Special Tools: Morph Cut
Let's talk about the morph cut. The morph cut again is one of those things that when used right, it's really, really good. Did I do two copies of this, I think I tried to. No, let me actually do that, and then zoom out, I like to do a before and after. So I'm gonna simply grab these two clips, go option drag, so I have a finished one over here, and let's zoom in. So, I've already applied the morph cut, I'm gonna go ahead and remove it. And I'm gonna show you what the original edit looked like. So, I cut these pieces together of Mike and I like the continuity, but you see the cut. Better be great to hear his audio.
Yeah, so travel photography, I've always loved travel. I take people in trips around the world.
So I cut out the whole section, was, "My wife and I promised that every year, "after we got married, we'd go, we'd go around the world, "and as a business, well, "that's really cutting to the chase." But as you see.
Photography, I've always loved travel, I take people in trip...
s around the world.
So, my hope is to smooth that out. And my audience won't see it. So what I'm gonna do is I'm gonna choose the morph cut, so I'll type in morph. And drag that on, and when the morph cut is first applied, it's usually a full second. Okay, 30 frames. It's too long for a morph. I find that ideally, maybe eight to 12 seconds and I play with that. So, I'm gonna go ahead and try 12. Part of me hopes that it works, part of me hopes it doesn't work, so I can show you that you need to change the time. So, we'll see, so I apply it, you'll see that it's red. First thing it's gonna do, it's gonna start analyzing, just like the warp stabilizer, it's looking for all the pixels, and trying to figure out how to get from A to B, smoothly and it's gonna actually create new pixels, so again, it's a pretty complex analyzation. When you think about that, that took about 30, 40 seconds. That was for 12 frames, okay. So, that's another reason to keep it short, but, we want it to happen quickly so people don't notice the cut, okay. So, it does that, and if played it, it's gonna still be jumpy. I need to render it, okay, I see this red line. It'll so it's best, but it won't show me really what the morph cut looks like, until I render it, so I'm gonna go ahead and mark it in and an out point, Don't need that much of an out point. And I'm gonna up here under sequence, I'm gonna say, go ahead, render into output. And as you see, it's going through, goes real quickly 'till it gets to the morph.
That was actually pretty quick.
I take being--
And let's see, now we know the cut's there, okay, but if you didn't know, and I'm gonna go option exta, at least hide the in and out point.
See, I've always loved travel, I take people on trips around the world.
There's a little hiccup but you didn't, I mean for all you know that could be a compression algorithm, when you're watching on the web. Let's step through that, frame by frame, just so you can kinda see it, I'm gonna even make it full screen, so you can kinda see what's happening. So, what it's doing is it's actually, where's the cut? We already went through the cut. It actually a new video of him, and it works pretty well here, I'm gonna go ahead, I'm gonna delete that, all my hard work, but I wanna step through it without the morph cut on. That was the actual cut point. When we step through it with the morph cut, I lost-- Undo, undo, I wanna do re-do, re-do. File, edit. Oh, I've already hit, fine oh. I just-- Oh, there we go. I think that's the moment of the cut. So, it's pretty cool, when you don't have a lot of jarring movement. If I did a wide shot to a wide shot, and I tried this with that, and the hands were one here and here in the other, and it kinda went (blubbers), but you can do it in a wide shot, just you can't have dramatic change between the first and the second shot, and then sometimes, to be successful, you have to play with the duration. So if I went and I tried to make this longer, it's gonna have to re-analyze this. So, now, I made it much longer. Sometimes, too much of a good thing is too much of a good thing, it's gonna try too early to meld them together, and it might be more noticeable. I wanted to make it as short or as long as appropriate, so that it does it's best to guess, and the viewer doesn't see it. But this is really cool, because I didn't have to go find B-roll, and if you're just watching it, and hopefully listening to him, you would never know there's a cut. So, the morph cut's great, the takeaway is, you never, I can't even think of an instance where you wanna full one second morph, unless you want the morph to actually make itself apparent, I usually find between eight and 12 frames is the sweet spot for that, and I just kinda, you know, when you change it, it does have to go and reanalyze it again. Because it's only using the frame between the in and the out point of the edit. So, I made this longer, once again, remember you need to render that. Does render fairly quick because it's already done most of the math.
I've always loved travel, I take people--
And it's a little bumpier, but it's pretty good. I mean, either way, I think that where we were originally, was a little smoother. So, that's the morph cut, it's pretty cut and dry, that was not an intentional pun, but it felt that way when it came out, but it's really powerful, it works in some instances. Don't count it when you're shooting, don't tell your clients, if you're doing third party stuff, because they'll say, "Oh yeah, just make it fit." This is a classic, it's like, I'm interviewing somebody, he's like, well, they give me like all these words, as soundbites, and they go, "You just piece it together." I'm like, "No, I can't just piece it together, "you need to actually say it as a sentence, (audience laughs) "so it's fluid." So, they think you have these magical skills, and be like, "Oh you just stabilize it, and take the words, "and you can do your magic stuff," and you're like, bang, bang, bang. So, we'll keep it as a secret between us and the thousands of people that are tuning in right now. But it's an amazing tool when used properly.
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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!
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"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