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This weekly course covers the most common questions videographers encounter when shooting and editing with DSLR cameras, from choosing a frame size and frame rate to understanding moiré. Authors Rich Harrington and Robbie Carman will also help you understand the impacts of compression and the difference between cropped (or micro 4/3rds) and full-sized sensors in cameras, and much more. This continual FAQ guide is a handy way to find the answers to the questions that plague you the most.
So Rich, we took a look at using PhotoShop to assemble the time lapse. Yep. Real easy, straight forward. But, you know, for me anyway, I want to kind of do everything where I'm doing all my other work. Right. Right. I'm doing most of my work, say in Premiere Pro or Final Cut Pro 10. It'd be nice to, sort of, build a time lapse in my editor. Yeah. And, one approach to doing that is to import an image sequence. So, you're actually just going to use File > Import in this case. And point it at that folder. Now I've got, fortunately my Recently Used folder so I can just jump right to it.
And go to the first image, select it, and make sure Image Sequence is checked. Now the important thing here, the reason that Premiere Pro in this case was able to figure out, and Final Cut Pro 10 would work in a similar way, that this is an image sequence is what? Is that they're consecutively numbered. Right, if you have 11, 19, 32, 4, you can kind of. There's ways to do to get around it, but the easiest way to keep your sanity is just use sequential numbering of the files. >> And here's the crazy thing, Final Cut Pro 7 can recognize an image sequence and make a movie. Final Cut Pro 10, last time I checked, couldn't and that's going to be our second workflow.
>> Mm-hm. >> We show which is bringing them all in and dumping them in a timeline. >> Sure. >> But let's do the easy one. We'll hit Import. Comes all in, there's a movie file. >> Yeah, so it comes in as one single file. >> And you could right click and Modify > Interpret Footage. Where you could assign a new frame rate if you wanted that to be 23 fps. Or here's an idea. Maybe you want it to be 12 frames a second, so it uses each frame twice. >> Right, and this is the kind of the hard thing to get your mind around. Because this is originating from images, still images, unlike a movie, you can just tell Premiere how long you want each frame to be.
A lot of people ask, well, aren't I ruining the quality of it by stretching it out or. >> Nope, your not. You're just saying, hey play this one frame for x amount of time. >> And it's time lapse, it's not like it's full motion fluid video. >> Right. >> It's going to be, by it's very nature, a little choppy. >> Of course. >> So don't drag this into your new sequence. Instead, make a new sequence and set it to what you want. >> Okay. >> So we're going to say, I want to new sequence. Let's pick 1080p 24. We'll come on over here to the settings. So I'm going to go ahead and get a an interim file here. We're going to go ahead and set this.
And, in this case, I'm going to go with Pro-res, which is fine. And here's the good news, the brand new version of Premiere Pro actually supports a 64 bit version of Apple Pro-Res. >> Now just to be clear, what we're doing here sequences inside of Adobe Premiere Pro don't actually have. Unlike Final Cut Pro 7 you know, sort of codecs native to the sequence. All we're doing here by choosing this as a preset then going into editing mode in custom is that by default, most of these sequence presets, when you render something on the timeline.
>> Yeah. >> Its going to render it out to an iFrame only MPEG codec. Which is not as optimal, or as high quality as you can get. So by changing this to Custom and then coming down to the preview file format and changing that to Quicktime, you can choose different codecs. Also just keep in mind. >> Yeah. >> You have access to ProRes on this machine. Because we're on a Mac, and because you have other Apple professional products. >> Oh you don't even need to. ProRes is included with Creative Cloud version now. They licensed it. But if you're on a PC, you can use Avid DNxHD and just pick one of the high-quality ones. These are both very efficient codecs.
And so we're going to do this for a little trick in a moment. So it's all good. I'll hit OK. There it is. And grab this and drop it into the sequence, and make sure we do not change the sequence settings. Now, at this point, it's too big. Same problem we had in Photoshop, right? >> Abso-, absolutely. >> So we'll just go to the Motion tab, and we'll scale that down a little bit. >> Yep, and you know, one thing that's funny too about the motion, the effects controls here in motion. Is that a lot of people don't realize that you actually have a wire frame mode too, if you want it. Just by clicking that little button right there.
>> Yeah, yeah. >> There you go. You got handles to move things around and just drag on the screen, too. >> Absolutely, so there's our shot, it's framed up. >> Yeah. >> You could apply filters, effects, anything you want, but again, these are really big files. And we're playing them off of a drive that's relatively fast but if we want to get the best quality. Hit the Return button and let those frames process and it's going to generate a video file. >> And again, this is why we change the sequence previews to generate into ProRes. >> Yeah, now that's going to take a little while, but let's go ahead and show you the second workflow though, with an NLE.
And that's pretty easy. What we're going to do here, is bring in all of them into a folder. So we make a new folder. And I'll just name the shot. And this is because this time we're going to import all of the images. >> Right. Now we brought in all of the images last time but we did some automagical stuff behind the scenes when we said image sequence. >> Right. >> It brought it in as one file. This time, we're going to have however many ever is a couple hundred of these individual tif frames. >> So I select all, and image sequence becomes un-checked.
>> Right. >> And we say Import. And it brings in, all of those files. >> Right. >> Now this is not as convenient from a media management point of view. >> No. >> But this sometimes works well because people will edit them in individually to time them. Especially if they're doing something like stop motion. >> Mm-hm. >> Where they want to re-time the frames independently. >> Absolutely. >> Like, oh, this one for ten frames and this for two. That's really meticulous, but there's kind of a middle ground. Premiere has a new feature in the Automate To Sequence command that lets you set at, set a specific duration for each and all the frames.
>> Right, Automated Sequence is a functionality that's been in Premiere for a long time. And I think of it sort of as the retirement video functionality of Final Cut Pro, right. That I can go through. And I'm making markers on a piece of music. And then I just go, let's take all these old photos and time them out to add those markers as a way of quickly building a sequence. But in this way, I think it's actually pretty cool because of what you said, we can actually sort of change the duration of individual frames. >> Yeah, and we can Automate that and change them independently with trimming. That's the slow method, figure that one out on your own.
Just use the Trim tool, go through, it'll work. >> Alright, so we've got, we've got all those guys in there. >> We can select all these guys. Let's target our timeline here. And I got that. We select them all. And click the Automate to Sequence button. >> Yep. >> And there's a new option here. So we're going to say put those in the sort order. Put them in sequentially with an overwrite edit. And set a duration for the number of each frame. So how about three frames. >> Per image. >> Yeah. >> Okay. >> So now, that's all cool. We're not going to do a transition or anything. And when I click OK, it adds them in.
And each one is three frames long. >> Now, we still have one problem here though, of course. All of our images are scaled up still. >> So, select them. >> Yep. >> And you can go ahead and nest that. >> Yep. >> That's going to drop it down. So it's nested. Which makes it in it's own sequence. And all I want to do here is just go to the first image. I'll just say, let's use this one. And we could basically adjust the scale. >> Mm-hm. >> Inside of that container and the position, just like we did before, right? >> Yep.
>> And then it's really easy. So we select a clip in the timeline. >> Yep. >> And we'll choose Copy. >> Yep. >> And then select everything else and just right click and say Paste Attributes. >> Yep. >> And all we're going to do is take the motion property. >> Cool. So click OK. And then if you close the nested sequence. >> Yeah, and you see everything else updated. Right? >> Yeah, and then close the nested sequence backwards nested. There you go. Now, I think what this, one thing that need explaining, is that the reason that you do the nests. Is simply because on your main timeline where you're adding everything together. You don't have you know, whatever it may be, hundreds, and hundreds, and hundreds of individual frames.
>> Yeah. >> It's easy to nest that. So, on your main edit sequence it acts as one single clip. >> I can grab it, drag it around. >> Exactly. >> I could apply a color correction effect to it, so it's pretty easy. >> Cool. >> All right, so, there's two ways of doing it. It works the same pretty much across the board... >> Mm-hm. >> In any NLE. When we come back, we're going to take a look at AfterEffects, to give you one more tool in your bag of tricks.
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