Join Jason Osder for an in-depth discussion in this video Getting a precise time-stretch edit with a four-point edit, part of Premiere Pro Guru: Mastering the Timeline.
Less traditional than the three point edit, is the four point edit, which implies a stretching of time. If you set two points on the timeline that are tighter than two points in the source, it forces the time to be shrunk to fit into that hole. Or vice versa. If you set in and out longer on the timeline than you set in the source, it forces a stretch to happen. So let's use this four point edit technique to solve a little problem that I'm having with this program.
Let me show you what the problem is. It's this shot here, which I like well enough, but I'm not crazy about the camera adjustment and also the rack focus. So it's sort of this iconic shot that I want to to use, but I'm not crazy about the fact that we see it focusing at the beginning. I'm going to match frame this, which we've seen before, just to bring up the source clip. So there it is, with the in and out marked. And I just want to point out that if I go after the out, we don't have a whole lot to slip the content here. We could maybe use it a little bit later. But then you see what starts to happen is we start to get these camera adjustments which is even more troublesome than the rack focus. Here's what I'm going to do, is I'm going to go down on to the timeline. I need to temporarily remove the transitions. That's just going to get in the way, for what I'm doing. And I also want to use a shortcut which is X to mark clip. And you see that right away it just puts an in at the beginning of the clip and an out at the end of the clip. Keep in mind that both match frame and mark clip are dependent on the track being targeted. So if that's grayed out, these techniques are not going to work on that track. I've marked in and out, and that is still the area where I want this clip to go. But now I'm going to go up to the clip itself and regardless of timing, I want to mark in and out, to avoid any of the messy camera movement. So let's look where that, rack focus, I'm going to stay zoomed in. I think we can see enough of the picture, so you guys can see what's going on. Let me play til the rack ends. So there, we finally have tight focus. I'm going to adjust my end point to be there. And I want to make sure I don't get any of the messy camera movement in there. We're nice and steady, nice and steady.
I think we have a little bit after the out. That should be enough there. So I've marked in and out at a place where I know there's no camera movement and nothing unsteady. No focus issues. And if I zoom out a little bit, I've marked about seven and a half seconds, in my source. As compared to about 11 seconds in my timeline. So that's the situation we have. It's no longer a three point edit because we've got four points and moreover, the time is not the same.
So look what happens when we do an overwrite. Premier Pro says, wait a minute, what do you want to do here? And let's read this carefully. The source is shorter than the destination. Yeah, okay, we knew that. We just talked about it, but it knows too, and we have some options. I can ignore the sequence out point, that is forget about the fact that there's an out on the sequence and just edit in the seven seconds, wherever it ends. I can ignore the sequence in point. Which means it would line up with the out point and I'd have a gap between where there was eleven seconds needed and I only had seven seconds to fill.
But what I'm most interested in is what's generally called a fit to fill. Or what I've been referring to as a speed change. It says Change Clip Speed, Fit to Fill. We check OK, and you see, what happens here is we've now slowed down. So we have only the part of the clip that we like, because it's nice and clean, visible. And if we go in closer, we can see that Premiere Pro even tells us that to get that result, it had to slow down to just about 66% of the original speed.
However, the beauty of the four point edit is we didn't have to figure out that speed or that length. All we had to do is mark the timeline for the correct length and the shot for the part of the shot we wanted. And then, of course, we get that handy dialog and we choose to change the speed of the clip. So this is sometimes referred to as a four point edit, or a fit to fill edit, and it's just another way to take really tight control over an edit, on the timeline.
- Understanding how the Timeline "thinks"
- Creating and adding new content to sequences
- Controlling the Timeline: snapping, locking, linking, and more
- Saving and managing track presets
- Adjusting timing with Timeline markers
- Achieving precision with traditional three-point editing