Motion & Animation: Motion Effects
I'm gonna show you how to fly a smaller picture through a larger space cause it's easier to grasp, and then we're gonna actually show how you can fly, how you can fly a larger picture fly through it, and reposition it. So, to make things easy I'm gonna just delete everything in the sequence. I want a nice clean sequence to work with so you have nothing to distract you. We'll go ahead and I'm gonna leverage our lovely interview here. As a matter of fact, if I'm gonna drag it in let me at least drag it to the right spot. Okay, so he's talking, and what I want is, I want to first, I'm gonna just have an image. And have it shrink down to a picture in picture, okay? So, let's suppose he's talking about, you know, I'm gonna actually do this with this video, why not? I bring the video in. So, he's talking about this event. I'm gonna let you guys vote because you'll all vote differently. Do you want to see it start as a small image and fill the screen, or would you like to see it as a small im...
age, as a big image, and shrink back into the corner? First person
Small to big.
Small to big, small to big. Okay. So I would probably build this backwards. We've built some other filters backwards. I know how it's gonna end full frame. So, we're gonna use the same techniques we used with filters and with audio. Let me make this a little bit bigger, so we can see what's going on here. And what I wanna do is at about this point in the interview, I want it to be full screen. Our first step is, we make sure it's loaded into the source monitor, and we go to the effects control tab. And all these parameters are there by default. As a matter of fact, without putting any kind of an effect all of these options, they're called intrinsic effects, they're always there, on every clip, which means you can position it. You can rotate it if you need to and again, you can animate anything that has a stop watch, The anchor point is really the pivot point, not gonna go deep into that but if you're familiar, it's basically, if the anchor point's in the middle and you rotate it, the picture's there. If you put the anchor point at a corner, it pivots there. There's a anti-flicker filter which is nice if you have a little flickering from really thin lines. You can also try that with, if there's some luminance shift. There's some third party plugins that really do the anti-flickering better. It's also where you access transparency, or opacity, if you want it to be, you know, slightly translucent at one point, okay? A term that I'll throw out that may be new to some of you, transparency is really obvious, there's also something called an alpha channel, which is a channel that gives you the transparency information. You have that in Photoshop, as your, you know, your transparent layer, and with video you also want to be able to have an alpha channel or transparent channel, such as with text, or what not. And then you also have access to blending modes. If you're used to Photoshop and you want to try your different blend modes from one image that's on top of another one, that's where you would access them. And you have pretty much most of the basic blend modes screening and overlay and soft light, and what not. So that's where they are and then we'll get into actually a separate lesson on time remapping, but these are always there, okay? So, I'm gonna go ahead and I have this image. I want it to be full here so what I'm gonna do is, I'm gonna create our lock in a key frame. And to do that I'm gonna go ahead and hit the stop watch. It creates a keyframe wherever my play hit is parked. And I positioned it where I wanted it to be. We also then, with filters, you can move that around. And in addition to scale, I want to lock in the position for it. So, now I know that at the very end, it's going to be dead center. It's going to be 100 percent. For now that's pretty good. I want to keep it fairly simple. So I've created keyframes for the full image. Just like with the filter, it's like, okay, I'm gonna go back in time. So, the big thing to remember when you're doing any type of keyframing is to move your playhead, cause what people forget, and they learn really quickly is, you start making all these changes, and you're moving it around and everything, and then you realize you never moved your play head, so you're basically at the last place you selected. Because you forgot to realize your temporal. You're dealing with time. So in this case we're going backwards. I'm gonna just click earlier on. My playhead moves. We learn that if we change a parameter, it automatically creates a keyframe. We learned that in the earlier lesson filters. So what I wanna do is, I can either scale it down here, or I can click on it here, same thing, and reposition it. And you notice as I'm positioning this these numbers are changing, okay? They are two ways to get to the same place. So, I'm gonna go ahead, and I'm gonna say, well, where do I want it to start? Well, I don't want to cover his face. You wanna start talking about it, so I'm gonna ahead and shrink this down. Bring this in over the shoulder. Make it just a little bit bigger, okay? I'm happy. It has already remembered this location. So if I go ahead, and play at this point, its going to animate from the Position A to Position B.
Manual means no light meter. Has that helped with working in the digital world?
Oh yeah, tremendously. I mean, there's no excuse for not understanding exposure. And everything-
That's what I want but it really takes too long, so we learned, I can go ahead and grab, and if you notice, I'm right up here, my key frames, I grab both of them because I want 'em to grow equally as fast. I'm gonna just make that tighter. And now you'll see that the event happens, much quicker.
You know, shooting manual means no light meter. Has that helped with working in the digital world?
Oh yeah, tremendous-
Now I wanna teach you a little trick that's gonna be very useful in other parts, especially when we get to speed. I'm gonna scroll up here so you can see a little more of the top space, the space above. We basically manipulated this over in the effects tab, of the effects control tab, and also in our playback window. But if I go down here to the actual clip in my sequence I can click on this little teeny thing that says fx. It changes color as soon as you put a filter and effect on it, so that's kind of a visual indication. And these are the default effects that we looked at: motion, opacity, time remapping. So, right now, by default, opacity is selected and you know that because there's a little dot here. But if I go over here and I say, you know what, I wanna see its position over time, alright, scale, over time, I actually will see my keyframes here, in my sequence, in addition to the other locations. And where this is beneficial is, I wanna time it to something that's happening either in the audio track, or something that's happening visually in the scene below it, and by having my keyframe here, I can go ahead and move this left and right, and very easily change the timing to exactly where I want it, in my timeline. And of course, it is reflected up here. You'll notice that I'm only working with one of my keyframes because that's what I was looking at. If I want them to match exactly, I can pop up here. I could highlight them in the timeline. But it's easier just to pop it up here and they snap to each other. Whoa, let me grab the right one. Created an extra one. There we go, oh, now I'm, undoing and redoing, there we go. So I could go up here, grab this by lassoing it, lassoing it and line it right up. So now I have really timed things very specifically, for this picture in picture, in this reverse. Pretty cool, huh? This is really, I'll tell ya, you know, you guys came in and you're like, "I'm scared of Premiere." After a little while, you're like this is really cool. I wanna start playing with this. People ask me, "So what video games do you play?" And it's like, I play Premiere. I play Photoshop. I play a little Lightroom, getting better at, So, you really, you get excited about this stuff, because you can start doing cool things, once you know a few tricks. You know, well, it's just as easy to create the reverse of this. I'm going to go ahead and reset this. Remember we could delete them by hitting cut. You can also go ahead and simply hit the stop watches, and that's a great way to remove this. Nice, easy way. So now we're back to full screen again, and I can do this one very quickly because you know what I'm gonna do. Wow, what did I do? I scaled this thing down to nothing. I grabbed that. This is something I do all the time. I messed it up. You see, that, this is the world's smallest picture in picture? I want this to be full screen so I'm gonna just go back and I can say, "Hey, set the frame size." Come on, you should go to 100 percent. Be good. (clicking) Fascinating. Hit, reset, there we go. We're all reset there. So in this case, I wanna shrink it down, instead of bringing it forward. Start here, full frame. Go ahead, hit the stop watch. Position, there, coming down. I can double click if I want. I don't have to go over to the left side. Grab it. Scale it. Position it. Now, if we play it
light meter Has that helped with working in the digital world?
I'm gonna do a couple other things. I'm gonna move this, reposition it, and he talks about it for awhile, and guess what I wanna do now. I want it to leave the screen, okay? Here's something you need to keep in mind. Our knee jerk reaction would be, if I take this, and I can move the timeline and move this down, it will fly off screen, after he talks about it for awhile. So, this is what people do. And I'm gonna undo this. Okay, it's great, a little further down. Bring it over, drag it off screen. Let go. Here we go. And what happens is,
this wonderful thing,
Oh, yeah, tremendously,
where it lands, and flies off immediately.
I don't want that.
I mean, there's no ex- I want it to hold. So I did simply, an undo. I moved further down, for however long I wanna hold it and then I'm gonna create a couple new keyframes here. Easiest way to do that is hit these little diamonds. So now, it starts full. Here it starts shrinking. There it stays where it should, and then we're gonna drag it off screen. And I'm gonna do this the lazy way. (clicking) See if I undid myself into trouble there. I think I might've undid.
in the digital world?
Oh yeah, tremendously. I mean,
Yup. I undid one time too many. So there it goes. Holds. Then I go down here, and I just want it to fly off screen. (clicking) Let go, (laughs) okay?
And let's put a key frame in there, so,
in the digital world?
Oh, yeah. Tremendously.
It holds from this point to this point.
I mean, there's no excuse for not understanding exposure,
And then it flies off,
everything around us.
kind of at a,
I also so if things don't hold, you have to physically put, what I call a hold frame in. Go from here to here. And just automatically are manually put in, another set of keyframes which you can arrange, so, pretty cool. I wanna very quickly do the same thing on a picture inside, exact same technique and so we'll go ahead, and we'll use this, this great picture of the Boston Harbor at night. I'm gonna shrink that down just a little bit, so we can kinda see what's going on. So, I'm gonna start off, and I'm saying, you know what? I wanna see the lower left hand corner. I'm just dragging it and I'm visually deciding what I want to start the image at. Okay, there's, where it starts. Let it play for a little bit. I want to now, add a keyframe, before I start moving it. So I go over here. Make sure that its the one that's loaded. It is. Scale, position. You can also change the rotation if you want. And then I'm gonna move a little further down, and I'm gonna reposition it by grabbing it. And maybe we'll go up here, and maybe I wanna zoom in a little bit, too. Okay, so I positioned it. I'm gonna zoom right over here. Okay, so we're going to this building. It automatically created new keyframes, once I created the original ones, And now if I hit play, it's swooping over. If it's too fast, too short, grab it. And I do wanna point out a couple of things before we wrap on this. Is, if you right click on these, just like with filters, you can change, how smooth the move is, if you're going around like a curve, and you put a bezier. You could also control easing in and easing out, so you could ease in to the move. So, you know, a lot of times when you actually do a, like a camera pan on something, you decelerate or you accelerate, you know, it doesn't. It's not a constant. You naturally, like, go in, and then you slow down and you pause. So the idea is, you're easing into the next keyframe. So, these are physical about how it's moving in the frame, and this is the speed it's moving, slowing down or speeding up. So, if I say ease in on that, actually, I probably would've wanted it on the other one. But we'll go ahead and ease in on this one. There we go, ease in. It's gonna have a different feel then when it was purely linear. Kind of did it quicker. Play with that. That's one of these things that, do a move, put the ease in and ease out, and then watch and see how it goes. And feel the motion. Feel the speed whether its speeding up to the end or whether it's slowing down to the end, cause they have different feels. Different, you know, so it's a, again, more detail, get your head wrapped around moving around the picture. But then, there's a lot more controls. The, one last thing is, one of my favorite things to do, and I have this lovely image here of the New York skyline. Obviously a panorama, and I, fun image. It was a lot of fun to shoot, you know. Definitely multiple frames. But I wanna just pan across it. So I'm gonna do a very simple act. I'm gonna select it. I'm gonna load it here into my effects controls. And I want to move it so it's all the way. I'm just using the numerical slider so its all the way to the left side. Let me just make sure that we're, so much of this we're seeing. Oh, went the wrong way. This is how big, this is how big this is. This is ridiculous. Okay, yeah. So, you can see I'm all the way at the very edge. I'm gonna set my first keyframes. I'm not really worrying about scale there on this one. So I'm not even gonna check it. So I lock in my position. I go all the way to the end. And now I can either drag it over here, or because it's easier to work with a slider without me going up and down, I'm just gonna slide it across, til I see the right side. It put in the other keyframe. Now, if I go ahead and make this nice and big, fit it to the frame, hit play. It's really fast. But, I can do this pan, it's way too fast.
I know the feeling.
So what would I do to fix that? Oh, you make it longer. What's the problem with making it longer? I need to just move my keyframe. Not really a big problem. Now, I have a lovely pan. By the way, I wanna point this out here. If it doesn't look really sharp, you have the capability of looking at playback at a lower resolution, so that you're not working the computer as hard. So, if you're just getting a lot of drop frames, or really large image size, you can look at it, at a lower resolution. I usually keep it at half, but you can keep it at full. And if I bring this to full frame, I'm just gonna hold the tilde key, it's really nice. When you render this, we talked about rendering in a previous lesson, it's nice and smooth. So that's one of the really cool things you could do. If you do large images of panoramas, motion on them, it's a great way to succeed at breathing life into your still images. And a great way to leveraging your video images, when you wanna do any kind of combination. And that's motion.