Motion & Animation: Motion And Animation Overview
Lesson 27 from: Adobe Premiere Pro CC Video Editing: The Complete GuideAbba Shapiro
Motion & Animation: Motion And Animation Overview
Lesson 27 from: Adobe Premiere Pro CC Video Editing: The Complete GuideAbba Shapiro
Lesson Info
27. Motion & Animation: Motion And Animation Overview
Summary (Generated from Transcript)
The topic of this lesson is motion and animation in Adobe Premiere Pro CC video editing.
Q&A: What are some of the things discussed in this lesson? Some of the things discussed in this lesson include scaling video and photos, creating a picture in picture effect, animating the position and size of images, and using built-in motion effects in Adobe Premiere Pro CC. What is the standard frame size for video on television or the web? The standard frame size is 1080p, which is 1920 pixels wide by 1080 pixels high. Should photographs be scaled down before importing them into Premiere Pro? It is recommended to scale down photographs before importing them into Premiere Pro to avoid unnecessary computer processing and to make them easier to work with. What is the advantage of starting with a larger image and then zooming in? Starting with a larger image allows you to zoom in without losing resolution and ensures that the image stays sharp. Will bringing in larger photos affect the size of the exported video? No, bringing in larger photos will not affect the size of the exported video. The file size will be the same regardless of the size of the imported photos. The compression or codec used on export will affect the size of the file. Is it okay to leave photos as they are if you decide not to scale them down? It is generally okay to leave photos as they are if you decide not to scale them down, especially if it is more work to go back and scale them down. However, it is recommended to scale them at the beginning if possible to make them easier to work with. Can cropping be done in Premiere Pro or should it be done in Lightroom or Photoshop? Cropping can be done in either Premiere Pro, Lightroom, or Photoshop, depending on the user's preference and objective.
Lessons
Understanding Editing: Bootcamp Overview
07:25 2Understanding Editing: Overview
25:25 3Understanding Editing: Video Examples
25:07 4Tour The Interface: Digital Video Workflow
16:38 5Tour The Interface: Project Panel
12:28 6Tour The Interface: Choosing Your Shot
07:18 7Tour The Interface: Music And Voice Over
10:31 8Tour The Interface: Video Tracks
05:26Tour The Interface: Edit Markers
08:46 10Building a Rough Cut: Cut Planning
21:46 11Building a Rough Cut: Selecting Media
25:01 12Building a Rough Cut: The Edit
30:50 13Building a Rough Cut: Edit Points
13:43 14Refining Your Edit: Preparation
10:29 15Refining Your Edit: Making Cuts
25:19 16Refining Your Edit: Using Markers
16:31 17Refining Your Edit: J and L Cuts
15:57 18Refining Your Edit: Replace Edit
05:04 19Working with Audio: Overview
17:43 20Working with Audio: Levels
13:36 21Working with Audio: Music
10:00 22Working with Audio: Mixing And Syncing
14:50 23Transitions: Overview
13:44 24Transitions: Effect Controls
09:31 25Filters & Effects: Overview
18:05 26Filters & Effects: Using Multiple Filters
22:18 27Motion & Animation: Motion And Animation Overview
09:40 28Motion & Animation: Movement With Still Images
26:56 29Motion & Animation: Picture In Picture
10:57 30Motion & Animation: Motion Effects
17:08 31Titling & Graphics: Overview
27:11 32Titling & Graphics: Advanced Tools
11:03 33Titling & Graphics: Roll And Crawl Effects
08:01 34Titling & Graphics: Working With Photoshop
12:17 35Speed Changes: Overview
21:12 36Speed Changes: Stills And Variable Speeds
06:23 37Color Correction: Overview
07:39 38Color Correction: Lumetri Scopes
11:32 39Color Correction: Contrast
21:37 40Color Correction: Advanced Tools
15:12 41Color Correction: Adjusting To A Master Clip
07:45 42Finishing: Prepping for Output
14:53 43Finishing: QC Edit Points
24:56 44Sharing & Exporting: Overview
29:05 45Sharing & Exporting: Size And Quality
24:46 46Ingesting Media:
28:39 47Ingesting Media: Transferring And Importing
31:15 48Media Management & Archiving
26:10 49Multi-Camera Editing: Overview
14:26 50Multi-Camera Editing: Creating A Sequence
20:04 51Multi-Camera Editing: Switching Multiple Cameras
15:31 52Multi-Camera Editing: Finalizing
12:37 53Creating Timelapses: Shooting Strategies
18:04 54Creating Timelapses: Editing Images
14:21 55Creating Timelapses: Importing Strategies
18:47 56Creating Timelapses: Animation
05:58 57Advanced Editing Techniques: Take Command Of Your Timeline
22:36 58Advanced Editing Techniques: Transitions
07:57 59Advanced Editing Techniques: Keyboard Shortcuts
12:00 60Advanced Editing Techniques: Preference Hacks
21:15 61Thinking Like an Editor: Editing Choices
31:55 62Thinking Like an Editor: Telling the Story
23:50 63Special Tools: Warp Stabilizer
17:59 64Special Tools: Morph Cut
06:56 65Special Tools: Green Screen
20:16Lesson 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 Materials
Bonus Materials with Purchase
Ratings and 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!
Patricia Downey
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 :)