If you'd like to apply variable motion effects straight to the clips in your sequence, then you'll use the Timewarp effect, which is a really versatile tool to allow you to intricately manipulate your clip speed. So I just have this sequence here with Suzy working over some, mysterious music. All right, so we're just going to have some fun with speed here and I'm going to go into my effect pallet and Time Work category and the Time Work effect. So, I'll just drag and drop this right on top of this clip and open up my Effect Editor.
And this looks a little bit different. It's the Motion Effect Editor. You can see here that I have a speed graph and a position graph and I'm just going to click on each of those. All right. I'm going to bring this down so that I can see what's going on as I'm manipulating this. Right now, I have a keyframe at 100. So as I play this, it's going to go forward at real time. Okay? We already know that, this footage has been overcranked, so it's already in slow motion. So we just need to keep that into consideration when we are working with speed.
Also notice that when I play, I can't see my play head until it's done playing. So it sort of updates a little bit late. So just be aware of that. We're going to be working in our speed graph to form our speed animation. And then we're going to be using the position graph to just keep ourselves in check, and make sure that we have enough frames to do what we want to do. You want to make sure that you can see the entire boundaries of the position graphs. So, I'm going to just move the scale bar like so, and okay. Now we can see everything.
So I'm going to come back to my speed graph and let's plan this out. As she's going forward, we'll go in real time. Then, as she's going back, let's really speed it up. And then, as she goes forward again, we'll go in super slow motion. So let's go ahead and put a keyframe right here, where we want to start speeding it up significantly. And you can do that clicking on the Add Keyframe button down here, or by clicking on your apostrophe key. So I want this keyframe to be 100%, just like that one, but I'm going to come just a little bit downstream and place another keyframe, and bring it way up.
If you want to go above 300, you can use this scale bar, give yourself more units. You can also come down here and type in a value. So if I want this to go to 400. Okay. You can see it here. And, I'm going to play this just to see how it's looking. Okay. And, I'm going to just point out one thing here. Notice that when we get to this point here, it becomes a freeze frame. We'll look in the position graph. When we get to that point, okay? The green line goes out the top. So we're using the position graph to sort of monitor the number of frames that we have available. The moment that the green line goes out the top of the graph, we know that we've run out frames and it results in a freeze frame.
Now we're not done yet, so we don't have to worry quite yet. But let's come back to our speed animation and figure out what's next. Okay, so, we want to go back at super fast speed and then we want to slow it down, about right here, so I will add another keyframe apostrophe and another one here and bring this way down. If I brought it down to zero this will result in a freeze frame. But I don't, I want to go to, maybe somewhere around 30, okay 33, you can see there and I'm going to play this and see how I like it.
All right, so it's a little slow for me, I'm going to click on this keyframe again and we'll try something like 45. Notice that as I play through this, it's in real time and I don't need to render. Now, the moment that I go in reverse motion, though, you can see this is zero and everything below that is in reverse motion. I'm going to go slightly below zero here, and now when I play. I have a black screen, okay, so I need to render it. Also, you'll notice in the timeline, that it's become a blue dot event which means that I need to render this. If I have it above zero you can see that it's a green dot effect, no need to render.
But the moment I go in reverse motion, I'll need to render. And you can kind of come over to your render type. All right? We talked about this in the previous movie. When you have two field media this is important. When I have two field media, I choose Blended Interpolated. And then I'm just going to click render here. You need to choose the drive that you want it to go to and say okay. All right, and now this'll play in real time. Let me back this out and play. All right, so if you go in reverse motion, you'll need to render. Also if you produce a really complicated animation where you're going at 1200% speed and then you slow it way down, then you'll need to render then as well.
But most of the time, the Timewarp is a real-time effect. I'm going to move this back up above zero. Okay? So, we're just at about 50% here to end. And, so that should be a real-time effect again. And I just want to explore one more thing, which is your interpolation methods. Right now, I'm at a spline. So I kind of ease in, ease out, from keyframe to keyframe. If I right click, I can choose shelf, okay? Where I have immediate changes between values. All right? I can choose Linear, and I can choose Bezier.
And those give me these direction handles. I'm going to go back to spline. And let me just zoom in here a little bit so that we can see these keyframes just a little better. If I want to adjust the amount of time, that something happens from keyframe to keyframe, I can move these to the left and the right, by the same exact way. Okay, so right now I can't drag this to the left and the right just by dragging. But if I opt+drag or alt+drag on a PC, I am able to move this accordingly. So now this motion will happen much more gradually. All right, so those are just some basics of the Timewarp Editor.
Feel free to poke around in it yourself and try some variable motion. But just remember that you construct your animation in the speed graph and then you monitor the amount of available flames that you have in the position graph
Note: This Avid Media Composer v. 8 Essential Training only addresses software updates up to v. 8.5. if you are using Media Composer v. 8.6 or later, please access the following courses instead:
Media Composer 8.7 Essential Training: 101
Media Composer 8.7 Essential Training: 110
- Setting up the editing environment
- Importing media
- Building a rough cut with basic editing and trimming techniques
- Navigation and customization techniques
- Editing audio
- Adding effects
- Multicam editing
- Performing color correction
- Creating titles with Avid Marquee and NewBlue Titler Pro
- Managing media
- Exporting your project
- Troubleshooting in Avid Media Composer
Skill Level Beginner
Q: This course was updated on 12/12/2014. What changed?
A: We added and revised tutorials to cover the changes to Avid Media Composer in v8.2 and v8.3. Watch the "What's new" movies for an overview of the updates.
Q: This course was updated on 8/24/2015. What changed?
A: Avid released the 8.4 version of Media Composer in June 2015. We added two new movies to this course to describe the update and covering working with high-resolution files in the newest version of the software.
Q: This course was updated on 02/25/2016. What changed?
A: We added five tutorials covering the Avid Media Composer 8.5 update, released in January 2016.