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Video: Retiming a video source

Another item that was on our client's list is they are not entirely happy with the relation between this video--my update is really slow, so I am going to turn off Motion Blur for now to speed it up. And the music, they just felt that they were a bit disconnected. Let's go ahead and RAM Preview a little bit of this. Then say this beat before the Dirtboarder has taken off, I will press B to set the beginning of the work area and I will end it one beat after, there. Let's do a RAM Preview.
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  1. 3m 39s
    1. Welcome
      1m 39s
    2. Using the exercise files
      2m 0s
  2. 17m 38s
    1. Building the grid floor
      8m 48s
    2. Creating a radar sweep
      5m 13s
    3. Adding lightning
      3m 37s
  3. 14m 18s
    1. Building the video panel
      4m 34s
    2. Using the Block Dissolve effect
      3m 52s
    3. Stylizing the footage
      2m 15s
    4. Duplicating precomps
      3m 37s
  4. 21m 22s
    1. Importing Illustrator files
      5m 47s
    2. Working with paths and masks
      4m 54s
    3. Animating the Stroke effect
      4m 20s
    4. Tinting the event names
      2m 42s
    5. Wiggling the rings
      3m 39s
  5. 33m 35s
    1. Starting a new composition
      1m 48s
    2. Spotting music
      5m 55s
    3. Building the floor
      5m 27s
    4. Adding a video panel
      3m 40s
    5. Creating a reflection
      7m 47s
    6. Adding the dial
      4m 7s
    7. Arranging the frame
      4m 51s
  6. 9m 22s
    1. Setting up the final pose
      4m 28s
    2. Keyframing the camera
      4m 54s
  7. 14m 39s
    1. Adding a text layer
      5m 16s
    2. Using text animation presets
      3m 16s
    3. Customizing the preset
      6m 7s
  8. 6m 56s
    1. Adding a Spot light
      3m 41s
    2. Casting shadows
      3m 15s
  9. 12m 7s
    1. Improving consistency
      2m 43s
    2. Adding a 2D background
      4m 29s
    3. Tying up loose ends
      4m 55s
  10. 20m 37s
    1. Overview of Main Comp 2
      3m 32s
    2. Grouping layers
      4m 39s
    3. Animating the swivel
      9m 2s
    4. Assembling the final comp
      3m 24s
  11. 25m 56s
    1. Adding a transition
      7m 0s
    2. Keyframing the camera
      3m 20s
    3. Adding a filmic glow
      4m 0s
    4. Increasing the motion blur
      4m 2s
    5. Retiming a video source
      7m 34s
  12. 13m 4s
    1. Exploring render settings
      2m 48s
    2. Outputting for archiving
      1m 15s
    3. Outputting anamorphic widescreen DV
      1m 57s
    4. Creating a 4:3 center-cut version
      2m 31s
    5. Outputting for web
      2m 23s
    6. Exploring components for editors
      2m 10s
  13. 12m 49s
    1. Creating the inner ring
      5m 19s
    2. Creating the outer ring
      3m 9s
    3. Creating the text ring
      4m 21s

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Watch the Online Video Course After Effects Apprentice 15: Creating a Sports Opening Title
3h 26m Intermediate Apr 10, 2012 Updated Dec 19, 2012

Viewers: in countries Watching now:

This course pulls together the skills you've been learning in the previous After Effects Apprentice installments to create a real-world video promo. Trish leads you through building the artwork and components used in the final piece, and then Chris shows how to assemble these precompositions into a 3D world, timed to music. Along the way, Trish and Chris also share their thoughts as they design a video project, including unifying the overall look and handling change requests from clients.

The After Effects Apprentice videos on lynda.com were created by Trish and Chris Meyer and are designed to be used on their own and as a companion to their book After Effects Apprentice. We are honored to host these tutorials in the lynda.com library.

Topics include:
  • Building a 3D world
  • Working with layered Illustrator files
  • Synchronizing to music
  • Using text animation presets
  • Rendering strategies
  • Working with widescreen video, including 4:3 center cut and safe area considerations
Subject:
Video
Software:
After Effects
Authors:
Chris Meyer Trish Meyer

Retiming a video source

Another item that was on our client's list is they are not entirely happy with the relation between this video--my update is really slow, so I am going to turn off Motion Blur for now to speed it up. And the music, they just felt that they were a bit disconnected. Let's go ahead and RAM Preview a little bit of this. Then say this beat before the Dirtboarder has taken off, I will press B to set the beginning of the work area and I will end it one beat after, there. Let's do a RAM Preview.

(music playing) Okay, I can see the client's point there. The point where the Dirtboarder lands has nothing to do with the music, and the crescendo of the music doesn't match his flight path. So let's improve that timing. I am going to double-click the Skater comp to open it. The same source is used for Skater and Skater reflections, so any changes here will be reflected back there. I see I currently have my audio track turned off, so I can't hear it.

I turned it back on and actually set it to be a guide layer so I don't accidentally render it in a later comp. Let's do a little spotting here. What's going on with the music? (music playing) It doesn't start to raise towards this peak until here. I am going to call that start. I am just double-clicking these markers to set them. Where does it peak? (music playing) Peaks here and falls off pretty quickly after that.

Okay, let's go spot what the Skater is doing. This Dirtboarder is taking off right there, and it's not the frame where the front wheel starts to leave the hillside. So I am going to hold Option on Mac, Alt on Windows, press the asterisk key in numeric keypad, let's hit a comment of lift for liftoff. The middle of their flight path seems to be about right around here. They start falling after this frame.

Option+Asterisk or Alt+Asterisk, peak, let's see when they land. Boom! That's where he hits ground, and then he absorbs the hit. So I am going to save that as land. Now, let's try some relative timings between the music and the video. One idea is to line their peaks. Up in my current time indicator here, press B to shorten out my preview, with it here later in time, press End to end my preview.

Let's try that timing. Slide pulls out loose in background, but renders much faster. (music playing) That works much better. I like that! However, we don't have any video here at the head which is a small problem. Well, this is what time remapping is for, the ability to speed up and slow down your video over time. Okay. Let's look at this video. Let's start until we start to see these little dirt puffs, or dust puffs appear on here.

I really worry about in being up to full speed. So I am going to say I want to reach full speed at this point in time. I have the layer selected, I will go to Time > Enable Time Remapping, a new parameter appears in Timeline panel, set the keyframe saying I do want these frames to lineup, but I need to move the first frame back earlier in time to last through my whole composition and trim my video to do the same thing. So now it will be slower and faster here.

I don't like sudden speed changes at linear keyframes. So I am going to select my Time Remap parameter, go into the Graph Editor, and start seeing how I can smooth out this curve. It is currently showing me Auto Select. I think I'd like to see the speed graph, so I can see what I am doing to approach in even speed. Ah! I can really see the jump and my speeds here. I am going to hold Option on Mac, Alt on Windows, to get the Change Direction tool, click on the keyframe, raise it up so I am going 1 second per second at this point in time.

I don't care how slow I am going at the start, because that's buried in my transition. So I will take it all the way it down to 0 and lower the Influence handle down to 0, so I have the maximum amount of ease in to play with back here. Okay. Let's see how far I can extend this Influence handle and not make things go wonky. If I drag too far, you will see I will actually be going backwards in time through here, not what I want. I need to adjust this handle to where I never go backwards in time.

It looks like that's going to be about the maximum ease I can get. A handle doesn't look flat here. I am going to adjust it, so that I am going 1 second per second. Again, see how far I can push this. Not too far. Right around there. Leave the Graph Editor, drag my current Time Indicator. He is buried most of the time back here earlier in time, and then he is up to full speed by the time he is really moving down this hill. Let's go ahead and RAM Preview this.

(music playing) That actually works pretty well. It just looks like he is not merely moving as fast, like he is just starting here, then picking up speed. So I think I can get away with this. Now, if you notice any strobing in the motion back here, you could go ahead and enable Frame Blending for this layer. Remember, one click is frame mixed mode where adjacent frames are cross-faded together, and two clicks is Pixel Motion mode.

For the sake of rendering speed, and to cut down on artifacts, you do want to try Frame Mix mode first. Be careful that when you get to areas like this, you are not seeing multiple copies of the board, the background, et cetera. In that case, you might need to try Pixel Motion mode and see if you have any artifacts during this move. But actually, this looks like it's going to be pretty clean. So I am going to go ahead and use Pixel Motion Frame Blending mode to smooth out my motion particularly when I am going below 100% speed before this keyframe.

Okay, we've retimed this video back in the Source Comp. Let's see how it looks in the Final. I will go ahead and RAM Preview this segment, because it's right through this transition at the very peak of this flight. Press 0 on numeric keypad. I do have Motion Blur turned off right now, but that's fine. I'll wait 'til it get to the next beat, and I will press the spacebar just to stop the preview and start playback. (music playing) Yeah, I do think that works better all the way around.

There is a lot of drama between his flights matching the music, and the jaws closing just as he lands. Let's go ahead and run with that.

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