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Hey, Rich, I know you love After Effects. I've learned a lot from you about using After Effects. Why would I want to use After Effects as more of an advanced tool for assembling time lapses? >> Well, I think that it's got some really good controls for panning and zooming the shot, and so it's just got a better scaler than the typical NLE scaler. And so it's easier to keyframe and animate the shots, so you can move around your time lapse. And it's got some really great color correction effects, like clarity and vibrance, that don't necessarily exist in other tools. >> Yeah, and I actually like it for its masking capabilities.
That it's very easy to create complex masks to >> Mm-hm. >> sort of hide things in the image or do things like traditional lens type vignettes and all that kind of stuff. We have a lot of control over the mask shape. >> Yeah and so you can actually combine two time lapse shots together which is sometimes needed. >> Yeah. >> Alright, so it's pretty simple. >> Okay. >> We just import. Double click in the empty area like. >> Yep. >> Any Adobe app and we'll just choose the previous one we did, there it is. And grab the first shot. >> Yep. >> It detects an image sequence. >> Hey, this is just like we saw a little while ago in Premier.
>> Absolutely. Hit Open and it comes in. It's added. >> Let me guess what the next step is, I think I know. I'm going to interpret this footage to the frame rate that I want. >> Absolutely. And, as we did before, I'm going to set this to a lower frame rate. So I'm going to set this to eight frames a second. >> Okay. >> And what's going to happen there Rob? Well, it's going to play back the frame slower. >> Yeah, and the duration of the clip gets longer. >> Yep. >> So I've now got a 40 second time lapse shot. >> Mm-hm. >> We'll make a new sequence, or a comp. >> Yep. >> That matches our delivery format. >> Okay. >> So, 1080.
And we want 23.976. >> Cool. >> There we go. Drop it in. And there's our shot. >> Kay, the same problem as we've seen before, obviously, the original sequence, the images from the original sequence, are much bigger than our frame size of comp that we're working with. >> So we'll twirl this down, and let's do a Zoom. How about we start at this magnification on the sky. >> Yep. >> Now you scale an acre point, and a, a little further down, about halfway down, we are going to zoom out here, by pulling the scale slider and making that smaller.
>> I gotcha. >> Yeah, and so we're basically doing a reveal over time. >> Yeah, just to be clear, we could have actually done this as well in Premiere Pro, right? >> We could, but there's a couple subtle differences. >> Mm. >> You've got key frames and ease in Premiere, but here's what you don't have. If you look at this scale property here, you see how that is perfectly straight? >> That's linear scale, yep. >> Yep. Well the problem is, we want a logo-rhythmic scale. >> Okay. >> Which is variable over time. So we can now say. We go back here to the normal view we just select those to scale properties so they are highlighted and we could say Keyframe Assistant >Exponential Scale.
>> Okay. >> And if you look at that now, there's a nice little curve. >> Exactly. >> To that scale. >> Okay. >> So it's going to be more like a real camera zoom. >> Yep. >> And so that's looking pretty good. Plus, we have just some really great controls here, so I can do things like, let's put a vignette on top, Layer>New>Solid, we'll get a nice deep dark blue, here we go, and click Okay. Double-click here on the Ellipse tool To add an ellipse. And this just is giving us a mask. You mentioned you liked the masks.
We'll invert that, feather that out so it's nice and dark at the edges and then drop that into something like a multiply mode and in this case, a little bit of a lower opacity since. >> Yeah. It will help, so it's not so heavy. >> Yeah. But it's just sort of, you know, giving a focus there. >> And feather it out a little bit more. >> Yeah, that's true. And for mass properties. And we'll just put more feather on that so it has a gradual blend. >> There you go. I don't like the halo effect, you know? >> Yeah. So it looks good there, right? >> Yep. Yep. >> So, you know, for people at home they can see the before and after.
Why did we do that, Rob? >> I like vignettes. I mean, I mean and this is sort of a traditional lens vignette. Kind of gives me, you know it has a little dramatic flare to it. But also it kind of tends to focus your viewer's eye a little bit better too. >> Yeah. Pulls them into the middle of the shot. >> Mm-hm. >> So it's all pretty straightforward and, and the thing that's different here about the image sequence is that you could turn on Time Remapping. So, I don't want to go too deep here, but essentially, with Layer> Time>Enable Time Remapping, your time lapse becomes keyframe-able. So, if you want to like have the front part go really fast.
>> Yeah. >> You can be like and then switch to a different speed. >> Totally. >> You just use Time Remapping. >> Now the other thing again, that we're not going to cover here today, but it's worth exploring it on your own, is that because we're in After Effects we also have access to camera raw. >> Yeah. >> So if you went out and shot a time lapse using raw frames, you could process those raw frames here as well inside of After Effects, as you're assembling the time lapse. >> And for exploring it on your own, we actually have a full-length course on lynda.com all about time lapse photography, and we do cover After Effects there, as well as Final Cut Pro X and some other apps.
So, this is just meant to sort of show you the GoPro workflow. >> Right. >> But feel free to dig deeper. Time lapse is hot. People are making good money doing this, and you can add it to your repiteur. I'd like to thank you for joining us. We're going to render these files out, and you'll get a chance to see what they look like.
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