelive Student
 

Just bought this yesterday and cannot stop watching!!!! What a FANTASTIC teacher-- just love the way he explains everything. For someone like me (who has a zillion questions) it is perfect. As soon as he introduces a feature, he explains several aspects in such a way that's easy to grasp and remember. So, so happy I got this. Thank you Abba and CreativeLive!

a Creativelive Student
 

I am only on lesson 19 and I am so glad I bought this class, so worth it and Abba packs so much information into these lessons its crazy. I will for sure have to come back and watch again when I need to remember to do stuff or need a refresher. He is funny and quirky and a great teacher. I so recommend this to anyone wanting to become a better video editor!! I am coming from being self taught and using iMovie and he makes it so simple and understandable. Can't wait to learn more :)