After Effects & Premiere Pro CC Workflow


After Effects & Premiere Pro


Lesson Info

After Effects & Premiere Pro CC Workflow

I want to cover our the dynamic linking capabilities between aftereffects and premier and show you how, in a perfect scenario, perfect, you know, working situation. If you're by yourself working on a project, you do whatever the heck he wants you probably on one machine you have to share with the work group, but as I explained in the first segment, aa lot of times, you're working as a work group, and if you have access to all the same files there on a local server, then you can grab revisions or grabbed a master file of a project that you've got maybe in after effects, you're bringing that into premier. Um so let me show you just a quick example of this, and I'll say, I've got this aftereffects project, and I've got two different things going on here. I've got one that's, a three d extrusion that kind of moves over time with creative live in there, it's not really their logo I just happen to type it out on we're going to get into three d stuff more this afternoon as well, so we'll skip...

that right now, but say, I've got this project just how it is I've got actually two different cops in here, I've got one in two d one in three d two d one's doing other crazy stuff here s o I want tio let me go and save that just to make sure we're saved and then I come over to premiere and in premier let's open that up and I already have a file that I've started here so what this file does is it's looking at this after effects project and let me go ahead and create anew file for this let's see I've got what I've got here is a sequence that that is looking at this this comp and right now it just looks like it's something that I may have rendered out or whatever but it's not it's actually looking at the cop well how did I do that uh I can import so I got down here and import and then I'm going to look for my file and we're here so I'm just going to select that aftereffects project that's in my folder so I'm just going to click import and then it will say ok um it's thinking it's thinking that should give me a list here in a second uh ask me which composition that it wants so it's still thinking I don't know why I shouldn't be thinking he should just be doing uh ok more good life stuff here so let me try that again here tried import grab that project import and we're still not seeing the cops so let me start with a with a brand new project let's just get rid of this altogether. Um and let's start with a whole new one so this good import and we'll try that again he import there we go that's what we wanted to see um maybe because I already had one competent but I've done this before and if you've got additional calms it will allow you to do that. So remember over here in after effects I've got two different camps I've got one here is the three d tex and I've got one here with the two d animation it's actually three d too but I no I guess it's not it's tootie just moving it in time here um so but I've got two different camps in here so I can choose between those of course like both of them if I want let's grab the three d one because that's what we had before so I click that and now I've gotta there I can either choose to add this to an existing sequence or I can make a new sequence from this clip by right clicking on it and select new sequence from clip and what that does is that matches all of the sequence settings to that animation or that clip so that was a piece of video footage or an animation or anything I wanted my sequence to match it exactly same frame rate, same resolution everything color space everything would be the same um so that's what I did I took that and I didn't render it out yet it's just here okay and you see that it updates I could play this back and that's pretty fast I didn't ran preview I didn't do any of that so I'm just hitting play and even though that is a three d layer in after effects it's seeing this as just a clip coming in so I know that see why are we not working here button button click there we go so if I try to scrub through this it's a little tougher you know I have to actually ran preview this to see it in its full resolution or in the might shows and resolution in after effects but sometimes if you don't have an overly complex animation going on in aftereffects you can do this process just to do a quick preview so instead of waiting for a ram preview sometimes it may be quicker to do what I just did here do the dynamic link play it back in premiere and use that as your preview and you can see I'm not quite getting all of my animation there so it's only going so far and then it's stopping I can come up here to my sequence let me set my out point though so it knows that's the end of it over out I for in over out about a timeline um so if ideo rendered render my fax or just render in tow out it will then render but it's typically going to render a lot faster than doing a ram preview not always and I don't want tio make it let it make a fool of me which it's going to take a little longer than we hope we see this number increasing for the estimated time um not always sample to see that going up you want to see it coming down so I'll just cancel that you get the idea you can render here you can render in aftereffects now if I had several things going on in here say I had this going over top of video footage with some other text coming in or maybe another a lower third graphic or whatever I had other things happening to it obviously I'd need to render it here I render my preview to be able to play it back in real time in premiere so that's that that process of going back and forth what if I come in here and I make a change what if I say animate my spotlight just a little bit? Well hey come appear to transform functions now it is moving a little bit now as it is so let's see it comes out here um let's say I move that out just a little farther so it takes a little longer to get around here and maybe I move my let's see now we'll just we'll just do that cause I'm just changing position on this um maybe I can move that a little farther south comes into the dark there we go so it zooms into the dark, comes out of there, then it zooms past and past the lights and into the dark so I just made those changes let's go back over and out of premier actually let me save this first save got to save it then it then it gets it and I come back over to premiere and those changes should update let it render catch up with this here and that frame should render this is probably the most processor intensive thing to do is to try to make it catch up in a rear ender life rendering three d and now it's going to give me an error it's trying to link up again so I'm really testing this poor machine today are not it is the second time we've had a had a premiere issue with this machine. Um, so this is, uh, believe we're just on a mac pro tower here in the studio. There we go, it's going toe is going to re link here for us, it's thinking about it, thinking about and that's right it's thinking about its thinking real hard so yeah, this is really this is the real deal we deal with this all the all the time and as I was telling one of our producers at the break, you know, I work on site with a lot of clients and it's kind of funny there's there's times where you just hear arbitrary swearing going on in different places, different cubicles there's a there's a tirade going on and on and you just know somebody's file or somebody's hardware is just not cooperating and you know, you just don't take it personal so ok, this is getting a little silly so what I'm going to do is I'm going to quit force quit premier and um we'll let that go and then we'll come back to premiere and see if we can reopen that and luckily with a premier creative cloud it opens much faster than older versions which is nice so there we go and now it's thinking about relinking again here um so we see our thumbnails here that's working and there is the new one so that isn't very impressive is a demo? Is it so let's go to our two d that's not so impressive, jeff okay, so here we go hardware and software just you know, sometimes they got a mind of their own let's go to import again here, see if this works there's that composition that just disappears so let's forget the live three d thing right now let's go stay in the two d world with dynamic linking and hopefully the gods will be with us here so people that chat rooms air laughing up they say well there's never any swearing in their cubicle oh yeah well there's there's oftentimes swearing at my home cubicle to nobody else to blame it on there we go okay so now here we go here's the dynamic link again this time I'm going for the two d comp and notice that it lets me just select the cop now if I had content in there I could go and grab different pieces of content as well but we are looking at the cops and conceal ect ok and that's r two d cop going to another way to create a sequence from your clip it's just click and drag it down here to this little um little icon here this little uh let's see if that's no highlights not coming on there okay um see if this does it know that's on alright this little guy down here says new item you just click and drag something over new item it will automatically produce a sequence from that a new sequence from your clip so this clip should go it's just in two d and you can see why I would do that and after effects because this would be a lot harder to try to do in premiere and get the same results unless I had possibly third party plug ins for motion blur and stuff and that that is a fairly easy, easy update. So let's, go back to after effects now, it's actually save our premier project, so maybe that will eliminate some of the other issues we're having. Let's look in r two d file here, ok? I've got a lot of animation going on in here, moving it, scaling it, keeping it all to d as much as I attempted to go into three d and move makes some of these moves, I'm just going to do it this way. So say I wanted to change some of the order of, uh, these items here, I want to zoom toe happen afterward, so grab these key frames for my zoom and I'm going to drag them down here and that could drag all these key frames down here. So I just changed the order in which all these little animation sequences happened. You see in between these key frames, this is thie rotation that goes out and then it comes back. This one is the drop here that slide in and the slide out drop in, and then so there we go, everything comes back to rest in that one place so I've got a little bit of an issue here where I've got a little bit emotion going so what I'll do here's, I know those air eases select both of those key frames hold down that command key or control if you're on a pc, just click the key frame and it gets rid of any interpellation between the two. Um, actually should be exactly the same place, so what I'm going to do is get rid of that key frame. That's why I've got movement grab that key frame copy, then I'm going to go over to his key frames, so I want this key frame to match exactly with the scale key frame, so I come over here to my little carrot on the right, right? Arrow click right? And it snaps right to that key frames I know I'm right on the space, so now I know that I need to paste my previous key frame, so now I should have no movement between those two, that one I want to ease out of, so I'm going to keep from assistant he's he's out uh, this one I want tease in because I'm going to be resting at that space, I'm going to go key frame easy, he's in again, you can learn a lot more about key frames in the after effects for beginners course or the fundamentals aftereffect cc I get in all of that key frame animation so I just made all of this change too uh do a ran preview here quick it's quick so I can look at that I can see ok that's working and that's working that's spinning out spinning back in then it zooms out back in ok, so I just made those changes going to click save come back over to premier fingers crossed everything's inked up right and let's see if it updated automatically yes there's just been outspent back in soon out soon, man so and of course don't have no more animation there I can just trim that down to there I don't have to look at anything more beyond that if I I wanted it to just go away s o that's dynamic linking kind of in a in a nutshell with with aftereffects you make your updates in your aftereffects project they should automatically be updated here and you can see it in that that other production that showed you with the fake news um or even though the informer well, if I was to have that dynamic lincoln going on any of those moving pieces that I had animation, you know, animated sequences done in after effects if I could just link those up, I wouldn't have to render them all out bring them in, you know and replace or sometimes you gotta rev it and rev be well I would typically if I do anything in my work flow if I do anything that I think the client just wants to see what it would look like I duplicate the comp so I would go I would go into after effects and here it's like okay, here's my two d animation client says ok, we'd like that but what if you just did this and it's that were just that gets you every single time so you learn to work with that were just without throwing things or killing anybody and you come over here to your project panel and you do a command d which duplicates it so now you get a one and a two and so what I would do at this point I would rename that so it would be appropriate and say, oh, they just want to see what it would look like if our character was blue instead of green wow ok, so let's do that even though it's an easy thing to fix later I just thought it was a nice quick thing that we could show here, so I've got that uh and either I could do that to the original and then save the original office a copy or I could come over here premier and let's see if this will work for me we'll do an import see if we'll bring that other competition and there it isthe number two right there click ok and there it is actually it looks like it grabbed number two anyway oh you know why because I did a bozo no no I didn't duplicate my text layer I just duplicated the cop so and I actually no I I didn't let's see here no that's not right what I did is I didn't open up the cop after I duplicated it so that's what went wrong okay see live tv folks that stuff happened so let's go to premiere and let's look I actually had changed the original if I look at the number two that's that was supposed to be the original you always bring that in uh so it's next to its we've got blue then we got green or here's another trick I've got this one out here but I want exchange it for this one I just selected here on the timeline hold down my option or all keys click and drag over top and voila it changes it itjust swaps out those two clips in my sequence I didn't have to make an entirely new sequence just cause I have a new clip was added to the sequence or replace what I had so now that have probably totally confused everybody by sky I skip it a step um I I hope that you can see how important dynamic linking is you know, when it's when it's not overly taxing on the computer sometimes the live three d stuff tends to be a just a bit much unless you've got a real powerhouse. So with that said let's, move on. Let me close this project up and get rid of etch and will close this one too. Ok? So now let's, take a look at some stabilizing now, uh, this one lets go into stabilizing first. I've got a couple of clips here. Uh, that I shot in san francisco last week. Let's look at one. Yeah, this is actually a twelve minute clip of the fog coming in one afternoon and and I scrubbed through that and we get kind of that time lapse effect. So I'm going to show that next, but let me show you the stabilizing first this clip here handheld shot it's just me pointing the camera out the hotel window, right? And we all get shots like this, you get a hand held shot with your deal, salar um and to you in that little tiny monitor while you're shooting because you're kind of looking at what you're shooting, not looking at that you're looking at are holding at a steady as you possibly can and you're doing this and I'm probably hit my mic unit sorry audio guys but you're you're trying to stabilize as much as you can you still get this right and you go crap that was the shot I really needed I really need that shot I can't go back didn't have a tripod and have a sandbag didn't have any waited to deal with that what the heck do I do so we can go into after effects here and let me see because I've got one that's already done and one that's not so that's the one that's ok, so we'll take a look here this is the before that's what we want we want that shaky footage give us that shaky footage uh nice thing that we have here in aftereffects have to open up that window because it's not on in here window tracker open up my tracker course I want is much real estate as I can get down here on my timeline so I just grabbed this panel and I bring it up here that way I can see what I'm working with okay, so what this is going to do is stabilize this I'm going to clip I've got my clip selected click warp stabilizer let it go to town so it's working while I do something else if I want I could go on work on a different comp whatever I could go somewhere do something but what it's going to do even in its default is still look at all the pixel data of the motion that's that's in this clip and it will it will stabilize it and also do some kind of lens correction and I believe in this one let me look at this stabilized if I just did that yes there's something here called sub space warp um in this case I don't think I've got a lot of distortion going on, so I'm going to just select position, scale and rotation what that's going to do is look at all the pixel data and it will try to decide ok it's tilting this way it's you know, maybe he's moving in and out a little bit you know are you know you because when your hand holding something, you don't hold it like this, you know, if you're panning across that you know hold it on this great plane you're doing this, you know, and you're crunching up to your body and you're doing that or or you're doing it like this out, which is no words you know, maybe you're trying to get some footage over a over a railing or whatever without dropping your camera, but you aren't standing in three dimensional space so it looks at three dimensional space sometimes if you've got some barrel distortion in your lands or your super wide angle or whatever there's going to be some distortion or you done a little bit this to get some rolling shutter issues uh then the sub space warp will definitely help but in this case it's just a matter of trying to lock down that stabilization so I kept it on smooth motion. I wasn't trying to take a static picture. I wasn't trying to just hold something still and pretend I'm on a tripod and not move the camera that's when you would want to pick no motion at all you don't want any motion you just want it to look like a locked off shot. This one I'm obviously pan it's done analyzing mom sitting there explaining all of this let's take a look and see what it did let it render it's gonna go a little quick there and now it will play back in real time. That is a usable shot I can use that shot. I could use that if I if mount night if I had to because I wanted to that's a great shot, you know that looks like I'm on a tripod. Yeah it's ah it's a nice pan so you saw it before and after and the cool thing is here it is it's an effect I can turn that off, you can see that it's done a little bit of cropping it zoomed in a little bit it's done a little cropping and it's just kind of saved my bacon here I was able to use this shot after all so for general stabilization he just can't beat the warp stabilizer it's also in effect and premiere so let me open up premiere and show you how that same process works there all right? And oh, come on premier open up all that's happens go ahead and close quit after effects and say ok, we're going to go with a new project yeah that's okay, just let it go toe entitled and open up I'm going to import that same clip in here and that was twelve import ok one thing to know in premiere um you have you can't do work stabilization to a clip that's in a sequence that isn't the exact same dimensions of the clip it will give an error saying no you can't do that it must be the same dimensions of the clip so what do we do? We we create a new new new sequence from this clip I'm just get click and drag it here create a new sequence there we go so there's my sequence with my shaky footage and come in here hit over out because I fight on this play and I wanted to render just that okay, so now I've got this clip selected here I come into my effects panel and I know it's a video effect but I'm not sure under what category it is so I could just do a quick search here I know work there it is warped stabilizer and I just double click that and it starts applying it right away to my clip so again it's an effect so I come up to my fact controls and I've got all the same settings that I had in after effects so instead of subspace work just do the position skilled rotation on this please everything else I'm leaving a default because that worked you know I could go in I could say make it smoother I could go to some of my advanced features and do detailed analysis and really drill down is toe yeah, I got really bad footage or if I do have distortion you go in there and tweak it a little more so this is analyzing and because our windows a little tight here let's look here it's almost done already it's only got a few seconds left and it'll be done and will be able to play it back so now stabilizing it's done analyzing ok, so let's look at it full screen and it's kind of rendering here a bit if I did uh render into out might be a little bit it's kind like doing our ran preview except in premiere and let that let that go through it'll be a lot smoother so that that effect alone is similar to the effect in at perfects and it's great to have that here so you don't have to bounce back and forth but with a dynamic link I could dynamic like bring that copy in from aftereffects if I had been working on it they're already I wouldn't have to reinvent the wheel start all over here and I wouldn't have to just um render it out and then bring it in I mean there's a lot of ways to work just depends on how you're comfortable working if you're working with a group of people or even by yourself sometimes you'll render something throw it in a in a folder go out later I'm going to need to edit this so I don't want to deal with dynamic linking maybe I'll keep that on another hard drive or whatever another clients project I just want that one part of it maybe I'll render it out and re purpose that in this project so there's a lot of reasons why you'd still want to render something to so you could see the same result nice steady clean uh wonderful stabilized footage there. Okay. All right, so what about time let's look at re timing things and just get a quick questions yeah let's do that while we're launching aftereffects right in the studio great how much going to do? I just shot a bunch in a caryn arlinda show how scary it was a drive one and there's quite a bit of motion I mean, how much can it take out couldn't handle that fact this kind of going up and down oh, I think it would handle it quite nicely actually it's one thing you'll notice though if you're trying to stabilize something ah that's got a lot of motion you get you're introducing motion blur with a camera of course, especially for shooting a lower frame rates twenty four frames you see a lot more and people do that on purpose to get natural motion blur of things moving because it's more film like we're used to seeing that motion blur um if you go to my blogged, you'll see what I thought about the hobbit shot in high frame rate I'm not a fan of it, but I'm also I also don't play video games so I'm not used to that lack of motion blur in things moving some people's eyes they're used to because they play a lot of video games or they just think, oh, I could see with so much more detail in it because there's you know there's not as much well even though they introduced depth of field they still didn't quite have it because the high frame rate in that movie so I go into more detail off my blog's he can check that out but the problem is the lower frame rates you get a lot more motion blur the problem with that is when you try to lock something off or you try to stabilize it things stop moving really crazy on your screen, you know? So if I'm driving down the road and I see you know, trees and cars and other things are moving crazy on the scene because the car the camera's going or the car's going to bounce and then I start trying to stabilize that it will stabilize it but then you start things seeing things coming in and out of blur and you don't know why it's a freaky effect so you know something where you know your your camera moves like this where the car bounces and you do this in the car in front of you may have some motion blur in, so if you've got a lot of motion blur and the objects around you that you're trying to stabilize just know that when you lock those down and they quit moving, they're going to go in and out of blur by by default so that's the only issue it will lock it down but it may be a freaky effect is there's some intermediate sure you just do less you know I let a default at fifty percent of the smoothing if it seemed like that was too much, I just crank that down a little bit and allow some of that rocking. So then it's just a gentle rocking instead of a jarring it's all adjustable it's wonderful that it does that, but it will do that. I've taken some gopro footage that I've had, you know, in a car, other things is just I mean, just doesn't amazing job. The problem is, the more shaking you do and the more you trying to lock it down, the more it's going to crop because that's that's the problem with it if I may reopen this project, uh, stabilized project, let me show you that one thing in here um, my stabilize footage if I see it wrong, one next thing we're gonna show, um, if I have this stabilized, ok, but I don't select this option here where it says stabilized crop and auto scale that's what's going on when we see that going to see it kind of zooms in, it does that if I just turn that to stabilize only then I'm going to see the edges come in, so let me go to fit, so we get it the full frame and play this back for you let that render out, I'm just stabilizing, I'm not cropping and scaling what you're seeing here are the edges of the original video showing up and see how much it's stabilizing just to get the quality of the center of the image to show up. So when you're doing that, if you're in a car and you're doing this, you're going to see a lot more of the edge creep in. But if I choose to stabilize crop on auto scale it's going to do that it's going to crop it and scale in so you don't see any black edges. One other thing that it tries to do stabilize and synthesize edges that doesn't crop or re scale, but it tries to do like an auto fill like an omb. Uh, like in photo shop, you've got your your you auto, auto fill with your image kind of tries to clone, but see, we've got that working along the sky there it's not quite handling it well, um, even those handling the sides fairly well, well, it looks pretty good there might get a little wonky here toward the end, but we see up at the top and I don't know why it's not really adjusting for that, I probably have to still scale it to crop it anyway, that sometimes works most of the time I leave that off, I'll just let it crop in auto scale if it's too insane, then obviously you dial it back yes, if I this one I've got seventy percent smooth this what if I only went to twenty five percent? Let it do that stabilize this we may introduce some of the hand motion but it'll be less and then if I turn off my cropping I just go to stabilize only we can see how much it actually did that let it do ran preview and so it's not moving quite a cz much as it did on the edges here but still pretty darn stable down here so let's go to like ten percent and see what happens and it's pretty quick actually when you think about the math involved here it's pretty darn quick we go let's do another ran preview so you can see there's a little bit of rocking motion especially toward the end when it rotates it was a little bit of movement they're distracted by these edges right now so let me go back tio two cropping stabilize crop auto scale and that way I'm not distracted by the edges we only see the motion this's only ten percent smoothness sowing seeds I'm still a little bit of there's just a little bit of rocking in there but it's not bad, so if you're in a car something a lot of things are moving it's going to affect it? Yes so you said, uh it was basically a workflow preference is to whether or not you do the stabilizing and after effects or in premier are there any technical advantages to one or the other no it's the same plug in I mean that's that's that's the beauty of it because it is an effect it's using the exact same effects engine in both programs it's an adobe thing if his third party you might wonder or if it was a process that involved several planes maybe it was partial the aftereffects engine and in effect over it or vice versa the the effect in premier or whatever but it is an actual bonified adobe plug in so that technology is exactly the same between the two I have not seen any difference at all and I haven't done a speed test to see which one renders faster either because I think it's the same plug in on the same engine my my guess is that it's probably exactly the same, so I've not seen any difference between the two. The only reason why I might do it here again is if I wanted to just handle all of that rendered off leave it for somebody else to pass off they don't have to dine dynamic link or I may use it in a couple different projects, so then I got my rendered stabilized original footage you know that's all part of you part of your production process to you get your b roll in for project you want to determine what all your b roll is there's a whole work flow with that with pre lewd or you know whatever you're using I'm playing this bulletproof right now from red giant I think it's great for dslr shooters because right now it's it's optimized for for programs or h dot two six four so gopro's new icons cannons it supports all their files but it's just a really easy it's an easy work flow to get through that bulletproof but party your workflow is sometimes you wantto pre color correct if it's all b roll sometimes you want to stabilize you get all that footage that way when you cut it all together and editing you're not having to go back and do that to every little clip you know if you know I'm going to use this clip of me is this much of it I'm giving myself some handles edit then I may go ahead and do it all in in after effects it just depends on the content how it's being used so it's never a dead set uh production work flow so other things that you may want to do like I showed you the clip that that is the fog rolling in and it's like twelve minutes long um khun scrubbed through it but say I want tio escape for that so here's my clip here and I've already re timed it here so let's return it back to normal here time stretch we'll go back out to one hundred percent yes just a little over eleven minutes but my comp is only fifteen seconds so I'm not going to get a whole lot of footage if I play that through and it's going through that plus I wanted that time lapse effect right so I only wanted this thing to be you know, four five seconds long so I just right click on it go to time in a time stretch and I can type in my drag my percentage typing my percentages go down drag it that way or I could just come in here and select this and say uh oh five oh that's five seconds actually give me like six and a half seconds it may be a different frame rate let me see but anyway well play this back and see it still should work go so there's our simulated time lapse I guess it's not really simulated it's it's taking multiple frames and speed them up but if I had an interval ometer with me you know I would have probably done that but I just wanted to see I wanted to capture that because it was happening right there is his perfectly blue sky afternoon is about four thirty five o'clock and I'm hanging quash the fog didn't roll in today what a great day it's going to stay clear and then I started seeing these guys creeping in here and just goingto no here it comes so that I just set the camera up and just let it roll on dh it almost went to the point of timing out twelve minutes I think is the max on a dslr so I just let it run I've got that still cool so yeah that's some that's being able to do that another that same process is a little different and premiere so we go to premier let's bring in that file as well it's important and that's ten import just get dragged this to my timeline here I think all right so in here uh I right click on the clip and go to speed, duration and that's how you bring this up same thing here five so you know for some reasons it's maxes out a thousand percent that's where my that's why I'm a little over that so you can't go overto actually ten thousand ten thousand percent increase in speed so you can't go over that apparently that is our limit so now can drag out my play back here I shall start our end point there why not don't have to look at the stabilizer let me do a render into out so I can play back quickly should be pretty quick ok, and there we go, same effect, same type of thing, little different process, but it does exactly the same thing, so and again, I could dynamic link my aftereffects, bring that in there, and I wouldn't be applying the effects at all here, so okay, and there's, I go into a lot more detail of tracking and stabilizing in my after effects fundamentals class, too, says gettinto, using mocha and all different kinds of motion tracking and stuff, too, which is really cool. Got a question. If you bring in the cliff from after effects, can you then change it and primarily come backto after effects to change it assed faras timing or yeah, well, the time india, you can change anything, uh, with time, and you can speed it up, slow it down because then it's just going back and see their going toe. If you've got something that has been that has been rendered fast like that, and I go to speed it up, I'm adding more frames in there, and that may introduce a little choppiness when it's slowing it down. Um, typically when you've got within with frame rates is is if you compress if you compress everything you want to speed things up that's pretty easy to do regardless if you want that effect you know sometimes if you get people involved or whatever it's going to be kind of a keystone cops type of thing you know it's called the silent movie um but going the other way to slow down you need more frames and that's when I'll shoot higher frame rates all shoot sixty p or whatever because I want to slow something down and make it smooth and that's that's really important I'm actually I'm going to show that you have got a couple examples of that before I move on so before we move on from the re timing thing let me go and close this here because the project and don't need to say that um they close this one too now I don't have the projects for for these examples I'm just going to show you what they our because my last example today I'm going to come back and revisit re timing with a project that I do have uh this is shot with a gopro at two hundred forty frames per second and I've gone in and re mapped some of that footage and I had a sound track with it it was some dub step soundtrack but I couldn't use it because I didn't have licensing rights so this is sands audio but ah lot of video you see these days especially if there's dub step involved they got that dirty drop that happens, you know is this everything builds up really fast and that's this hyper flop flop flop sounding so that just like gets you and that's usually when they're like do this like freeze time and so this is typically how they'll do it if they're using live video footage obviously something much more interesting than cars going by on the street but you'll get the idea here so this is just shot two hundred forty frames a second then slowed way down but notice the detail here I have no motion blur it all in here and the detail of the wheels turning you know, that's how they achieve that they shoot at high frame rates and then play back and do that re timing thing I got another car coming a couple cars coming in here this one comes by phone and that's when that yeah, you time it with the music to happen so you see that lot in car commercials, music videos, things like that that re timing thing that occurs and you can really slow that down normally those wheels would be all blurred, they'd just be round blurs and you'd get nothing from it, so I've got another project here that I did um this is with a gopro on a phantom quadcopter and were just out playing with the horse one day she's kind of muddy and dirty that's with the winner this last winter and we're playing with her out there with it and she loves it because she likes to chase it and play with it. So I kind of made this little video up with it and you'll see we do a bunch of that re timing effect in here um and have a lot of fun with it. So thiss ones shot one hundred twenty frames per second so little higher resolution. Yes, yeah, his helicopter that's, right, he's learning he is learning he actually lost it out to sea last for, like, a week or so ago. Getting killer shots of the surfers get appear is gone. Yeah, he's on copter number two. Yeah, they did. I try to keep mine over land, so when it crashes, I can at least get my footage back. I think not from underwater, they don't okay, you need to control it, but I love how that slows down the motion. I think I brought this back down to twenty four p in twenty four frames per second in places where I wanted that more extreme so emotion effect on dh thing, then speeded up to normal speed in places she takes off so looking through this, obviously I've got it's speeding up and slowing down throughout the whole thing you can go see this on my youtube channel p excel painter I've got that video up there too you confined it well, I've got another real world project to show you here and this one was a little more complex. It was a lot of layers of a lot of elements and I was challenged with a, uh production to do with a team of designers. Ah to remap some areas for stanford university hospital they wanted to show people how to get into the hospital with all the new construction going on they've got one way streets that got all this construction traffic they have to navigate that and people couldn't figure out how to get from the freeways to the different facility side to make four different videos two of them from two different freeways to get into one part of the medical center and the other to go to the hospital. So let me show you the final one first and then I'll show you the process kind of like I did with the other project before, so this one goes to the one clinic he says the directions to the blake wilbur clinic, amc cancer center and the ambulatory surgery center from the u s one o one freeway way from u s highway one o one north or south take the embarcadero road exit west stay on embarcadero road for two miles then across el camino real straight ahead on to gather street be sure to stay in the right hand lane via right at the y onto arboretum road stay on arboretum road for approximately a half mile and then turn left on quarry road in two blocks he will turn right it welch road where the construction has begun turn right onto welsh road note that welch road is currently one way only please pay attention to pedestrian crossings and construction flagman be surprised how important that is to tell people no I just run him over turn left into the new blake wilbur drive please know that there is no self parking available at this destination pull ahead toward the entrance and follow around the circle drive to the valet parking area where an attendant will assist you okay there so many layers to this thing even though it looks all nice and simple and we've got the nice soft music to it which is what you want you want a nice production at the end it's like people go I I know what to do now I can just drive their funny comment I got from my dad actually says how can I watch that while I'm driving you know dad you want your first and then you go you don't want it playing on your dash ford, you know so yeah, it was great, I hope he's not watching right now he'll be embarrassed. Um, so it was, but it cracks me up because I'm I'm used to using gps I rely on my iphone and gps so much more than I really should, and once in a while it gets me off, but most of the time it's pretty dead on, which helps, but it doesn't help in in this city case because the data they have is all pre construction, so they want you to go directly in the middle of the construction site and you can get there and that's why people get confused so you have to have something like this. So what the client wanted was something like this, basically, that gave them a visual guide that was narrated that had so many layers of of explanation to it. So we've got the map going on here we go through here, we script here we see the map, I'm scrubbing away too fast here, so we see the map, it draws out the track, the path and how it gets in there. So we've got that portion of it and it shows you clearly some people that's enough, ok, I turn after turn right turn left turn left, okay, that I know what I'm doing and they're good good to go they're gone other people they want that I want the step by step okay, now I'm going to write down this I go straight and you know, some people want those kind of direction it's because he can't rely on google maps or anything to deal with a situation where they're routing traffic a certain way for a special event or for a special period of time like this um so that's another way and then of course we've got the written instructions down below so, so many ways to guide people in and we've gotten so much feedback on these videos like oh my gosh, I love it I used those videos to get to the hospital it's been great but production quality wise we have to look at things in all the things I had to deal with. There was so much work to this project this took me wow, we were able to cram this thing together for four different videos I think we got it done in less than a month but it was s so much planning replanning reshooting re whatever the first time I went out to shoot some tests, came back and did things to it and we knew what we needed to do to fix it then I went out for a full day of shooting, driving all of these loops around time and time again I just stuck the gopro to the roof of my car, and it was it was pretty crazy. So, um, let me see that's that project there. Which one I've got in here. So I think this wass yeah, that's, raw gopro footage right there and notice there's a phenomenon here for one thing, everything's really clear. You watch that for too long you're going to start getting motion sickness, and people don't want that, um, the reasons being here, relax, let me actually open it's to just do a preview there. So a couple things are going on here that air inherent with this frame, ray, I believe by shooting thirty on this, I can't remember if I shoot, I may be thirty or sixty. I can't recall maybe I went sixty on this. It seems pretty high. Um, that maybe thirty, but two things with the go pro gopro's great, unless you're driving, when you're driving, something happens that makes it look like you're going much faster than you are, that scares people, and it also gives a little motion sickness because look, even out here on the sides, everything's in focus here, you're drawn to the stuff that's moving off to the sides here, so instead of being focused ahead, you're looking at all the things that air clear around you because when you're driving you see peripheral vision but you're not really focused on what's going on out here you just see it moving, you see there's objects you get a sense of three d space, you know what's happening you see a car coming at you you get turn your head and look at it go car coming and especially feel like me wearing glasses you don't you know you don't really see anything to focus outside your range of glasses anyway um so that was a problem. Another problem is the issue of yes is totally uncut here um look what happens to be back up just a little till okay waiting through that stoplight um, look what's happening to the light poles and the signals and everything they're all bending in, I had to do a ah frame distortion on those and actually correct that do that correction. Another thing I had to do was real smart motion blur again to add to this so that while I'm going down the road yeah, I'm moving in a certain direction here I'm moving forward, those pixels air moving, they're automatically blurring just a little bit, but I needed mohr of a range of blur, so my options were to either, uh, try to do a mask and do a vignette it blur or let's stuff naturally blur and so I try the real smart motion blur I cranked it up a lot and the stuff that moves the fastest blurs the most and that's how I was able to handle that. So what we ended up with was a lot better footage. So, um, this one here that's the whole project I want to show you just the footage with the blur. Maybe I could find that from within this a piece of me open up the project and see where my blur is here. There we go. So in this case, I've got, um, this one I kind of went back and read it because I didn't have really smart motion blur, but this is where pixel motion blur pixel motion blur in after effects does the same thing to my video footage, so I've got my effect here, let me turn that off for a minute and this sign here will show you. Um look at this. No u turn sign ups back up just a little. There we go right there. There's no u turn sign now. That's clear and that's coming by you, you know, fast and with the go pro, even though I've cropped in, I cropped a bit too because a gopro is pretty wide, so I cropped in a bit and since this is seven twenty and I shot it a ten, eighty I had room to crop without losing any resolution so that worked out really well here. Um so that takes care some of what's going on around the sides I've already er done the lens distortion correction that's just a filter in after effects as well, but now I have to add some motion blur so let me actually turn that off, get rid of the motion blur and we'll just add it so I come up here to effect time don't ask me why they put this in time they have the reasoning I know, but to me it should be in the blur's, but we're both maybe they should put in both places I don't know so anyway here's our pixel motion blur and I just applied it and turn it on and off we see that it's blurring the sign because it's moving really fast but it's not blurring much of anything else a little bit over here in the trees you see that blur um groups wrong thing and then I'm blurring a little bit off to the sides here these cars, maybe they'll blur a little bit if I look here, just look at one frame you can see tell a story what's going on so the things that should blur are blurring because I want my peripheral vision to blur out a little bit I want to stay focused on the road ademi just like I'm driving and so really what they wanted for their effect was to kind of be like the street view and google maps except your movie and that's what we tried to mimic and then we added in all the three d graphics and on and everything is well but it was this blurring here you have some control over it so I can let's go to one hundred percent here so I can really look at this sign and we could see the okay I've got some artifacts going on in here it's still works it'll still still function as I wanted to let me just look at rendering just a little bit here just a few frames so while that surrendering weaken see what's actually blurring at that rate and um the fact is I am not one hundred percent I want that full full resolution so we'll let that render for just a bit but what I want what I wanted to do is to blur without being obvious that I've got any kind of shuttering their stuttering or anything going on so if I really want to smooth out this blur I'm goingto add more shutter samples to it and what that means is how many it orations of that blurring is happening right now. It's said that the default of five and uh we'll just take a look at that real quick here and the sea many seconds to have rendered so far so we're looking at one hundred percent we're actually looking off center we're not looking at the centre of the road here so the stuff that should be blurring is pretty much predominant in our view um I scoot over here that's our road um if we're looking at that and we see the road ahead of us is more that's more natural look and feel now I could have probably stabilized this a little more used a little more work stabilizer and things like that but it didn't seem that necessary toe over process that much footage remember we had some of this is repurposed twice so once is to go from this freeway to the center and another one is from this freeway to the hospital which is the other side of the campus so we repurposed all the video footage up to that point but I had to drive around like I said I took me three days of constant driving the loop to get enough content because things had happened people pull out front and somebody slam on the brakes or somebody would drive crazy or I'd run a stop sign because I going real slow and steady and looking for people ran a stop sign that got you got you can't you can show that it was like oh darn, I got to go back and reshoot that so things like that happen and so you just have to edit of altogether eso backto are stops are you turn sign here let's go back up here and look at our u turn sign and it's right here in you don't go too far no, come up just a little more there we go so you can see some vertical edges here in the sign post the edges the sign if I take shutter samples I go up to ten then you see that smooths out now it looks a little smoother a little more blur so the more that you need things to blur, the more it orations or shutter samples you need. Now I can crank up the shutter angle that's a goto three hundred and that's going to blur a broader range of things and really blur. Thanks so that's going to make things blur a lot more so that the higher your shutter angle the more shutter samples you have, the more blurring that takes place but that's a built in feature that's new in creative cloud I thought it was worth showing that, uh and how that worked so well a couple other items is here that I had tio work on um this map was drawn by a colleague of mine um and she was part of the project. She did a whole bunch of the print materials that they needed. And so this map came in handy because this was so different, so new to people because there's a whole new way to get into that part of the hospital, they used to come in from a totally different direction, and they built this little piece of road here just for this. Um, in fact, it wasn't it wasn't done. I had to go out there on my third day of shooting to pick up some stuff, some other pickup shot some some bigger camera shots with the guy getting in and out of the car and also to get just that this road, because that road was closed every time I went out there and they wouldn't reopen it and I call and schedule hey, can you make sure that roads open just for I just need ten minutes, okay, sure, and it wouldn't happen, and so we finally got out there on a day it's like, ok, good, they're going to the construction guys to get to get out of your way. You could just drive into that road and we just it was crazy just trying to time that so I had to edit that in. To the video clip to because I couldn't just like drive down the road and turn in there I had actually back out of the driveway that a flagman stopping traffic while I do that backed out and then I pulled in and that's how I got that shot and then and so we need something to fill that up we need to really make this map clear so we built this map in three d well, I use their graphics and then I added added my own three d graphics and in there and just this one little segment but it helps tell the story of what you're supposed to do and again you couldn't get to clear for people you know, because the general public has a lot of different needs people understand things differently some want to just read the directions some want to see a map some of them want to see going down the road we tried to cover all our bases so we couldn't get any more clear um the map itself I've got in three d here let me go back out where we see the whole thing and let's go toe half rose here and then render that out real quick now I've got a lot of things going on here I've got the camera zooming in on it that's really the only three d object um that's moving in there uh I've made a mask for the line um with the pointer is its own piece here that's the little pointer the that little guy that's its own layer the red pin is its own layer um and then of course I got all the different hospital routes in there too so the route that we're looking at here is this one I believe because that's our map yep that's our map and so yeah this is a good play good way to see it so as that pin is moving let's come back there we go see the mask that I made all I'm doing is I've got a graphic with the whole line in there and I just make the mask move and follow the pin so what I had to do here is time that to the video so I actually rendered that out and then re timed it slowed it down and sped it up to match the video so that it goes fast and then it it slows down so if we just render that part of it we'll see that so as it's as it's moving along so that is another graphic element that we did here's the overlays of you see this one is one time in and think that maybe the main one is in here okay yes looking for that map which is disappearing off here I got to turn that back on again nested faint so anything you do in the route gives us, you know, amplified through all of the nested pieces. So there it is. This one I wanted to show where our map is here and that's, right down here. We see which layer lots of layers in here. There's. A lot of this has done right in after effects. In this case, I did so much in after effects I pretty much did. Most of the entire project was done inside after effects. And I used premier att the end to edit pieces together at video. And then there was a couple signs or something they wanted again. And I thought to be quicker to throw in something at the end in premier that would be to go back in a rear ender, everything and after effects. So, um, yeah, I painted myself in a corner a little bit there by doing relying so much on after fixed. But I had to use the voice over in the end, everything for timing. So I really you can see how many. I got forty four layers in this one aftereffects project just to get this thing completed. Oh, another thing I had to do with the license plates. They said, oh, you got a blur out the license plates, so I had tio go in and blur the license plates that may have been a third project where I just went in did attract matt I'm asked the license plates that showed up had to look at every single clip where do license plates show up and I'd have to track and blur just that little item and then have it track it all along so that was another layer that had to be worked on um so going out to premiere ah here's my premier rude and open open open all right, look at all this stuff can't find um let's see if it will just find one because I think it may be looking for a different hard drive so we gotta locate okay? Okay, we'll just offline and all those air just temp files so I don't need that so we'll skip those skip all here we go. So here is my my project from premier notice I've got some audio down here that's all the voiceover cut up into pieces so I had all of the different directions all recorded voice over added all of those little audio clips in time him along the way here on then I've got the music bed down here is well, now the things that I added in in the beginning was this slide here I've had to add in this little transition here for that um I think that because if you look I think that might have been the stop sign that I rolled through and they just didn't want to encourage people plus it was excuse me it was a point where in the past people would go straight here and then go turn right up somewhere else so we really wanted to make this turn predominant and part of that was adding this one way in there because at that time it had just become a one way street so you've got to be very, very very clear with all of this now something to notice here at the end um let me bring this up a bit here and raise so let's bring this up okay? Notices this guy comes out from the valet remember this was shot on different days this was the gopro mounted to the roof of my car I've got a f j crew's there's a truck couldn't use it in the video but it was what I use I wanted to get a higher sense it's up there it wasn't too low to the ground want to get a higher point of view so is the roof of my truck I come in and he's walking out here different day different guy comes around to the car but he's close enough least he's wearing a shirt and he's got a short hair but that was shot totally different camera tio using a using my e x three on a tripod behind a fountain to get this shot and so much traffic coming and going there, we actually had to stop traffic have somebody come in with their car so we could stage this. This all had to be planned and staged, and it was quite an ordeal I was I felt like I was in hollywood again, so and then our outro there, so we had to do that twice. We had to do it for that, that setting and then of course, the hospital too. There was a couple different things here, um, where we had to go through and show you that. So this we went past the point that we stopped at for the other videos, I'm going to just play it through from that point, and then you'll see what the difference was. Same freeway seems footage used up to this point, and then we go past where we turn to before and on to the hospital stay an arboretum road for approximately three quarters of a mile, thea other one you would turn there, so obviously we had to make it very obvious you don't turn there and then turn left on sand hill road, turn left on past your drive cross well for visitor parking, take your first left to the underground visitor parking garage, still under construction for valet service stay on past your drive all the way to the end and pull up to the front of the valley area where an attendant will assist you way different guys do different days so a couple things with this one production why production notes here months back there go on right in here when I have to go to the parking garage that was closed again like the other road was closed on a different day nice bright, sunny day this time the next time I went out it was cloudy I had to fake in the sky just so it wasn't a jarring difference in color temperature so it's just a blue some blue filtering going on up there masked and and so that was a fake that we had to do and then here at the end I can't tell you how many times I drove around there and there would be you know the fedex truck could be in the way and of course there's no place just pull over and just do a loop you have to do it big loop I drove through there probably forty fifty times before we got it timed where the valet guy was waiting for me to show up in walk out in front of the car because there's times like all great I see my opportunity I can now pull up in front of the hospital is nobody there I can pull up and they'll come out or I'll be there and I'm like honking my get out here, you know, they're supposed to just walk out of the way for me. So timing, all of that was just in saying, is it's a open, functional facility, right? So I finally got this point where I got the guy waiting for me, I could pull up and he came out thankfully then, of course, another day we had the director was out there helping us and directing this another thing, like the license plates, we had to blur out all non employees, eso non employee faces had to get blurred that were recognizable on all of that. So, you know, everybody else they're either employees that they just weren't recognizable. So those are all elements, the deal into something that's, public. I mean, this is on the stanford hospital website. You can go see the videos there, but that's, that's all the different layers of what you have to consider going into a big production like that. It's. Not really a big production on the end. It's, like I was just a little movie, right? But it is a big production to get it to that point.

Class Description

Collaborate with your creative team using After Effects and Premier Pro CC. The dynamic linking capabilities of After Effects & Premiere Pro CC makes video post-production more streamlined and easier to manage. In this class, Jeff Foster demonstrates how you can use these two programs to make the post process more collaborative and manageable.

Software Used: Adobe After Effects CC (12.0), Adobe Premiere Pro CC 2013