From the course: Final Cut Pro X Weekly
Timelapses, part 2 - Final Cut Pro Tutorial
From the course: Final Cut Pro X Weekly
Timelapses, part 2
- [Nick] Hi welcome to Final Cut Pro 10 Weekly, I'm Nick and Jeff's not here this week. We're going to talk about working with time lapses part two. Why part two? Because we covered part one last week. We're specifically focusing on video time lapses. In this week's movie we're going to focus on still camera time lapse. We're going to look at setting up a project, changing the still length or the default length of stills when brought into a project and play around with the project size cause most notably your actually filming still camera time lapses so that you have the full resolution quality of the raw clip. So you can scale them up or scale them down and play with project size as you see fit. And if your time lapse for any reason has flicker and this could be due because your camera has those automatic settings, we're just going to talk about a quick way that you can deal with that. With a third party plugin available for final cut pro. Let's hop into final cut and take a look at what we have to work with. And in my Final Cut weekly library, I'm in my stills smart collection and I have all the stills that we'll be working with. This is another time lapse but this was recorded with stills in Washington DC. These are a series of JPEGs. Now originally these files were CR2 files and those are raw files from a Canon. I just chose to work with camera raw to deal with some of the color correction in that first stills and then I exported the JPEG for the purposes of this tutorial. So here are my stills and if I select one and then go to my inspector by pressing command four and going into my info inspector. I'll see that these are a weird frames size. Meaning that they're not really 1920 by 1080 where a 4k standard format there, a strange custom 5813 by 4119. So I want to go to the file menu and choose new project and here I'm going to choose time lapse two as the name, the video format I'm going to choose to be custom and under the custom resolution I'll make sure that our references or matches the frame size that I just saw. That was 5113 by 4119. So now we'll see that I have a timeline of those settings and I want to bring in every single one of the stills from my stills smart collection. I'll select the first one, press command A on the last one. This is just a great way to make sure that they come in in order. You'll see that they were numerically ordered, based on the way that they came out of bridge. I'll press E just to add them or pen them to the timeline. The timeline select if I press shift z, I'll get an overall view, and if I move to the beginning of the timeline; just notice that every still last for an entirety of four seconds. And to make every single still one frame, which it should be for this time lapse, I'm going to press command A, to select them all on the timeline. And with them all selected I'm just simply gone in, control D, to change the duration of each of these stills. And type in one for one frame, followed by the return or enter Key. Notice the timeline gets a lot smaller. I'll press shift z to fit them all to frame but because it's 30 frames per second, it's just under 13 second. And if I start to play now this time lapse we'll see that it's looking a lot more time lapse-ish. Again this isn't really a standard frame size so if you exported this; it's not 4k, it's not 1920 by 1080, you're going to run into a lot of problems of support. So ideally what I'd like to do is export this time lapse in a 1920 by 1080 resolution. So with this what I get is scaling power and to take advantage of this, I'm going to take all of these stills and place them into a compound clip. I'll select everything by pressing command A. And I'm going to go to the file menu and create a new compound clip and I'm going to call this time lapse. I'll choose okay. Everything in this project has that 5813 by 4119 resolution. Because it's in a compound clip what I can do is change the settings of my project. Under my final cut pro 10 weekly library, I'll go to my projects and I'll find my time lapse two project. So I'll just scroll down until I find that time lapse two project and here in the inspector, I'll see the settings for that project, which is still that strange resolution. I'll modify that, instead of a video custom setting, I'm going to choose a 1080p HD setting 1920 by 1080 that 2398 frame rate. I'll press okay and all of a sudden you don't really see a change in the size of this image, what I'd really like to do is see how much scaling power I have in this image. A great way to do that is to select that compound clip and go to the video inspector, it's that little video or clip icon up here to the top left hand side. I'll scroll all the way down, to where it says spacial conform and under type where it says fit, I'll change that to none. All of a sudden my shot's going to be a lot bigger. Because it's in such a smaller project, a 1920 by 1080 project, I can scale it up to this size that you see here and have no degradation in the quality of my video. I'm going to press shift T so that I can actually move around the position, you can see there my transform icon got selected. I'm just going to move this here over to the side and this is a little too zoomed in for me. I'll zoom out by pressing command minus and just look how big this video is. One thing I could do is grab on to a corner and just scale this down and reposition this video until I like how it looks. I'm just going to scale it down a little bit more. I can do the exact same thing here in the video inspector, I can scale it down manually using one of these parameters, position that upwards a bit so I can just get the majority of this action here into frame and I'm liking the way that looks and before I press done, I'll press the space bar just to preview this footage. And the time lapse is just looking a lot better. Last but not least, what happens if there is flicker in your time lapse and this might occur for a number of reasons. In my case there's not too much flicker, there might be some from the light but you might experience flicker I your time lapse because of the automatic setting of your camera. So if your camera has automatic white balance settings, automatic exposure, automatic focal control. The biggest problem is you're going to see a fluctuation in the way the light appears in your time lapse. So there is a filter double from Digital Anarchy called flicker free. Which is great for solving video as well as still time lapses inside the final cut, then I recommend that you check out. It might solve some of the flicker problems that occur within your time lapse. If you're looking to export we can export this project as a 1920 by 1080 H264 project using the share settings and then place this on Eddie videos sharing services that we want. I'm Nick, thanks for tuning in to Final Cut pro 10 weekly.
Contents
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Why the Range tool should be your favorite and why to use it more5m 26s
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It’s all about the color board9m 53s
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5 things you should know about Motion 510m 34s
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The ultimate short guide to mastering speed effects6m 52s
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3 things you should use Compressor for right now6m 38s
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5 keyboard shortcuts you should know in FCPX7m 9s
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Uploading videos to the web4m 27s
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Setting up workspaces5m 8s
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AE workflows10m
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Cool things about the Info panel5m 36s
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5 tricks for dealing with the inventible stills montage8m 35s
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Animation in a hurry: Have no fear, custom text is here7m 9s
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The least you need to know about After Effects10m 21s
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Video roles in FCP X7m 44s
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Three Timeline tricks7m 31s
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Split edits to elevate your storytelling5m 53s
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Color Finale for traditional color correction10m 37s
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Tricks for managing titles12m 21s
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Perfect slow-mo with HFR11m 35s
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The power of generators10m 49s
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Portable proxies12m 30s
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LUTs and you12m 47s
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Free Apple sound libraries6m 40s
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Getting more from the Ken Burns moves7m 46s
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Storyboards5m 18s
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Three things about 3D text9m 8s
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Playhead and skimmer management6m 22s
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360VR in Final Cut Pro, part 15m 46s
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360VR in Final Cut Pro, part 29m 23s
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Keyframing best secret: Solo animation4m 50s
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3D text in Motion7m 45s
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Smart collections8m 51s
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Transitions6m
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Frame.io9m 55s
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RED workflow10m 2s
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Timelapses, part 17m 32s
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Timelapses, part 27m 23s
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Setting up a stronger Color Workspace7m 34s
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Shortcuts for faster color correction in FCPX 10.47m 12s
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The Power of Overshoot6m 53s
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Better LUT Workflows3m 32s
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Eyedroppers in Curves4m 57s
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Clip Filtering in the Browser3m 2s
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Animation Headache Avoided2m 40s
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SpeedScriber7m 6s
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A Solution for Charts4m 48s
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Speeding Up Basic Transforms4m 33s
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Common Transform Libraries3m 58s
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Viewing Smarter in the Browser3m 46s
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TImeline Display Options2m 16s
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10 keys we wished more FCP X editors used: Part 16m 22s
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10 keys we wished more FCP X editors used: Part 27m
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3 things to know for working with 360 in FCP X6m 46s
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360° Patch6m 20s
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Finishing the job: Archiving best practices4m 11s
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Using auditions with color correction2m 36s
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Using a color chart4m 29s
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Using Motion color looks in FCP X6m 26s
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Using the Finder for easy organization6m 33s
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Flow transition: Hiding jump cuts3m 53s
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Using Palette Gear with FCP X7m 51s
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The ultimate reframe: 360 in everyday projects5m 44s
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Snapshots: Better than duplicates4m 43s
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Closed captions7m
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Which ProRes is right for you?10m 24s
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FCP X in the real world: A sit-down with Kelsey Wilson from the Toronto Star14m 50s
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Dual displays: Maximize your layouts6m 19s
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Creating custom clip names in FCP X5m 21s
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Creating a channel blur in Motion for FCP X8m 7s
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Tweaking flesh tones9m 32s
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Text design tips for video editors12m 57s
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Saving useful effect presets in FCP X8m 28s
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Audio compression9m 27s
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Creating great lens flares with mFlare 211m 48s
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Voice EQ: Making everyone sound better10m 40s
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Smarter effects workflows7m 57s
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The edits not taken5m 38s
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MacBook Pro: 2014 vs. 20187m 11s
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Using cameras and formats6m 48s
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OS X Finder search secret5m 41s
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USB-C, T3, and you3m 51s
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Nodes 2: Incredible motion graphics right inside of FCPX8m 57s
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Three things to know about taking the dive into FCPX8m 6s
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CommandPost6m 37s
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Three great OS X utilities4m 56s
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Build a custom Final Cut Pro custom template in five steps14m 58s
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Three hidden compressor tweaks8m 5s
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Make safe OS X media copies6m 38s
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Don't hit the panic button: Troubleshooting Final Cut Pro X problems, part 14m
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Working with 4K in HD production7m 37s
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Workflow extensions with Shutterstock4m 45s
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Don't detach the audio2m 24s
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Four tips for keying the green out of your screen8m 44s
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Upgrading safer4m 43s
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Understanding disk speed10m 33s
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Beyond Ken Burns: Working with photo cutouts in Apple Motion, part 111m 3s
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Automatic color4m 48s
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Color matching8m 9s
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External GPUs14m 58s
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Beyond Ken Burns: Working with photo cutouts in Apple Motion, part 210m 32s
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Pair kerning: The secret to professional-looking titles3m 19s
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Pro Res raw8m 40s
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Incompatible media for future OS updates5m 38s
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The future isn't just horizontal8m 29s
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Audio limiter5m 12s
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Easing animations8m 12s
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Three free effects9m 49s
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Making keyword collections work for you6m 57s
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Square video8m 52s
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Video noise reduction11m 39s
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Hard limiter2m 44s
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Exploring 3D type options and reflections9m 16s
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Preparing titles for vertical and square formats8m 11s
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Odd-sized assets and Spatial Conform3m 29s
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Stencil and Silhouette5m 5s
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Working with 180-degree video in Final Cut Pro X8m 48s
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Two workflow tips for 5.7K footage7m 6s
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Faking room tone6m 2s
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Free still and video content sites8m 28s
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FCPX system performance12m 37s
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Proxy files for collaborative workflows6m 33s
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EditReady4m 35s
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