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Motion & Animation: Motion And Animation Overview

Lesson 27 from: Adobe Premiere Pro CC Video Editing: The Complete Guide

Abba Shapiro

Motion & Animation: Motion And Animation Overview

Lesson 27 from: Adobe Premiere Pro CC Video Editing: The Complete Guide

Abba Shapiro

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Lesson Info

27. Motion & Animation: Motion And Animation Overview

Summary (Generated from Transcript)

The topic of this lesson is motion and animation in Adobe Premiere Pro CC video editing.

Q&A: What are some of the things discussed in this lesson? Some of the things discussed in this lesson include scaling video and photos, creating a picture in picture effect, animating the position and size of images, and using built-in motion effects in Adobe Premiere Pro CC. What is the standard frame size for video on television or the web? The standard frame size is 1080p, which is 1920 pixels wide by 1080 pixels high. Should photographs be scaled down before importing them into Premiere Pro? It is recommended to scale down photographs before importing them into Premiere Pro to avoid unnecessary computer processing and to make them easier to work with. What is the advantage of starting with a larger image and then zooming in? Starting with a larger image allows you to zoom in without losing resolution and ensures that the image stays sharp. Will bringing in larger photos affect the size of the exported video? No, bringing in larger photos will not affect the size of the exported video. The file size will be the same regardless of the size of the imported photos. The compression or codec used on export will affect the size of the file. Is it okay to leave photos as they are if you decide not to scale them down? It is generally okay to leave photos as they are if you decide not to scale them down, especially if it is more work to go back and scale them down. However, it is recommended to scale them at the beginning if possible to make them easier to work with. Can cropping be done in Premiere Pro or should it be done in Lightroom or Photoshop? Cropping can be done in either Premiere Pro, Lightroom, or Photoshop, depending on the user's preference and objective.

Lessons

Class Trailer
1

Understanding Editing: Bootcamp Overview

07:25
2

Understanding Editing: Overview

25:25
3

Understanding Editing: Video Examples

25:07
4

Tour The Interface: Digital Video Workflow

16:38
5

Tour The Interface: Project Panel

12:28
6

Tour The Interface: Choosing Your Shot

07:18
7

Tour The Interface: Music And Voice Over

10:31
8

Tour The Interface: Video Tracks

05:26
9

Tour The Interface: Edit Markers

08:46
10

Building a Rough Cut: Cut Planning

21:46
11

Building a Rough Cut: Selecting Media

25:01
12

Building a Rough Cut: The Edit

30:50
13

Building a Rough Cut: Edit Points

13:43
14

Refining Your Edit: Preparation

10:29
15

Refining Your Edit: Making Cuts

25:19
16

Refining Your Edit: Using Markers

16:31
17

Refining Your Edit: J and L Cuts

15:57
18

Refining Your Edit: Replace Edit

05:04
19

Working with Audio: Overview

17:43
20

Working with Audio: Levels

13:36
21

Working with Audio: Music

10:00
22

Working with Audio: Mixing And Syncing

14:50
23

Transitions: Overview

13:44
24

Transitions: Effect Controls

09:31
25

Filters & Effects: Overview

18:05
26

Filters & Effects: Using Multiple Filters

22:18
27

Motion & Animation: Motion And Animation Overview

09:40
28

Motion & Animation: Movement With Still Images

26:56
29

Motion & Animation: Picture In Picture

10:57
30

Motion & Animation: Motion Effects

17:08
31

Titling & Graphics: Overview

27:11
32

Titling & Graphics: Advanced Tools

11:03
33

Titling & Graphics: Roll And Crawl Effects

08:01
34

Titling & Graphics: Working With Photoshop

12:17
35

Speed Changes: Overview

21:12
36

Speed Changes: Stills And Variable Speeds

06:23
37

Color Correction: Overview

07:39
38

Color Correction: Lumetri Scopes

11:32
39

Color Correction: Contrast

21:37
40

Color Correction: Advanced Tools

15:12
41

Color Correction: Adjusting To A Master Clip

07:45
42

Finishing: Prepping for Output

14:53
43

Finishing: QC Edit Points

24:56
44

Sharing & Exporting: Overview

29:05
45

Sharing & Exporting: Size And Quality

24:46
46

Ingesting Media:

28:39
47

Ingesting Media: Transferring And Importing

31:15
48

Media Management & Archiving

26:10
49

Multi-Camera Editing: Overview

14:26
50

Multi-Camera Editing: Creating A Sequence

20:04
51

Multi-Camera Editing: Switching Multiple Cameras

15:31
52

Multi-Camera Editing: Finalizing

12:37
53

Creating Timelapses: Shooting Strategies

18:04
54

Creating Timelapses: Editing Images

14:21
55

Creating Timelapses: Importing Strategies

18:47
56

Creating Timelapses: Animation

05:58
57

Advanced Editing Techniques: Take Command Of Your Timeline

22:36
58

Advanced Editing Techniques: Transitions

07:57
59

Advanced Editing Techniques: Keyboard Shortcuts

12:00
60

Advanced Editing Techniques: Preference Hacks

21:15
61

Thinking Like an Editor: Editing Choices

31:55
62

Thinking Like an Editor: Telling the Story

23:50
63

Special Tools: Warp Stabilizer

17:59
64

Special Tools: Morph Cut

06:56
65

Special Tools: Green Screen

20:16

Lesson Info

Motion & Animation: Motion And Animation Overview

(audience applauding) Yay. We're moving forward, moving to something really exciting today for this lesson. It's motion and animation. I have these snarky little titles, you got to move, it's definitely a reference to a, I don't know, is it 70s or 80s dance music? Most people can start going I don't know what he's talking about and other people are going, yeah, that was a really bad era of music. And again, we'll be continuing to be flip in this class and learn things on the flip side. This is some of the things we're gonna be discussing. Scaling video and photos, making them smaller, and also making them larger, scaling them up. We're going to look at creating a picture in picture effect, so if you're doing an interview and they're talking about something you can do a cutaway to that. Animating the position and size, not just scaling but actually moving them around the frame or, better yet, panning across your photographs, panning around so you can bring motion and life into your st...

ill images. And then we'll look, there's some built-in motion effects that may save you some time that Adobe has and again, like we discussed in the effects lesson, there are some great third party plug-ins that allow you to do some of these even easier. It's just things to keep in mind. Before we hop in and start working with still images we're actually going to start dealing with the nuances of what happens when you bring in a photograph. Any questions or any requests that you might have? Just to refresh my memory, what size photo as far as is it a TIF, or a JPEG, or what actual size is it because if we're going to be scanning a photo or moving around on the photo, is the photo changing in size within the frame or is it actually what we're doing video-wise? That's actually an important question. It brings up a lot of elements that we need to deal with. I'm gonna step into the computer just so we can look at some images. But, let's look at some of the challenges that we're facing. First of all, you said what size, and this is a big thing because if you're used to working, say, printing photographs, you're thinking in DPI, dots per inch, so not only is it a frame size, how many megapixels, but it's also how many dots per inch or pixels per inch so you can get the quality. Well, guess what? With video, it's all fixed and when you bring in a photograph it ignores your DPI. All computer monitors, all television sets and considered 72 DPI. The point is, no matter what your settings are in Photoshop, it looks at it exactly the same. 3,000 pixels is 3,000 pixels, cause the dots aren't from the printer, it's how far they are apart on the television set or on the computer monitor. That's one thing to keep in mind, you don't have to worry about DPI. Now, just to give us a basic review of what we've talked about is what is the frame size of television, or even if it's not television, that people will be watching this on the web? The current standard is something called 1080p. It's 1,080 pixels high and 1,920 pixels wide, 1,920 by 1,080. That's pretty much the standard. Two megapixels as well talked about way back, and so your cameras are probably shooting way more than that, anywhere from 12 to 40 megapixels. You need to scale it down. You don't technically need to scale it down, because if you don't, Premier will do it, but you're making it do a lot of unnecessary computer processing and it makes it actually a little more challenging to work with. A lot of times when I work with photographs, if I know I'm going to be bringing them in I may run them through Lightroom or Photoshop with an action and convert them to similar sizes. Smaller size, or I'll do a batch process, which, if you don't know how to do a batch process, there's plenty of courses on CreativeLive that can show that, and then there's the web. I would scale them all down so that I don't have to do it in Premier. With that said, never say never, because there's been run and gun times where somebody just handed me a drive and said here is 100 pictures from this event, make me a photo montage, and I need it in 10 minutes. In that case, I'm going to leverage some of the powers of Premier and not worry about it. In an ideal world, you want things to be as comfortable as possible, especially if you're working over time and you have time. I'll scale it down. We looked at a chart in the opening class about if you're going to zoom into one quarter of the screen you should make it two times larger than a television set. Instead of 1,920 by 1,080, you make it 3,840 by 2,160. Ooh, I actually remembered that. That way you can zoom in and you don't lose any resolution because this is your objective. You always want to start with something bigger and then you can zoom into it to a one to one ratio and it's going to stay sharp. That's what you want to keep in mind. When you're fully zoomed in or panning around an image, you want to try to avoid going beyond a one to one ratio. An example of a bad thing. Somebody gives you a picture that 640 by 480, the old computer monitor. You put it in your show. If you need to blow it up, you're now enlarging it 2-300%, it's going to get soft. You can often get away with it, but you wanna start with something bigger and bring it down like you would in Photoshop or Lightroom, you want to scale down. It does scale up. It's a lot of math, especially when you're scaling up at that many frames per second. That's just one thing to keep in mind when choosing the image size. Does that address your ... I do want to add one more thing, because you did ask about TIF versus JPEG. Both will work. TIFs are larger. They're technically a little sharper because there's no compression in a compressed TIF, but JPEGs to the eye, once you're in video, look almost the same and you save yourself a lot of hard drive space as well as a lot of processing to deal with that many pixels and that size file at 30 frames a second. If I know that my show's going to be maybe shown on a really large screen in a theater, I might work with TIFs because I want that shade of improvement without artifacts, but for the most part, I find that the program is much more responsive to JPEGs, and you don't run out of memory and things. That's my preference, but it's very flexible. It will adapt to you, you just don't always want to make it adapt to you. Okay, yes? I have a follow up question to that. If we do end up bringing photos that are bigger than we need, for example, if we're thinking that we're going to be panning a photo but then we decide not to, or whatever, is the only disadvantage that it'll be a little slower to work with them, or will that also affect the size of the exported video? That's a great question, and the last part is really the key thing, which is will it affect the size of the exported video? No, it won't. As a matter of fact, no matter what size you bring in, it will do the math and convert everything down to, let's say we're working with 1,080p, to that frame size and whether it was 40 megapixels to start with or a one to one ratio, ultimately when it goes out, it calculates what it needs to be, and your file size is the same. What will, and we'll learn about this when we talk exporting, what affects the size of the file, is the compression or the codec that you use on the export. If you come from a photography background, you know that you can do uncompressed TIFs, compressed TIFs, and with JPEGs especially, you can really move that slider and say okay, I'll take more noise because I need a smaller file. With a photograph, you may not push it so hard because they're small anyway, but when you're dealing with a master file that might be two or three gigabytes, nobody's gonna download that unless they're watching a movie and you may need to crunch it down, and we'll talk about those strategies and how you compress that exclusively in that exporting lesson that we're going to be talking about. I did address the second part, I'm wondering if the first part was is it okay to just leave them as it is if you decide that, oh yeah, I'm not going to shrink it? I probably would. If it's more work to go back out and scale it down than the challenge of scaling down there, absolutely. Generally, if I'm going to be given a folder of photos and I know they're all big, and I'm not gonna zoom in, I'll scale them at the beginning. Sometimes, I'll even crop them, because this is the other thing that we need to deal with is that when you're dealing with photographs, you're dealing with default aspect ratios that are very different. Three by two and four by three are the height versus width, whereas the new televisions are all 16 by nine. You have to make a decision, what do I want to cut off? You can fix that in Premier, but if you want to go really quick and you want to make those decisions before and you're not going to do any moves, I sometimes do my cropping in either Lightroom or Photoshop. It all depends on my objective and the time, but you can do everything in Premier if you would like. It's where you're most comfortable.

Class Materials

Bonus Materials with Purchase

Abba Shapiro's Work File Information
Building a Rough Cut - Project Files
Refining Your Edit - Project File
Working with Audio Project File
Motion Effects - Project Files
Titling and Graphics - Project Files
Speed Changes - Project Files
Color Correction - Project Files
Finishing - Project Files
Multi-Camera Editing - Project Files (Large Download - 3.25GB)
Creating Timelapses - Project Files (Large Download - 1.25GB)
Thinking Like An Editor - Project Files
Special Tools - Project Files
Photos

Ratings and Reviews

a Creativelive Student
 

I've never even tried video editing before this class. I opened the program once and panicked. After only 9 lessons I was able to throw a short video together (basic of course, but still pretty cool). I wish all of my teachers growing up were just like Abba. He goes over everything without dragging anything on for too long. He repeats things just enough for me to actually remember them, and he is funny. He keeps it fun and shows that even he makes mistakes. I can't even believe how much I have learned in less than a quarter of his class. I have a long way to go and am very excited to learn more. This class is worth every penny and more! I was hesitant on buying the class because I have CS6 and he works with CC, but I have already used what I've learned in his course to create a video. The first 9 lessons were already worth what I paid for the entire course. Thank you, Abba! You are an awesome teacher! You have me absolutely obsessed with creating right now! I highly recommend! You won't find this thorough of a course for this decent price!

a Creativelive Student
 

Just bought this yesterday and cannot stop watching!!!! What a FANTASTIC teacher-- just love the way he explains everything. For someone like me (who has a zillion questions) it is perfect. As soon as he introduces a feature, he explains several aspects in such a way that's easy to grasp and remember. So, so happy I got this. Thank you Abba and CreativeLive!

a Creativelive Student
 

I am only on lesson 19 and I am so glad I bought this class, so worth it and Abba packs so much information into these lessons its crazy. I will for sure have to come back and watch again when I need to remember to do stuff or need a refresher. He is funny and quirky and a great teacher. I so recommend this to anyone wanting to become a better video editor!! I am coming from being self taught and using iMovie and he makes it so simple and understandable. Can't wait to learn more :)

Student Work

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