Skip to main content

Final Cut Pro X Bootcamp

Lesson 19 of 39

Working with Photos and Graphics: Ken Burns Effect

 

Final Cut Pro X Bootcamp

Lesson 19 of 39

Working with Photos and Graphics: Ken Burns Effect

 

Lesson Info

Working with Photos and Graphics: Ken Burns Effect

the next one is the Ken Burns. When you do the Ken Burns and this is fun, we're starting to animate. At this point. I see two bounding boxes. One green, one red green is go read a stop. Okay, so what I want to do is I want to draw a box around where I want the image to start when we come to it. And then I'm going to take the red box and I'm gonna put that will where I want the image at the end of the move. And then if I go ahead and I hit the little play button, which is up here, I can see the animation, which is pretty quick because the animation is determined by the length of the clip. OK, it's going to start the beginning finished then. If I wanted to be slower, I could either make the move a little more gentle or I could extend the duration of the clip next to the play button. There's another button, which allows you to swap the start and the finish boxes. So instead of moving away from her now when I hit play, it moves across. You'll see it's a little jumpy. It's because I'm reall...

y pushing this computer. So there's something called rendering rendering. Uh, and you can have this set up to do it in the background so you don't have to physically say render. But what it does is it figures out the math behind the scenes. So when you hit the place of the space bar, it plays nice and smooth because right now is trying to calculate 6000 by 4000 pixels, moving at 30 frames a second while doing a crop on the slow machine. Therefore, it's getting a little tired. So what rendering does it says? Okay, I'm going to look at this, calculate exactly what's gonna happen and save that information. So when Abu Places presses the play button, it'll play nice and smooth. Okay, that's what rendering to create another file toe. Look at and you'll use rendering. Sometimes when you're putting an animation together, when you're putting a filter on something or multiple filters, if it's too much for the computer to handle and playback smoothly, you may need to render the other option you have, and this will very again upon the computer what you need to Dio is in the view area where we switched earlier, you saw the proxy versus optimized. There's also an option between better quality playback, where it's trying to keep it really, really sharp versus better performance. So if you don't want to go through rendering, you're just kind of playing around getting a feel for things. But you're not happy with it being a little bit, uh, jumpy. You go ahead and I switch to better, um, playback. You see, that was a little bit smoother, so I'm happy with that. I can go ahead and hit done, and I don't keep editing. Since I brought rendering up and I'll bring it up again. I want to go and tell you how you can control when it chooses to render in the background again. We go to the preferences. The preferences will always be located underneath the name of the application under final cut. And if you go here, these Onley a few options, you'll see that you have a choice when the rendering actually starts its under general. There we go, and here I am trying to remember which window was moved into. I change it once. I've never changed it again. Here we go. It's under playback, and it is set to start rendering after 1/3 of a second of of no, um, no movement of your cursor. Personally, I think that's a little bit quick. I'm still thinking 1/3 of a second. I don't even think that's the default. I thought default was five seconds, but I usually make it about a minute or two, maybe 120 seconds. Because if I haven't touched something for a couple of minutes, okay, start rendering in the background. It's gonna be creating new files, and so you could actually choose not to have it render into you, force it, surrender to you choose it from the menu because maybe you're on a computer on your laptop. You don't have a lot of space, and you don't want it to create all these files in the background. Um, so you might turn it off as a matter fact. When I'm on a laptop, I usually do turn it off, and I only render when I need to see something. If it's stutters now, I'm using a five year old apple McIntosh. It didn't really study that bad so think that if you have a newer computer, you really don't have to deal with a lot of this rendering issues that people used to deal with with, um, legacy editing programs. So I could go ahead. I could turn that off clothes that not a big deal. And then if I did need to see it render because we're also in addition to the move, I put a dissolve in. I could go up here if you would. Can't find just type and render you go render selection. Okay, there's gonna be real tough question. See if you're with me, what do you think the keyboard shortcut is to render? And it's not a sure question, because I have an open right here. Okay, who's wearing the hat? If you were in the hat, you're in control. Control are for render. Okay, So that way you could just render whatever you have selected want to render the whole timeline you can do shift control are usually they try to do a modifier key and an additional one that's very similar. And we'll look a little bit at the keyboard shortcuts how you can find them and do it But if I wanted to see that, I would simply selected or hit. Control are. And it's gonna now render what it needs to in the background and should play back just fine to the other. Still. So that's the idea of the Ken Burns effect. It's really easy. Its great on the big image. If I wanted to do it on this one, let's just go ahead and and leverage that activated Ken Burns. So I see this as being full is in back a little bit. Think my problem is I grew this I should have. Should have fixed my transform first before I thought of doing that. Oh, yeah, and zoom back. So there we go. Ken Burns. Zoom back there is my framing a little bit crazy? They're strong. Do the whole image. Guess I need to go back even a little further. I think I confused it. I think I'd beat the system. I'm gonna go ahead and reset this because it's trying to crop it the wrong way for the Ken Burns effect. I did something. I'm not gonna blame it on the application. I bet I did something absolutely crazy. Let's me go ahead. Select my clip. And this is a great little thing. Lots little secrets here under file at it. I can go ahead and remove my effects and remove my attributes. OK, so that took everything off and let's go ahead and bring our view back to where it should be. I make all these mistakes intentionally to make you feel better. And I'm successful at Okay, there's the image I want to do. The Ken Burns effect. I go over, select the drop down. Ken Burns is under crop. Choose it. I now can go here and I can say I want to start at her feet. I want to end at her face. I wanted to zoom in just a little bit, okay? And then let me look and see what the playback looks like. I like the move. I wanted to be a little slower. Well, it's the duration of the clip. If I stretched the clip longer than I have more time to get from the first point to the second point again, Poly would need to render, But it's pretty slick isn't Yeah, I'm happy with it. I'm gonna hit done and I move on to the next clip. So that's how you would use the Ken Burns effect to animate still images. And you can do the same thing within video. Okay, So just to prove to you can do it within video. I'm going to open a video clip and bring it into our sequence. Now, I've mentioned before that some of the footage I shot I shot it at ultra high definition four K, which is the new flavor. HD is nothing anymore. Okay, now everything is four k. So if you shoot a four K and you're delivering just a high def, you have four times the area to zoom in and pan and what not, which is why I like to do it allows me to reframe after the fact. So I'm gonna go ahead and I actually was clever that I made a keyword of everything. That's four K. OK, so this is theoretically four K, but let me pick up something that's more stay. I'm going pick up something where I don't move the camera. This is a stabilized, but we're gonna go ahead and we're gonna use this anyway. Even though it's a little bit shaky, we're gonna learn how to stabilize an image like this food onto my timeline. Let's go ahead and close this window. So I have this zoom. My muscles hurt after I worked with her. Okay, So barring the fact that it's a little shaky, what I want to do is I want to go ahead and do that same kind of Ken Burns effect. Click on this. Choose crop. Ken Burns. See my two windows. Okay, I'm going to start here, and I'm going to go into a close up. Let me start wider. It'll be the duration of this clip. This clip could be a little bit long. I didn't even market in or an out point. Yeah. We're not going to use that whole clip. Just go ahead. Will trim that on that side. Will trim it on this side. Let the camera get stable. There we go. And now we'll go ahead. And will that play? And I'm doing a push that wasn't in the camera. Okay, I have a better example for this. The interview shot. We're going to go to any of the interview stuff. Boom Interview. I have some four k interview. It's from the show gun. So I have this nice wide shot. Here, let me pick a nice small clip of it. How can I pick a nice small clip? I could go ahead and market in point. I can pick an outpoint. Has to be the duration. I can drag it down. So there it is. We have this wide shot she's talking while she's talking. When it be great, if I could reframe and zoom in as she's getting more excited once again, I can switch over to the Ken Burns effect. Make sure that selected I start off. This is a lot of resolution, and I'm not gonna get a softer image as I push in matter. Fact. I'm gonna do a little cropping over here and now it's pretty slow. And, you know, I did something wrong here. It's going backwards, it zooming out. So let me make it shorter. Let me hit that swap button and let's see this in action, some during nice, slow camera move. One thing you'll see and it's hard to see here is because I switch from, uh, the playback style from best picture, basically to smoother playback. When I'm watching it, it does look a little soft until I render it. But as soon as I stopped, I see it a full resolution. If I exported. I do not have to render it. It does it automatically. So the render is just a convenience. If I want to see it, a full resolution wall I'm editing, Okay? It never will put out anything at low resolution because there will always render in the background if it hasn't on export. Okay, so that's pretty cool. You could do this on other images to you. Just if it's the same size to start within, you zoom, and it's going to get a little bit softer. OK, but if you start off with something really sharp, that's good. A couple of other things that we can work with with an image I'm gonna go back to Stills is in addition, I'm gonna make this. Let's get rid of this effect. We're gonna go ahead and do a reset on this and you'll notice right here. There's my reset button. It's in the Ken Burns thing. There's my German crop and just go ahead. Boom. It's back to normal. We get this dissolve out of there So I have this image and another option is something called Distort. And basically what Stort distort allows you to dio. It allows you to basically pin something back and kind of fake perspective. So sometimes when you see people doing interviews and you have, like the picture in picture, one of them might be, you know, at a slight angle there. It just gives that appearance of three dimensional because you can grab the corners and actually distort the image. That's really what it's all about. So that's one of your options for Distort. If you don't like what you've done again, go back reset. Life is good, so that's animating it. That's cropping, and that's trimming it. Questions at this point, mesmerized. It's cool, at least, right? Does it look like something you could do pretty pretty easy if you remember the three steps. Of course, the secret is as soon as you can try to get on to final cut and try it, because otherwise you'll blank. But the nice thing is, you go back and watch the video again, and then you can try it, and that's really one of the things I like to impress upon folks is the last thing you want to do is take the class and then have to edit a project that you have to deliver to somebody for worker because then you're stressed. As soon as you start playing with it, just play with some footage you have and you just wanna have fun with. And if you mess everything up, nobody cares. Because you're completely free to do anything that you can always hit, undo, reset the leading start from scratch, and then you can have fun. So what we wanted to do is I wanted to be able to animate this, but I wanted full control. Maybe I didn't want to use the Ken Burns effect. Maybe I wanted Teoh zoom in or maybe even fly the image around or maybe have a zoom into one area and then panel which another we're creating key frames were telling it where we want it to be at a certain point of time in our sequence. Okay, so at the beginning, I wanted to be nice and wide than I want to zoom into her face. And then we're talking about, you know, her toe shoes she go through goes through them once a week and I want to tilt down, Can't do that and can burn because it's only from A to B.

Class Description

Don’t get confused or overwhelmed by the world of video - start piecing together your story with ease. Join Abba Shapiro as he walks through how to work effectively in Final Cut Pro X. In this series, you'll walk through the interface of this easy to navigate the program and quickly learn the ins and outs of this software. 


Abba will cover essential topics such as building a rough cut, working with audio and incorporating motion and titles in your videos. He will show basic color correction techniques as well as how to incorporate filters and transitions to enhance the look of your final video. 

Lesson Plan: 
  • Exploring the Interface 
  • Editing Techniques 
  • Setting up a Project from Scratch 
  • Working with Audio 
  • Incorporating Photos and Graphics 
  • Applying Filters and Transitions 
  • Creating Titles 
  • Color Correction and Speed Changes 
  • Multi-Camera Editing 
  • Exporting and Sharing Your Project 
By the end of this class, you will feel proficient in creating video with this program and be excited to continue to expand your skills. You’ll be able to bring your images to life by creating stories to share with your family, friends, and clients. If you’ve been thinking about expanding your business to include video, this class will help you get the technical confusion out of the way so you can focus on being creative.


SOFTWARE USED:
Final Cut Pro X (10.3)

Lessons

  1. Class Introduction
  2. Exploring Final Cut Pro X: Navigating the Interface
  3. Exploring Final Cut Pro X: Project Timeline
  4. Exploring Final Cut Pro X: Basic Editing
  5. Refining Your Edit Introduction
  6. Refining Your Edit: Trimming
  7. Refining Your Edit: J and L Cuts
  8. Refining Your Edit: Roll and Overwrite Edits
  9. Refining Your Edit: Slip and Slide Edits
  10. Refining Your Edit: Auditions
  11. Setting Up a Project From Scratch
  12. Setting Up a Project: Importing Media
  13. Setting Up a Project: Keywords and Smart Collections
  14. Working with Audio
  15. Working with Audio: Syncing
  16. Working with Audio: Mixing
  17. Working with Photos and Graphics
  18. Working with Photos and Graphics: Scaling and Positioning
  19. Working with Photos and Graphics: Ken Burns Effect
  20. Working with Photos and Graphics: Animating with Keyframes
  21. Filters and Transitions Introduction
  22. Filters and Transitions: Applying Transitions
  23. Filters and Transitions: Applying Filters
  24. Titles and Generators: Lower Thirds
  25. Titles and Generators: Titles
  26. Titles and Generators: Backgrounds
  27. Advanced Skills: Color Correction
  28. Advanced Skills: Speed Changes
  29. Advanced Skills: Stabilization
  30. Advanced Skills: Green Screen
  31. Multi Camera Editing
  32. Multi Camera Editing: Organizing Your Media
  33. Multi Camera Editing: Creating a Clip
  34. Multi Camera Editing: Audio
  35. Multi Camera Editing: Working with 4K Footage
  36. Finalizing, Exporting and Archiving: Final Checks and Tweaks
  37. Finalizing, Exporting and Archiving: Exporting Final Project
  38. Finalizing, Exporting and Archiving:Cleaning House and Archiving
  39. Bootcamp QnA

Reviews

a Creativelive Student
 

Wonderful. This is the first time I've seen any of Abba's classes, and he's a great teacher. I've been watching the live sessions for the past few days and have picked up a ton of great tips that will indeed speed up my workflow in FCPX. He's a great teacher, and does a wonderful job of setting people at ease, ie. where he says things like, 'there's no trick questions', and times where he will click on something wrong, then he'll go back and show his mistake (pointing out his minor mistakes are actually a beneficial lesson). In all, wonderful wonderful wonderful. Thank you!

Lara
 

Fantastic teacher. I enjoyed every video, super worth it. I've been reluctant to jump into FCP X since it got upgraded from FCP. Now I feel confident to work with it again. Seems pretty self explanatory, but I am glad I watched the course. Abba covers pretty much everything you need to know. I also loved his personality, made me want to learn more each day.

user-56b55e
 

Abba's Final Cut Pro Bootcamp is effective for enabling users to have success in this complex software. An effective teacher, he breaks the complex subject down, he repeats bits of info, he's worked out a set of clips that illustrate what he's teaching, he acknowledges that he screws up, that we will screw up, he cares that the viewing audience learns this, and, as an aside, he tells corny jokes which break things up. These qualities are present in each CL course I've bought. Thank you all.