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Premiere Pro CS4 Beyond the Basics
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Overcranking and time lapse


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Premiere Pro CS4 Beyond the Basics

with Chad Perkins

Video: Overcranking and time lapse

As we'll talk about later in this training series, Premiere gives us a host of options to play with the timing of our clips. But if you want to slow down footage and have it be the best possible, or if you want to really speed up footage, the best thing to do is to change the way you shoot. So we are going to talk about two of those methods here, Overcranking and Time Lapse. Overcranking is when you capture more frames than necessary. Again, you are going to need to consult your camera's manual in order to figure out how to do this, but let's see, for example, this basketball shot.
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  1. 4m 11s
    1. Welcome
      56s
    2. What's new in the dot release
      57s
    3. Using the exercise files
      2m 18s
  2. 18m 54s
    1. Capturing ambient audio
      3m 12s
    2. Getting plenty of coverage
      1m 48s
    3. Telling a story with camera angles
      3m 18s
    4. The 180 degree rule
      2m 13s
    5. Framing shots
      3m 25s
    6. Allowing "emotional space"
      1m 40s
    7. Overcranking and time lapse
      3m 18s
  3. 11m 38s
    1. Why is metadata important?
      1m 40s
    2. Browsing and adding metadata
      6m 4s
    3. Creating metadata with Speech Search
      3m 54s
  4. 33m 12s
    1. When to cut
      7m 38s
    2. Avoiding bad edits
      9m 17s
    3. Using emotional cutaways
      1m 53s
    4. Fixing problems with cutaways
      3m 53s
    5. Pacing edits
      3m 49s
    6. Matching action
      4m 14s
    7. The power of suggestive editing
      2m 28s
  5. 26m 31s
    1. Contrasting targeting and selecting
      3m 17s
    2. Copying and pasting clips
      2m 36s
    3. Replacing clips
      4m 8s
    4. Editing to music
      5m 0s
    5. Using sample rate for precise editing
      5m 34s
    6. Creating J and L cuts
      3m 33s
    7. Working with subclips
      2m 23s
  6. 11m 17s
    1. Ingesting media
      1m 39s
    2. Examining P2 file structure
      1m 31s
    3. Importing P2 files with the Media Browser
      5m 15s
    4. Converting DVCPRO HD to standard 720p
      2m 52s
  7. 38m 11s
    1. Using the Reference Monitor
      3m 0s
    2. Using scopes
      8m 33s
    3. Primary color correction
      10m 11s
    4. Secondary color correction
      8m 28s
    5. Creating a vignette
      2m 28s
    6. Creating a day-for-night shot
      5m 31s
  8. 37m 19s
    1. Censoring video
      5m 30s
    2. Creating a waving flag
      6m 5s
    3. Creating a lens flare
      3m 36s
    4. Creating background textures
      6m 19s
    5. Playing with time
      6m 4s
    6. Using transition effects
      6m 13s
    7. Working with presets
      3m 32s
  9. 15m 30s
    1. Creating a garbage matte
      3m 56s
    2. Removing green screen
      5m 6s
    3. Compositing with blend modes
      3m 32s
    4. Nesting sequences
      2m 56s
  10. 15m 27s
    1. Creating 3D reflections
      5m 0s
    2. Creating growing vines
      5m 52s
    3. Creating a track matte
      2m 39s
    4. Using the History panel
      1m 56s
  11. 42m 25s
    1. Censoring audio using bleeps
      5m 16s
    2. Understanding sample rate
      3m 0s
    3. Normalizing audio across multiple clips
      5m 7s
    4. Recording audio
      2m 24s
    5. Removing audio problems with Soundbooth
      5m 43s
    6. Working with VST plug-in effects
      2m 3s
    7. Mixing audio
      8m 20s
    8. Changing volume over time
      5m 22s
    9. Working with surround sound
      5m 10s
  12. 23m 52s
    1. About this project
      2m 26s
    2. Performing preliminary edits
      2m 35s
    3. Working with multi-camera footage
      7m 27s
    4. Creating a visual "stutter"
      3m 12s
    5. Adjusting color
      8m 12s
  13. 6m 28s
    1. Transferring projects to another machine
      3m 24s
    2. Removing unused footage
      3m 4s
  14. 25m 46s
    1. Choosing a format
      5m 35s
    2. Understanding spatial compression
      2m 5s
    3. Understanding temporal compression
      4m 19s
    4. About HD standards
      5m 46s
    5. Changing footage interpretation
      2m 17s
    6. Getting the film look
      5m 44s
  15. 27m 10s
    1. Working with After Effects
      5m 56s
    2. Creating titles in After Effects
      5m 39s
    3. Working with Photoshop files
      2m 29s
    4. Working with Final Cut Pro
      2m 2s
    5. Working with OnLocation
      3m 12s
    6. Working with Encore
      4m 27s
    7. Introducing Adobe Story for pre-production
      3m 25s
  16. 15s
    1. Goodbye
      15s

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Premiere Pro CS4 Beyond the Basics
5h 38m Intermediate Dec 03, 2009

Viewers: in countries Watching now:

In Premiere Pro CS4 Beyond the Basics, Adobe Certified Instructor Chad Perkins explains how to take video editing from simple nuts and bolts to an art form. He shares tips for shooting video in the field to get the most from a subject and get the best footage for a project. He demonstrates how to build a project through the careful use of cutaways, pacing, and suggestive edits. He covers special effects, color correction, and keying and compositing, integrating all these concepts as he builds a music video project from scratch. Exercise files are included with this course.

Topics include:
  • Working with P2 media
  • Keying compositions using garbage mattes and green screen
  • Using transition effects, lens flares, and 3D reflections
  • Compositing with blend modes
  • Understanding spatial versus temporal compression
  • Recording, mixing, normalizing, and fixing audio
Subject:
Video
Software:
Premiere Pro
Author:
Chad Perkins

Overcranking and time lapse

As we'll talk about later in this training series, Premiere gives us a host of options to play with the timing of our clips. But if you want to slow down footage and have it be the best possible, or if you want to really speed up footage, the best thing to do is to change the way you shoot. So we are going to talk about two of those methods here, Overcranking and Time Lapse. Overcranking is when you capture more frames than necessary. Again, you are going to need to consult your camera's manual in order to figure out how to do this, but let's see, for example, this basketball shot.

I recorded this at 24 frames per second mode, but its 60 frames per second. And what that means is that the camera puts data inside of the clip that tells Premiere here, to play that footage back at 24 frames per second, but it captured 60 frames per second. So the result is really clean, slow motion. You can see as this ball is bouncing, there is a little bit of motion blur probably because I didn't have the shutter speed fast enough, but you could still see that even though we are bouncing this very slowly, every single frame is fairly crisp and distinct.

And we wouldn't get this much cleanliness from using the time warp effect, as powerful as it is. So the cleanest way to do this is referred to as Overcranking, meaning that we capture more frames than necessary, but still in the given mode of the camera. Now you could also do the opposite, which is referred to as Undercranking. We have our camera, let's say, in 24 frames per second mode, but then we have it capture 22 frames per second and embed the information into that clip that when we take it back into our NLE, like Premiere here that it will play it at 24 frames per second, which gives it the feeling that it's actually sped up.

Rumor has it that Jackie Chan films his fight sequences at 22 frames per second. It makes it a little bit faster than it normally would, and that's totally fine to do. Actually, here in Premiere, you don't need to do that in your camera, but if you're going to do something really extensive, where you're going to capture a long period of time and you want it to go really fast, like this graffiti artist here, then you are going to want to do a Time Lapse, basically an extreme version of Undercranking. So, in this case, I think I captured a frame every second or so.

So I have my camera just setting up on a tripod and every second it would capture a frame. And that allows us, as I play this back in real-time here that this graffiti piece took many-many hours, but I was able to capture that in just a few minutes of video because of Time Lapse settings. And if you are going to do something this extreme where you have hours of video and you want to play it back quickly, you could do that with the Timewarp Effect. That's so much processing. That's so much storage on your computer. It's far better to just have your camera change those settings, so you capture it this way.

By the way, in case you are wondering, this graffiti was taken place in a legal graffiti wall, so don't think that I am trying to advocate vandalism or anything here. But basically, that's what I wanted to cover here, Overcranking and Time Lapse. To capture more frames than you need for super slow-mo, or less frames than you need for Undercranking and Time Lapse.

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