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Robbie Carman: Alright Rich, so in the last movie, we talked about stabilizing footage in Final Cut Pro X. Easy. Rich Harrington: Yep. Robbie: Two-step process. But in this movie, let's talk about stabilizing footage in Adobe Premiere Pro. It's another tool that a lot of people will have access to and especially if you have various versions Rich: Mm-hm. Robbie: Of the Create Suite, you'll be using it. Rich: Yeah, also easy. Also a really a two-step process. Robbie: Right. Rich: Yeah, so that first part is going to be analysis. The second part, it's going to be dialing in the control you want. Robbie: Mm-hm. Rich: Now just like over in Final Cut this is a background process, except you don't analyze the clips in your project.
You analyze them once they're in a sequence. Robbie: Okay. Rich: So, I've applied that, and I'll go under Effects and I'll type in Warp Stabilizer, which, as a Star Trek geek I, I think that, that actually is a pretty cool name, but we'll just grab it. It helps if I spell it correctly, there we go. And we'll just drag that onto the shots and they immediately start to analyze. Now you're going to notice here an interesting thing. It's telling me, oh it can't work because the sequence settings don't match the clips. Robbie: Mm-hm. Rich: And I did that on purpose because this brings up a very valid problem. If you put clips into a sequence and they don't match, they won't stabilize.
Robbie: Okay. Rich: But let's just check what that footage actually looks like. We'll check the settings of that, we'll look at the preview area here. And I see that I have 1920 by 1080. Robbie: 23,976, right? Rich: Yeah, and these are the same, 1920. So I need a sequence, that matches that. So we'll just choose to make a new sequence, and from the DSLR preset here, I'll choose the 1080p, and the 24 frames. Robbie: Mm-hm. Rich: Let's make a new sequence. We'll grab those shots. Robbie: Yep. Rich: Copy > Paste. And now, when we apply the Warp Stabilizer Robbie: Yep.
Rich: from the Effects panel, we won't get that error. So we'll just have everything selected here, and I'll drop the effect on. Now normally you would do it one shot at a time. Robbie: Yeah. Rich: But, and just like Final Cut Pro, this is running in the background. I can keep editing, I can keep working, so why not apply it to a couple of shots if you know they need to be fixed? Robbie: Yeah, and you know, the only, semi annoyance is that you get this big blue bar in the middle of the screen, but it's the same idea as the little stopwatch icon that was ticking up in the background in Final Cut Pro X. So this does take a, take a moment or two to, to analyze.
And if you open up the effect controls for a particular clip, just like in Final Cut Pro, but when you were looking at the background tasks. Rich: Yeah. Robbie: You can see a percentage of how long it's going to take, you know, how many minutes it has left and so on and so forth. Rich: Yeah now, in Final Cut Pro, it was doing them in the linear fashion, one clip after another. Here they start doing parallel processes, so depending upon how many clips you've selected, you might not want to apply this to every single clip in your timeline. Robbie: Mm-hm. Rich: You might want to do one and then the shot you're going to do next. Now, while that's processing, let's talk about some of the options here.
First off, you've got really two choices. Do you want to smooth this out? Robbie: Uh-huh. Rich: Or do you want to have no motion? So, a locked off shot, versus a steadier shot. Robbie: Right, and this is a really important thing to sort of point out. Remember back when we were talking about Final Cut Pro X. We said, hey, you might want to back off some of that smoothness to get rid of some of those effects those sort of distortions that we were seeing. This is another decision that you have to make here. Smoothing motion doesn't mean that it's going to be a locked off shot, right? Rich: Right. Robbie: It's just going to mean that we're going to get a nicer, smoother movement, rather than no motion, which would go, I'm going to try my best to give you the most stable, most locked down shot I can.
Rich: No motion is the right choice when it's mostly a stable shot. Like you were doing a shot, you were standing still, you had a little bit of shake, maybe you were in a moving vehicle. Robbie: Mm-hm. Rich: Or you're standing on a boat, or you just had too much caffeine that morning. Robbie: Right. Rich: But then when, if you do choose smoothness, you have an amount. Now the next is the method, and I say start with Subspace Warp and work backwards. Warp will basically bend the image, to try to stabilize. And if there's depth in the image, it can be doing that selectively. This works great, if you have some depth. If your subject is standing against a flat background, Robbie: Yeah.
Rich: It can look weird. It can be looking at the background as waving. Robbie: Yep. Rich: So you want to change that, and that's why you would use the other method, perspective. On the other hand, if you're trying to stabilize for something like a motion graphics project, and you're going to be trapping that footage into a frame or cropping it anyways, Robbie: Mm-hm. Rich: you might do position, scale, rotation. That's particularly useful if you're doing a keying shot and you're going to knock the background out anyways, but maybe there was bumpiness in it. Robbie: Yep. Rich: Or if you just want to see what you did, choose Position Only, and you can actually see how much the shot gets fixed. Robbie: Right, okay. Rich: Now beyond this, we've got the framing, and we usually use Auto-scale and that'll show you what's happening and it'll blow the shot up automatically.
We do have an option that takes a long time to render that could attempt to use an auto generated edge. And if it's over a very simple background, this can work to fill in those edges. But pretty straight forward. And then we have the mythical Advanced area, and this is where you can access really advanced analysis, Robbie: Yep. Rich: as well as rolling shutter repair. Robbie: Now, I've made the mistake, because obviously something says advanced, what's the first thing I do? Rich: You turn it on. Robbie: You decide to advanced and turn on everything. Rich: Yeah. Robbie: I have made the mistake in the in the Advanced section of doing that detailed analysis.
Rich: Yeah. Robbie: Just be prepared that it gives you better results it takes a long, long, long time to do. Rich: You should go out to lunch. Robbie: You should go out to lunch, you know? Rich: Stop for coffee. Robbie: Maybe take a nap for the weekend. Rich: Yeah. Robbie: You know, that kind of stuff and come back to it. Rich: Now we're slightly exaggerating. You know, given the miracles that it does, it's certainly quicker than re-shooting and getting everyone back together again. Robbie: Of course, of course. Rich: But it's not the option that you turn on lightly. Alright so we've got this shot and we're just going to set this to No Motion. The cool thing here in Premiere Pro is this actually is an accelerated effect, so I don't have to render.
Now the first time I choose it it shows that orange bar where it's stabilizing. Robbie: Yep. Rich: But look, there's the no motion rock solid, lockdown shot. Robbie: Yep. Rich: Now, we'll go to the next shot here, and just check that, I think that finished analyzing. It did, and I've got smooth motion 50%. Now, I think it did a really nice job of making that a smooth turn. Robbie: Yeah, it, it still has some movement in it, it's not perfectly flat and stable. And I, I like that, because you know, there's a lot of sort of kinetic movement in it. This woman's riding her bike, there's people walking on a busy a busy sidewalk.
Now, you know, you up that a little bit and you can see now it's a little bit more viscous in the type of movement that it has. Rich: Yeah, and so you want to really be mindful as you choose this. If you crank this too high, like if I said oh, no motion, it's going to come back and say, I can't do that. Robbie: Yeah. Rich: You know, it's going to look at this shot, and just report an error, saying, there's too much movement in that shot to get no motion. Now it's really trying hard here, it's thinking, and it's going to come back pretty soon and say no, you're crazy. So I'm going to go with Smooth Motion. And instead of the Subspace Warp, let's try the Perspective here.
Robbie: Okay. Rich: You see it calculates the new value. Looks a little different there, right? Robbie: Yep, it does. Rich: And it's nice, you know. It works really well. If you want to see how much it's doing, just set that to Stabilize Only and you could tell how much the shot is being stabilized. Robbie: Yeah, especially when it, pushes in there a little bit on the woman on the bike. You can see that is really was doing a lot of stabilization. Now Rich, in my opinion, the stabilizer in Final Cut Pro X as well as the stabilizer inside of Premiere Pro work pretty well. And if you're new to these applications, you might be thinking to yourself, well, gosh, the one inside of Final Cut Pro X, looked a whole lot more simple, and a whole lot more straightforward.
Rich: It still, it still had three sliders. Robbie: Yeah, now, that is not to say that it doesn't do, it does a less of a job, by, by any means. But you have to keep in mind that the Warp Stabilizer here inside of Premiere Pro, was actually pulled from Adobe After Effects, an advanced, compositing, and visual effects and motion graphics tools. So yes, there are some more controls here, some more sliders, some more options, but that is not to say that you have to use all of them. And in my experience, I've found that the Warp Stabilizer, when I have to have a Go to stabilization tool, I'm on this one almost all the time.
Even if I'm not using Premiere Pro as my dedicated tool, I find it to be that good. And just keep in mind, the Warp Stabilizer, if you don't want to use Premiere, will also work, of course, in Adobe After Effects. Rich: Well, and here, we have this shot that bridge shot that was really, really rough. Robbie: Mm-hm. Rich: Remember how Final Cut looked kind of jello like? Rob: Yep. Rich: Here's the default values inside of Premiere Pro. I did nothing, I just left it on smooth motion. Robbie: Yep. Rich: Subspace Warp. I think it's doing a better job. Robbie: Yeah, it's still got a little bit of that shimmer going on, Rich: Yeah. Robbie: But I agree with you, it wasn't quite as quite as bad as it was in the in the, in Final Cut X.
Rich: And if you want to fix that, then this is where that Advanced category, detailed analysis is going to work. And we can let it do the Rolling Shutter reduction. Robbie: Mm-hm. Rich: And that is going to actually help that. So let's take a look at this other shot that is real bumpy. We're walking up the stairs. It did pretty well, right? Like, handheld, walking upstairs, Robbie: Yeah, it's Rich: Free walking with the shot. Robbie: Yeah, it still has some bump, but you know what, I as an audience, or as a viewer, I expect this. You know, you're walking through the woods in the forest, and you know, and it's gotta have a little movement to it. Rich: Now there, one of the things that I saw was a little bit of that warping.
Robbie: Mm-hm. Rich: This is where I would try Perspective and say you know what, does that help? You know, maybe because there was such a busy background. And so, sometimes changing the method there, getting rid of warp and just going to perspective can give a little better results. I actually think that actually looks better there, because we're not seeing some of that bending of the background. Robbie: Cool. So, there you have it, a very easy way to stabilize footage inside of Adobe Premiere Pro. Like Final Cut Pro X, it's essentially a two step process with analyzation, and then, adjusting that analyzation data and adjusting the parameters to get the best results and get the most stable shot that fits your workflow.
So I'm Robbie Carman. Rich: And I'm Rich Harrington. Thanks for joining us.
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