Join Maxim Jago for an in-depth discussion in this video Create a freeze frame, part of Media Composer 8.7 Essential Training: 101.
- [Instructor] For this chapter I've created a Chapter 09 folder in our Projects folder, so browse to that folder and go into the Running The Sahara project to continue. There are three types of motion effect in Media Composer. These are things that change the playback speed of your content. The first is a freeze frame, and we're going to make one of those right now. The second is broadly described as a motion effect, and really, this just means changing the playback speed of your media at flat level speed so that you can incorporate the new frame rate media into a sequence.
Both of those two result in a new clip in a bin. And the third option is a time warp effect. And a time warp effect allows you to change playback speed over time. This is an effect that you apply to clip segments in sequences. But let's start out with a freeze frame. I'm working here in the Create a freeze frame sequence. And partway through this sequence there's a marker set up called Freeze Frame.
So, locate that marker, and you'll be in the same spot. Now, just zoom in a little here. This is a shot of some minarets, and if I just drag through you can see it's not a long shot, but there's a little bit of a camera lift there and the shot is moving. Just gives a sense of depth to the shot. But let's say the director decides they'd really like this to be a still frame and not to have too much motion in the film. Well, let's find this media in the Source Monitor.
Let's open up the original master clip, and to do that I can use the button here in the fast menu between the monitors. We have Match Frame, so I'll click that. Remember, Match Frame works if you have the correct track enabled in the Timeline window. I'll just close down this panel for a second. And let's say this seems to be a pretty good option for our still frame. I'm going to create a bin that I'll call Motion effects. Just move this over here, so we've got somewhere to put our new media.
Now all I need to do is right click in the Source Monitor and choose Freeze Frame followed by a duration. By the by you can access this menu also by going to the Composer menu, provided the Composer window is active. But I'm going to right click in the Source Monitor here and choose the option here. Notice you can specify a duration as well, if you'd like. Just punch in the duration you want. If you want to produce a really long freeze frame that you want to use as, perhaps, a background for a sequence, that's a good way to work.
Just go back in here. I want to draw your attention to these two options at the bottom of the menu. Using both fields or using Interpolated field. What this really does is throw away every other line of pixels in the original video, and then interpolate to replace them from the remaining set of lines. If you're working with interlaced media, this means removing the problem of having fast action movement appear in different spots of the picture and causing either a strange kind of jittery result or just jagged lines on the edge of things.
If you're not using interlaced media, that means if you don't have odd and even or upper and lower fields in your source material, then all you're doing by choosing the Using interpolated Field option is discarding half of the image resolution and then asking Media Composer to rebuild that half of the image resolution to recreate the freeze frame. To you eye in these relatively small monitor windows, you might not notice that much of a difference. But you will if you zoom in, and check it out maybe in an application like Photoshop.
Particularly, also if you're looking at your content on a larger monitor. Media Composer doesn't particularly check whether you are or are not using progressive, that means whole frames of media, or interlaced media when you create these freeze frames. It's really up to you to tell Media Composer which option to use. You're only really likely to have a problem with the Using Both Fields option if there's fast motion, fast movement, people running around, doors closing, cars moving, anything moving across the screen could lead to a problem using both fields.
But the only way to know is to try it and take a look at it. It doesn't take very long to recreate the freeze frame. It's just a couple of clicks in a menu. So, my advice, generally, is to begin with using both fields and then see if there's a problem. If you do have progressive media, again, Media Composer will still throw away every other line if you choose the Using Interpolated Field option. Which is a little bit pointless because there's no reason to throw away every other line of the picture with progressive media.
So again, I'm going to choose Using Both Fields here. Let's go back in, and I'll make this one minute long. Media Composer's going to ask me which drive I want to put the media onto, I'll say OK. And now, I get to choose between my open bins. And this is a good moment to mention we've seen a couple of these dialogs come up asking us to choose a bin to put items in. And you'll notice that I only have the bins that are open available on this list.
And that's because as I mentioned earlier in this course, bins are actually files on your storage drive, and if they're closed you can't edit them any more than you can edit a word document without opening it. So, I'm going to choose our Motion effects bin, and I'm going to say OK. Media Composer's generating the new freeze frame, and there it is. And you'll notice that we have our one minute duration. The location is set. We've got the name of the original clip plus the letters FF for freeze frame.
And we've got a new icon. This is the freeze frame clip icon. I can scrub through this clip. It's already opened automatically in the Source Monitor, although it's a bit pointless because it is a freeze frame. But there's a little bit of a gotcha here in Media Composer that's worth highlighting and that is when you're working with any kind of graphic media, and media that actually is a single frame, Media Composer always treats that type of content as if it were a video clip with a specific duration, and you can edit that video clip into a sequence.
But you need to be aware of the location of your playhead or of your in and out marks in exactly the same way that you would be if you were working with a video clip where there's action happening. I'm going to jump to the beginning of this sequence. I'm just using the navigator here. And I'm going to put my playhead right at the start just to illustrate here, if I have my playhead right at the end of this clip, 'cause it is, effectively, it's a clip now, and then I'll go to my Timeline window and I'll select all tracks so everything's there.
In fact, I'll just pull back a little bit so we can see it more clearly. Let's go back a few frames here. Now I'm going to insert edit this and we can see, actually, we're getting a very short amount of the media. That's because, remember, in Media Composer, if you don't have an in or an out mark set, Media Composer will use the playhead as an in mark. Just going to undo that, Control Z or Command Z, and move my playhead to the start of the clip, and go again, and now we get the full one minute.
So, it's a little bit unusual if you're used to working in applications like Premiere Pro or FCP. These graphic elements or still image elements can be any duration you like on the Timeline, but not so in Media Composer. It has a finite duration. As an editor, I've gotten into the habit of pressing the keyboard shortcut to mark clip when working with media of this kind, or making sure that my playhead is right at the start. You can click at the bottom of the Source Monitor to mark clip, and doing so just adds and in and and out mark at either end.
I'm going to undo this for now. I'm going to hit the G key, in fact, to remove those marks. That's this option right here, Clear Both Marks. And in fact, in my Timeline, I'm going to undo, let's go back to the way we were. And I'm going to zoom out a little bit to find my marker. There we go, there's my shot. Zoom back in. I'm going to deselect all the tracks on the Timeline by lassoing across them just like this. If you lasso across the track selection buttons they toggle their modes.
So here, for example, if I lasso across I'm switching which tracks are on. I'm going to deselect everything, turn on video one, now I'm going to choose the mark clip option at the bottom of the program, or record monitor. You can press T to do the same thing here on the Timeline. I'm going to put my playhead in the Source Monitor somewhere near the beginning of the clip, so I have a little bit of handle left over, and I'm going to overwrite edit.
And now, just like that, we have a still frame replacing the original video clip. This is just a classic reverse three-point edit specifying the duration on the Timeline.
- Setting up the editing environment
- Creating a new project
- Importing media
- Finding, organizing, and linking clips
- Building a sequence
- Editing and trimming
- Adding transitions
- Applying segment effects
- Combining effects
- Applying freeze frame and motion effects
- Creating titles
- Exporting video projects