- Maximizing your color board
- Mastering speed effects
- Working with Compressor
- Learning helpful keyboard shortcuts
- Uploading videos to the web
- Setting up workspaces
Skill Level Intermediate
- [Jeff] Hi, I'm Jeff. - [Nick] And I'm Nick. Welcome to Final Cut Pro 10 Weekly. - [Jeff] This week, I want to talk about the Ken Burns Move. It's sort of this hidden little automatic key framing, without key framing adjustment, and it's something that I find that so many people miss, and has got such great beauty underneath. - [Nick] Yeah, it's a great way to get animation too, without the need to key frame. - [Jeff] And it comes of course from the documentarian Ken Burns, he did Civil War. If you have PBS somewhere, you've seen maybe one of his work, where he uses a camera stand, and he animates over photos of say, the Civil War, I mean, it's just great stuff.
Now the actual Ken Burns Move, is actually found under the Crop controls, that's going to be Shift C. - [Nick] And, we can of course use these with the video, we can focus especially on stills though, to get some movements with Ken Burns. - [Jeff] We're focusing on stills this week. I want to show you how to quickly adjust the moves, and then I got two neat little tricks in here, about durations and dissolves. - [Nick] And they're fantastic tricks, 'cause they're a quick way to select multiple items, and apply something across to your project. - [Jeff] So, I have already here, down on my timeline, a bunch of stills, and they're all five seconds long right now.
I'm going to turn on my skimmer, and it'll just give you an idea of what the stills look like. With the clip selected, I could come underneath this dropdown, and go for Transform, Crop or Distort, but it's Shift C for the Crop. I'm going to hit Shift C, there are my crop commands there, and you would make whatever adjustments and hit done. In fact, for this, let's just hide our browser, so we're just looking at that. I've got Crop, probably another weekly item, but we're going to deal here with Ken Burns. When we do so, I get a green and a red rectangle.
- Nick] Great, so the start is where it's going to start on your photo, and the end is where you're going to end. And the great part about this window that I love, is that if you look in the top left corner, you can actually preview what this existing effect is going to do, this existing animation. - [Jeff] So I'm going to make my start here, I'm just going to click so the start is highlighted. I'm going to make the start really be with him, and it's going to pan out. Let's see what that looks like.
- [Nick] Now, there appears to be an actual easing at the beginning and the end of this photo. Am I correct Jeff? - [Jeff] Totally, the way to get to that, is a right click on the picture. And that's where you can et Ease In And Ease Out. One of the sides Ease In, or Linear. Let's just do Linear quickly, just so we have a field. This will be very mechanical looking, and we'll say preview that. There's none of that Ease at the end. - [Nick] Hey, pretty much it's just going straight across, the movement is constant throughout.
- [Jeff] I'm going to set it back to Ease In And Ease Out. Another great switch is this one up here, which is a reverse. Now it's starting wide. And pushing in on the shot. - [Nick] That's great for this shot. - [Jeff] It's great. Under the Inspector, so you can see where this exists. This exists in the Crop controls here, and you can see it right there where it says Ken Burns, versus Trim, versus Crop. And if you wanted to do this automatically in a bunch of clips, you'd lasso all the clips. And here, under the Inspector, you would say, set them to Ken Burns.
- [Nick] And just, if you notice at the top of the Inspector, it actually shows you that you're inspecting four items right now, which is your key just to know that you're applying this Ken Burns effects to every single one of those four stills. - [Jeff] Alright, I'm kind of under the decision, that I want to push in a little bit, like I did with the first shutter. Pull back whichever, but I'd like to kind of start this idea of constant motion back and forth, that I'm going to apply to the other shots. So I'm going to hit a Command C copy.
I'm going to lasso the other clips. I'm going to say edit. I'm going to choose Paste Attributes, and I'm just going to make sure only the crop is pasted. I prefer this over Paste Effects. That way I'm not damaging anything other than what I want here. And I'm going to say Paste. - [Nick] Great way to apply effect to multiple clips at once. - [Jeff] Absolutely, and then it goes hand in hand with I'm going to select all. Command A, and I'm going to say, add a transition, a Command T. And I've added a default transition to all those shots. And let's just play that a moment to get a feel for it.
- [Nick] Looking very nice. You've got the same effect on each of those clips. - [Jeff] Yeah, it's a constant move in, but you know, there are a couple of problems with it. I kind of want to adjust each one of them. And the length, how long these clips are, maybe too long or too short. So let's do two things. Let's first, three things, let's get rid of all the dissolves. Let's go ahead and change the timing, because five seconds feels like it's a little too long, and let's do the third bit, where we reorient each of these. - [Nick] Now, do I have to select each of those dissolves to get rid of them? - [Jeff] No, in fact, that's kind of where we're leading to this, is the timeline index.
These things are called cross dissolves. Right here at the top, I'm going to type the word in, Cross. - [Nick] Look at that. - [Jeff] There are all the cross dissolves. I can select all the cross dissolves, and I can delete them. I'm going to go ahead and do that, and I've just removed all the cross dissolves, and we're going to see that, come back and revisit that in a moment. I'm going to hit a Shift C so we see everything. I'm going to do another Command Alt, Command A, and I'm going to say a control for the duration. These are currently five seconds, each based on Final Cut's default. Four seconds each.
Four times five is 20 seconds. I'm going to make them all three and a half seconds. So I hit that Control C, three. If you type a period, it means zero, zero. I can just hit the Enter key. I'm going to type in one five, which is going to make them half a second. One four, let's make that one five, Enter key, and that they all are that length. - [Nick] And just to let you know, you can still see in the Inspector that five items are currently selected, knowing that you're making that duration change to each of these photos, like we did the initial Ken Burns Move when we selected those four photos.
- [Jeff] Now your instinct, will be to put back the transitions, Command T again, and there's a problem when you do that. With these Ken Burns Moves, the moment I touch the start, or the end, I'm inside the transition, and now all of it's on black. So, again, I could just undo it this spot, but I'm going to Shift-click, and just delete those transitions. Again, this is just a super cool way to remove a common transition like this, refine certain clips.
So with that done, I'm going to go in here, I'm happy with the first one. I'm going to go to the second shot here. I'm going to take the ending moment. I'm going to put it on the clock tower. I might take the beginning moment, and put it maybe just a little bit more on that painting. I'll go to the next shot. And as I go down through shot by shot, I'm kind of trying to pick what a good starting or ending, I'll reverse this one. I'll go to the next shot. I want that definitely to be push in onto Toronto, and I'm going to go to my last shot here, and we'll just finish right there, with this sort of beautiful piece, and that's all there is to using this Ken Burns move.
When you're done, you might want to hit done. I'm going to play back a couple of these, just so we have a few. - [Nick] And look how easy it was, to get some amazing animation on these photos, with the use of Ken Burns. And not even one single key frame was touched. - [Jeff] This is just the best way to handle stills, especially if you have to do what I call a dissolve show, where somebody just gives you 30 stills, and you need to animate it. But I will of course want to remind you, you can also do this one video. I'm Jeff. - [Nick] I'm Nick, and thanks for turning in to Final Cut Pro 10 Weekly.
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