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Retiming footage with Timewarp After Effects CC

Retiming footage with Timewarp provides you with in-depth training on Video. Taught by Ian Robinson … Show More

After Effects CC Essential Training

with Ian Robinson

Video: Retiming footage with Timewarp After Effects CC

Retiming footage with Timewarp provides you with in-depth training on Video. Taught by Ian Robinson as part of the After Effects CC Essential Training
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  1. 1m 8s
    1. What is After Effects?
      1m 8s
  2. 1h 5m
    1. Welcome
      1m 11s
    2. Using the exercise files (CC 2014.1)
      1m 57s
    3. Using the exercise files
      1m 19s
    4. Understanding and managing applications with Creative Cloud (CC 2014.1)
      2m 32s
    5. Which versions of After Effects CC does this course cover? (CC 2014.1)
      1m 40s
    6. Relinking missing footage
      1m 54s
    7. Working with keyboard shortcuts
      1m 23s
    8. Different ways to use After Effects
    9. Exploring the interface of After Effects (CC 2014.1)
      13m 22s
    10. Exploring the interface of After Effects
      12m 0s
    11. Exploring important preferences, and setting up the cache (CC 2014.1)
      8m 44s
    12. Exploring important preferences and setting up the cache
      6m 20s
    13. Video terminology (CC 2014.1)
      6m 19s
    14. Video terminology
      4m 24s
    15. Updating After Effects with Creative Cloud
      1m 25s
  3. 1h 0m
    1. The six foundations of After Effects
      11m 5s
    2. Understanding compositions
      10m 35s
    3. Creating and manipulating layers
      9m 49s
    4. Building animation
      6m 29s
    5. Working with effects
      7m 5s
    6. Introduction to 3D
      8m 45s
    7. Understanding how to render
      6m 48s
  4. 38m 54s
    1. Importing elements
      5m 53s
    2. Organizing projects
      3m 51s
    3. Building compositions with layers
      6m 17s
    4. Animating with keyframes
      10m 0s
    5. Adding effects and graphics
      8m 7s
    6. Output techniques
      4m 46s
  5. 44m 49s
    1. Exploring composition and project settings
      6m 48s
    2. Importing Photoshop files as compositions
      8m 39s
    3. Importing Illustrator files as compositions
      7m 41s
    4. Viewing files in the comp panel
      4m 42s
    5. Understanding Pre-compose
      4m 21s
    6. Positioning layers with snapping
      4m 55s
    7. Interpreting footage
      4m 0s
    8. Keyboard shortcuts for compositions
      3m 43s
  6. 1h 5m
    1. Defining layers
      5m 4s
    2. Creating type layers
      7m 38s
    3. Precise typesetting techniques
      5m 42s
    4. Creating layer solids and shapes with masks
      9m 6s
    5. Creating design elements with shape layers
      6m 10s
    6. Layer compositing: Masks, switches, and blend modes
      7m 35s
    7. Using track mattes
      4m 49s
    8. Precise compositing with variable-width feathered masks
      9m 24s
    9. Working smarter by swapping layers
      7m 6s
    10. Keyboard shortcuts for layers
      2m 35s
  7. 1h 36m
    1. Understanding animation
      6m 20s
    2. Adding and adjusting keyframes
      9m 52s
    3. Understanding keyframe interpolation (CC 2014.1)
      8m 52s
    4. Understanding keyframe interpolation
      6m 20s
    5. Adjusting keyframes in the Graph Editor
      8m 26s
    6. The power of parenting
      5m 27s
    7. Using null objects
      6m 46s
    8. Creating expressions with the pick whip
      6m 25s
    9. Creating and adjusting motion paths
      9m 56s
    10. Building complex graphics with Pre-compose
      4m 54s
    11. Preparing audio for animation
      8m 57s
    12. Generating graphics with audio
      9m 13s
    13. Working smarter: Navigating the Timeline
      4m 32s
  8. 58m 59s
    1. Understanding the order of effects
      5m 58s
    2. Generating backgrounds with effects
      5m 33s
    3. Generating a scribble effect
      8m 12s
    4. Animating strokes with effects
      6m 37s
    5. Using adjustment layers
      5m 52s
    6. Adding gradients and glows
      4m 30s
    7. Saving pan and scan presets
      5m 20s
    8. Fixing exposure with Levels
      3m 5s
    9. Fixing color casts with Color Finesse 3
      9m 57s
    10. Masking individual effects
      3m 55s
  9. 1h 17m
    1. Understanding 3D in After Effects
      9m 2s
    2. Intro to cameras (CC 2014.1)
      10m 50s
    3. Intro to cameras
      7m 51s
    4. Intro to lights and material options
      8m 56s
    5. Animating cameras (CC 2014.1)
      11m 11s
    6. Animating cameras
      12m 39s
    7. Creating depth of field
      6m 48s
    8. Exploring the ray-traced 3D renderer
      10m 8s
  10. 3h 40m
    1. Understanding CINEMA 4D Lite and After Effects (CC 2014.1)
      1m 53s
    2. Understanding CINEMA 4D Lite and After Effects
      1m 32s
    3. 3D foundations (CC 2014.1)
      9m 49s
    4. 3D foundations
      10m 43s
    5. Matching CINEMA 4D Lite and After Effects projects (CC 2014.1)
      7m 14s
    6. Matching CINEMA 4D Lite and After Effects projects
      8m 9s
    7. Understanding the CINEMA 4D Lite interface (CC 2014.1)
      9m 49s
    8. Understanding the CINEMA 4D Lite interface
      7m 31s
    9. Creating 3D projects from Illustrator files (CC 2014.1)
      7m 20s
    10. Creating 3D projects from Illustrator files
      7m 28s
    11. Exploring modeling in CINEMA 4D Lite (CC 2014.1)
      11m 7s
    12. Exploring modeling in CINEMA 4D Lite
      8m 8s
    13. Applying deformers (CC 2014.1)
      4m 50s
    14. Applying deformers
      5m 59s
    15. Understanding materials (CC 2014.1)
      10m 29s
    16. Understanding materials
      7m 32s
    17. Lighting your scene (CC 2014.1)
      11m 20s
    18. Lighting your scene
      8m 14s
    19. Looking at detailed materials
      7m 51s
    20. Working with presets (materials and lights) (CC 2014.1)
      7m 44s
    21. Animating in CINEMA 4D Lite (CC 2014.1)
      5m 52s
    22. Animating in CINEMA 4D Lite
      6m 51s
    23. Adjusting keyframes in CINEMA 4D Lite (CC 2014.1)
      7m 42s
    24. Animating cameras in CINEMA 4D Lite (CC 2014.1)
      5m 49s
    25. Animating cameras in CINEMA 4D Lite
      5m 45s
    26. Working with CINEWARE (CC 2014.1)
      8m 11s
    27. Working with CINEWARE
      9m 38s
    28. Render settings and the multipass workflow (CC 2014.1)
      7m 28s
    29. Render settings and the multipass workflow
      8m 38s
  11. 23m 35s
    1. Rendering with Adobe Media Encoder
      4m 45s
    2. Recommended settings for rendering graphics
      10m 21s
    3. Creating presets in the Render Queue
      4m 0s
    4. Prerendering with Import and Replace Usage
      3m 18s
    5. Working smarter: One render, multiple outputs
      1m 11s
  12. 36m 53s
    1. Creating type animators
      8m 52s
    2. Creating and animating type on a path
      5m 32s
    3. Animating shape layers
      8m 45s
    4. Animating brushstrokes with Paint
      5m 54s
    5. Animating text and prepairing templates for use in Premiere Pro (CC 2014.1)
      7m 50s
  13. 23m 31s
    1. Retiming with Time Remapping
      8m 56s
    2. Retiming footage with Timewarp
      9m 10s
    3. Smoothing shaky camera footage with Warp Stabilizer VFX
      5m 25s
  14. 16m 6s
    1. Getting started with Keylight
      8m 43s
    2. Refining your key with Keylight
      3m 42s
    3. Cleaning up keys with masks
      3m 41s
  15. 26m 47s
    1. Rotoscoping with paths
      6m 47s
    2. Introducing the Roto Brush
      5m 58s
    3. Refining the Roto Brush
      6m 12s
    4. Using the Refine Edge tool
      7m 50s
  16. 27m 13s
    1. Creating a single point track
      7m 38s
    2. Applying motion with Warp Stabilizer VFX
      4m 29s
    3. Warp Stabilizer VFX: Reversible Stabilization workflow
      7m 47s
    4. Solving cameras
      7m 19s
  17. 6m 30s
    1. Archiving your projects
      3m 50s
    2. Removing unused footage
      1m 25s
    3. Moving compositions between projects in After Effects
      1m 15s
  18. 2m 24s
    1. What's next?
      2m 24s

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Retiming footage with Timewarp
Video Duration: 9m 10s 14h 52m Appropriate for all Updated Nov 03, 2014


Retiming footage with Timewarp provides you with in-depth training on Video. Taught by Ian Robinson as part of the After Effects CC Essential Training

View Course Description

Delve into the world of motion graphics, keying, and compositing in After Effects CC. In this course, Ian Robinson lays out six foundations for becoming proficient with After Effects, including concepts such as layers, keyframe animation, and working with 3D. To help you get up and running with the program, the course begins with a project-based chapter on creating an animated graphic bumper. Next, explore the role layers play in compositions and find out how to add style to your projects using effects and graphic elements. Last, see how to build 3D objects with CINEMA 4D Lite, as well as stabilize footage, solve for 3D cameras, and paint in graphics with the Reverse Stabilization feature.

Topics include:
  • Video terminology
  • Creating your first composition
  • Using layers, masks, blend modes, and track mattes
  • Parenting objects
  • Building complex objects with Pre-compose
  • Exploring the ray-traced 3D renderer
  • Understanding the order of effects
  • Creating 3D projects from Illustrator files
  • Lighting a scene
  • Animating type on a path
  • Using Keylight for green-screen footage
  • Rotoscoping
  • Archiving projects
After Effects

Retiming footage with Timewarp

Anytime I think I might have a challenging shot that would be relatively hard to retime, I usually just jump to my effects controls, and in the time area, I apply the time warp effect. Now, before we apply time warp, I want us to look at the footage that we're working with. If you don't already have the board part comp open, go ahead and open it up, and press zero on your keypad to load up a ramp preview. Now, as you can see, we have some snowboarding footage, and it was shot by another person on a snowboard with a handheld camera.

Now, with all the new features inside of after effects, this is definitely a workable piece of footage. I can definitely stabilize this footage and I can apply some retiming results, and create something pretty cool relatively easily. So, let's retime this footage using time warp. I'm going to press the spacebar to stop playback. Now, make sure you have layer one selected. And, I want you to move your current time indicator to three seconds, just before our border gets up to the top of the box. Now, go up under effects, and got to time, and let's apply time warp.

Once we have time warp applied, with time warp applied, let's look at the top options and work our way down. If we look at the method, the method for blending frames together is pixel motion. This is going to give you the best results in terms of detail, but it does require the most processing. If you have footage that has a lot of motion blur already in the image, I would generally recommend using frame mix. If we resize our footage to frame mix, notice how much more sharp the footage actually got.

That's because it's just looking at one frame, and then next frame, and then it's going to blend those frames together. At different points in time, the footage may look better or worse. Like here, it looks worse, because it's a blend of the previous and the next frame. Don't panic when you see stuff like this. In general, if you just watch the footage back in real time using your ram preview, you'll be able to look at it and judge whether or not that amount of shift is acceptable in your shot. I'm going to press the space bar to stop playback here for a second.

Now, I generally use frame mix for footage that has a lot of motion blur in it. Now, if we go to whole frames, this method literally duplicates frames. So, as it slows the footage down, in order to create the additional frames required, it literally duplicates one frame or the next. So, let's see what that looks like. I actually kind of like how that looks. And, as you're looking at the footage, you want to look up in the right corner in the info window, just to make sure that it's playing back in real time. And, I'm going to press the spacebar to stop playback.

Most of the time, when I'm making adjustments in time warp, I'm remapping the footage. I'm having it start and stop at different points, or speed up and slow down. So, when you make adjustments, you can make those adjustments by adjusting the speed keyframe. Now, if I know I'm going to slow down the footage quite a bit, I will generally use the pixel motion method. So, let's go ahead and choose pixel motion. Notice when we choose that option, we get a whole bunch of other options in the filter. You can tune how pixel motion is interpreted.

Before we do that, let's go ahead and make our speed adjustments. I'm going to move my current time indicator to around three seconds. If you notice the next option here is speed. By default, time warp slows the footage down to a speed of 50%. So, if I move my current time indicator to the end of my comp, you'll notice it looks as though my footage has gotten cut off. And, it has, but that's just because time warp is expecting us to bring some of those frames back as we increase the speed of the footage. Let's create a pretty drastic time change.

Move your current time indicator to the start of the composition. And, let's change our speed up to 133. That's 133% it's normal speed. So, we sped it up a little bit. I'm going to go ahead and, and enable that speed change. Now, let's click and scrub in our timeline, and decide exactly where we want to slow down the footage. Let's slow down the footage right around here at 2:16. In order to do that, all we have to do is change our speed parameter. So, let's change the speed down to 50%.

This is the issue of making adjustments by speed. When you change the speed, it actually retimes all the footage before that point in time. So, if we move back a little bit, it's playing at 82% the normal speed. So, it's already started the ramping process. I want this slowdown to happen right about here, before I get to my keyframe just a few frames before. So, what I'll do is, I'll just chain the speed up again to 133 in terms of time.

So now, it's going to play at the same speed until it gets just before where I want it to slow down, and then it's going to slow down. So, we can step through the footage here, and see when she gets just to the other side of the box. Let's say around five seconds. Now, we can add another keyframe. Now, if I click the stopwatch, it'll delete all the keyframes. So, I need to press U on my keyboard, so I can get to my diamond keyframe button here in between my keyframe navigator arrows. Now, we can go ahead and add a second keyframe at the same value of my previous keyframe.

Fifty. Let's move ahead a few frames here, and then we'll increase the speed back up to 133. Now, I know it doesn't look like much has changed, but of course, now this footage is going to speed up and start playing back at 133%. So, let's go back to the beginning of our project and load up a ram preview, and see what happened with the change. I don't know, but I think that looks pretty cool. Now, we could continue tweaking this if we needed to by making adjustments to our motion vectors.

I'm going to press the spacebar here, and just talk to you about motion vectors really quickly. As we scrub through the project here, notice when we get to the slower section, if I zoom into magnification of 100% just by using my scroll wheel here, I can scrub through the image and on occasion you may see that image kind of degrade a little bit. Well, as I scrub through the image, you're seeing the slight blur that's happening around the edge of her body, and that's happening because of the motion vectors. What I would do in general when I'm making adjustments, is keyframe the vector detail.

Now, by default, vector detail is set to 20. Anytime I slow my footage down significantly, like 50% would be a pretty decent slow down, I increase my vector detail. So, here I'm going to move my current time indicator back to my previous keyframe at 133, and I'll add a vector detail keyframe. If you press K on your keyboard to move down to the next keyframe, we can go ahead and crank up the vector detail. I'll crank it up to 100. Just remember, when you crank up the vector detail, it just requires a little bit more processing as you're working through your project.

As I scrub through this part that was in question, I can press page up and page down to go frame by frame. Now, since it's taking a second to load, what I'll do is, just load up the ram preview here, making sure I have from current time selected. And, I'm going to press the spacebar, so I can grab my hand tool and just reposition our snowboarder in the center of the project. Now, again, like I said, increasing the motion vector detail number, is going to increase the processing. So, it may take a second on your system to actually load up those frames.

Now that I have the majority of that loaded in cash, I'm going to press the spacebar and play it back. Now, you can see in slow motion I still have a little bit of that distortion, but it's significantly better. Here, let me reframe here just so you can see it a little more clearly. So, increasing the vector detail has definitely helped increase the quality of our time remap. When the speed speeds back up again, I'd make sure to decrease the vector detail again. Now, there's one more tip I want to give you about tuning motion vectors, and that's the error threshold setting.

If you have noisy footage, you want to decrease the number for error threshold. This will help time warp ignore the extemporaneous motion of that noise. if you have tearing in your footage, you want to increase the error threshold. That'll help increase the blending between the frames, and give you a smoother image. Now, in our example we made adjustments to our time by adjusting the speed. But, by all means, you can adjust the settings according to the source frame as well. I really find that helpful when I know that I need to have a specific frame displayed at a specific point in my timeline.

Now, since that wasn't the case for our example here, I found it made a little more sense just to use speed. But, just in case you decide you ever do want to use source frame, make sure to look in the upper left corner of your timeline, because the secondary number is always going to show you the actual number of the frame that your current time indicator is positioned on.

Find answers to the most frequently asked questions about After Effects CC Essential Training .

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Q: This course was updated on 6/18/2014. What changed?
A: We added new movies to the "Fundamentals of After Effects" chapter, reorganized and re-recorded the "Up and Running" and "Keying Green Screen Footage" chapters, and added new movies on Color Finesse 3 and masking individual effects.
Q: When I try to open a project file, After Effects tells me I need to update my system, since the file was made with version 13.0. But I already installed the most recent After Effects update. Why can't I open the project?
A: In the latest round of updates, Adobe chose to create a completely new installer for this latest version. While you may have updated the version of After Effects CC you have installed (12.x), there is an entirely new After Effects install for 2014 (13.0). Check for an After Effects CC (2014) item in the Creative Cloud app and download and install it from there. 
After you install the new version, you should be able to open 13.0 projects. After Effects CC (2014) will coexist with the older version of After Effects on your machine. If you currently have any shortcuts on your computer to launch After Effects, you may have to go back into the Programs folder and create a new shortcut to the newer version, After Effects 2014.
Q: This course was updated on 11/03/2014. What changed?
A: We updated 25 movies to reflect changes to the Creative Cloud 2014 release of After Effects. This includes the new optimized user interface and enhanced Cineware and CINEMA 4D Lite pipeline. The new movies are labeled with the "(CC 2014.1)" tag.





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