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Using motion effects with still photos and graphics

From: Final Cut Pro X Essential Training

Video: Using motion effects with still photos and graphics

So far, we have just been dealing with video. In the world of video editing, however, you often work with still images like photographs, graphics, and maps. In this movie, we'll take a look at some of the basics surrounding working with still images. So, if I click on the Stills keyword collection, you'll see that I have several photographs. In my Filmstrip View, when I click on each of these images, you'll notice that I get a set In and Out point. This is a default four second amount.

Using motion effects with still photos and graphics

So far, we have just been dealing with video. In the world of video editing, however, you often work with still images like photographs, graphics, and maps. In this movie, we'll take a look at some of the basics surrounding working with still images. So, if I click on the Stills keyword collection, you'll see that I have several photographs. In my Filmstrip View, when I click on each of these images, you'll notice that I get a set In and Out point. This is a default four second amount.

And you can of course shorten or lengthen this as you need to. But if you need to change the default amount, you can. You just come up to Final Cut Pro > Preferences and then under Editing, you would just change this amount from 4 seconds to whatever you want. I will leave it at 4 seconds for now. So let's go ahead and switch over to List View because I want to take a look at something here. I want to look at this Frame Size column. Again, if you don't see this, you just right- click and make sure to come down to Frame Size and put a check mark there.

But as you will notice you will see here that each of the images have very different frame sizes. Now this is one of the main differences between images and video. Typically, video comes in at the same basic aspect ratio. So, while there are quite a few video formats, both SD and HD, there is little room for vast differences in aspect ratio among like formats. Images on the other hand can come in any shape or size, 40 pixels by 20 pixels, or 4,000 by 2,000, the possibilities are limitless.

Therefore, there are a few things that are useful to know when working with stills. Right now, I have each one of these sized at 100%. I am going to switch to Fit so that we can see each one of these. So, most of the time we are on Fit, notice how this number changes when I go for an image to image. So, I am at 53% on this frame size of 994 by 576 and so on, and here, this is a huge image. So it's down to 5%.

And here we're at 55% zoom. So because Final Cut is sort of fitting each one of these images within this frame right here. It's performing various sizing calculations to do that. Now let me switch to 100%. Now, we're looking at these images pixel for pixel. You can see here that I get an indication of exactly where that is so I can sort of drag this around and see all over this image, like so.

Same thing here, and so on and so forth. So it does matter how you view this. Most of the time you will be viewing it as a fit, but it's very good to get a good context of the various sizes you may encounter because you might not be aware of it unless you have looked at frame size or at each of the images at 100%. So I'm going to go into my 9.2 sequence where I have each one of these images laid into the timeline, and I am just going to select this first one and open up the Inspector, Cmd+4, and I am going to make sure the Video tab is selected, and come down to the bottom here, Spatial Conform.

By default just like in the Event Library, the Fit option is chosen, where the images fit within the video frame and the aspect ratio is maintained. This often results in some letterboxing or pillarboxing, and that's what this is right here. It is pillar boxing it in this case so that the aspect ratio is maintained, same thing here, got a lot of pillar boxing, and a little bit on this one as well. Again, letterboxing or pillarboxing just means that you end up with these black bars along the top and bottom, or along the sides, because of the discrepancy between the shape of the image and the shape of the video frame.

Let me come back to my first image here. Now, if I change the option from Fit to Fill, then Final Cut zooms in on the image without any letterboxing or pillarboxing. This means that some of the edges of the image probably aren't going to be visible. But you don't end up with the black bars along the sides or along the top. So if I do at this one, something pretty drastic is going to happen. I am going from Fit to Fill, and now we're seeing this image zoomed in, so there's no pillarboxing.

And then finally there is the None option. So, if I come here and choose to None, and basically what this does is it doesn't do any type of scaling, but rather leaves it alone, and you're looking at it pixel for pixel. In the last movie, we talked about various motion effects like Transform, Crop, and Distort that you can apply to your video. Well, you can certainly do the same thing to your still images. I won't be going through to explain what each of these does again, but I'll demonstrate how you can do any of these same operations with still images.

So, if I selected this and switch to the Transform Properties, I can do the same exact thing, and if I wanted to layer several images in together, I certainly could, rescale, reposition just like before. I can really zoom in on him if I like. I will press Done, and there you go. Same thing with Crop, so if I do Crop here, and I am going to fit this back into a Fit Spatial Conform, and my trim is going to let me trim away pixels, like so and then Crop lets me constrain my Video Aspect Ratio, and pick any part of this image and then zoom in on that.

And then of course there is my Ken Burns, where I can start zoomed in, and zoomed out, and add movement to my image. So, as you can see, there are a lot of creative ways to work with still images in Final Cut. But it's very good to be aware of how large the images are, their aspect ratio, and how Final Cut is calculating them.

Show transcript

This video is part of

Image for Final Cut Pro X Essential Training
Final Cut Pro X Essential Training

78 video lessons · 37491 viewers

Ashley Kennedy
Author

 
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  1. 6m 16s
    1. Welcome
      1m 0s
    2. Using the exercise files
      5m 16s
  2. 23m 30s
    1. Understanding the world of nonlinear editing
      5m 2s
    2. Understanding how FCP X works: A new take on story creation
      1m 48s
    3. Taking a tour of the FCP X interface
      8m 59s
    4. Accessing additional tools
      6m 23s
    5. Getting to know the projects for this course
      1m 18s
  3. 24m 41s
    1. Creating and organizing events from scratch
      5m 20s
    2. Organizing footage with keywords and ratings
      8m 19s
    3. Performing searches and creating Smart Collections
      4m 59s
    4. Displaying event data
      6m 3s
  4. 42m 11s
    1. Playing and marking clips in preparation for editing
      7m 16s
    2. Understanding different types of editing tools
      6m 20s
    3. Making the first edits: Using Insert and Append edits
      7m 31s
    4. Changing shots: Using Overwrite and Replace edits
      5m 54s
    5. Performing video- and audio-only edits
      3m 45s
    6. Moving clips within the primary storyline: Swapping shots and creating gaps
      3m 28s
    7. Removing material from the primary storyline
      3m 44s
    8. Understanding timeline navigation: Snapping, skimming, zooming, and panning
      4m 13s
  5. 23m 58s
    1. Trimming clips: Using the Ripple tool
      9m 9s
    2. Manipulating transitions: Using the Roll tool
      5m 36s
    3. Changing clip content and position: Performing Slip and Slide edits
      5m 40s
    4. Using the Precision Editor for fine trimming control
      3m 33s
  6. 14m 2s
    1. Connecting clips to the primary storyline
      7m 0s
    2. Understanding the features and limitations of Connected Clips
      3m 40s
    3. Working with secondary storylines
      3m 22s
  7. 31m 23s
    1. Adjusting the audio level and channel configuration via the Inspector
      8m 47s
    2. Keyframing audio in the timeline
      4m 57s
    3. Repairing audio problems automatically
      5m 25s
    4. Adjusting audio EQ
      4m 46s
    5. Recording audio
      4m 4s
    6. Syncing audio from multiple sources
      3m 24s
  8. 25m 6s
    1. Nesting and breaking apart clips
      4m 1s
    2. Performing quick extractions using Top and Tail edits
      6m 16s
    3. Auditioning clips to try multiple editing options
      4m 9s
    4. Working with markers
      4m 57s
    5. Customizing the keyboard and workspace
      5m 43s
  9. 14m 28s
    1. Syncing your multicam group clips
      6m 47s
    2. Performing a multicam edit
      3m 53s
    3. Refining the multicam edit
      3m 48s
  10. 1h 26m
    1. Working with basic motion effects: Transform, Crop, and Distort
      10m 32s
    2. Using motion effects with still photos and graphics
      6m 25s
    3. Adding and adjusting transition effects
      7m 46s
    4. Adding and adjusting video effects
      6m 26s
    5. Adding and adjusting audio effects
      4m 30s
    6. Keyframing video and audio effects over time
      6m 18s
    7. Copying and pasting effect properties
      4m 15s
    8. Creating and adjusting titles
      7m 18s
    9. Working with generator effects
      6m 46s
    10. Adding animated themes
      4m 7s
    11. Creating freeze frames
      3m 51s
    12. Using speed effects to retime clips
      8m 2s
    13. Working with layered Photoshop files
      6m 19s
    14. Understanding rendering options and preferences
      4m 4s
  11. 36m 15s
    1. Analyzing footage for problems
      3m 49s
    2. Following a proper color correction workflow
      10m 29s
    3. Apply multiple color corrections to clips
      3m 41s
    4. Using color correction templates
      3m 11s
    5. Using automatic color correction tools
      6m 15s
    6. Performing secondary color correction with color masks
      4m 30s
    7. Performing color correction adjustments using shape masks
      4m 20s
  12. 18m 54s
    1. Taking a closer look at the import and analysis options
      5m 56s
    2. Importing from cards and file-based cameras
      4m 14s
    3. Importing iMovie projects and events
      1m 58s
    4. Capturing from tape
      3m 18s
    5. Making a tape archive
      3m 28s
  13. 16m 13s
    1. Managing events between different drives and destinations
      6m 13s
    2. Managing render files
      2m 56s
    3. Collaborating and archiving
      7m 4s
  14. 34m 38s
    1. Sharing projects using presets
      7m 41s
    2. Exporting a hi-res QuickTime movie
      3m 46s
    3. Using Compressor to export with custom settings
      7m 54s
    4. Exporting a still image
      1m 22s
    5. Exporting to DVD or Blu-ray with chapter markers
      5m 33s
    6. Exporting stems out of the timeline using roles
      8m 22s
  15. 14m 1s
    1. Solving offline media problems
      10m 29s
    2. Troubleshooting data and settings corruption problems
      3m 32s
  16. 3m 28s
    1. Next steps
      3m 28s

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