Premiere Pro Masterclass Module 7 - Motion | Phil Ebiner | Skillshare

Premiere Pro Masterclass Module 7 - Motion

Phil Ebiner, Video | Photo | Design

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7 Lessons (24m)
    • 1. Intro to Module 7

      1:06
    • 2. Add Motion to Your Titles

      4:37
    • 3. Create the Ken Burns Photo Effect

      2:22
    • 4. EXERCISE: Make Vide Clips More Dynamic with Motion

      1:14
    • 5. EXERCISE REVIEW: Add Motion to Video Clip

      6:14
    • 6. OPTIONAL: How to Add Motion to Screenshot Graphics

      8:05
    • 7. Thank You

      0:26

About This Class

Welcome to Module 7 - Motion

This module will cover:

  • Adding motion to your titles with keyframes
  • Creating the Ken Burns effect for your photos
  • Making video more dynamic with motion

Enroll in all 11 modules of this course:

  1. Intro to Premiere Pro
  2. Editing Your Videos
  3. Adding Video and Audio Transitions
  4. Adding Titles
  5. Editing Audio
  6. Color Correction and Grading
  7. Motion in Premiere Pro
  8. Exporting Your Videos
  9. Visual Effects and Advanced Premiere Pro Tips
  10. Video Speed in Premiere Pro
  11. Green Screen Editing

Start editing your video professionally with Adobe Premiere Pro CC!

THIS COURSE IS NEW AND IMPROVED FROM THE BEST-SELLING PREMIERE PRO COURSE BY PHIL EBINER.

If you are looking for a video editing application that will allow you to edit videos however you want them, Adobe Premiere Pro is the best answer. Premiere Pro is used by professionals across the world for every type of production from business & marketing videos, music videos to documentaries, feature films. This full course is the best way to jump right in and start editing.

Make videos the way you imagine them!

Practice editing while you learn. This course includes practice video files so you can follow along and actually learn by doing.

By the end of the course, you'll have edited a 1-minute documentary with the supplied footage.

I'll be teaching the course using the creative cloud version, but if you have a previous version (CS6, CS5, CS4, CS3 - Mac or PC), you can still learn to edit like a pro.

What makes me qualified to teach you?

My name is Phil and I've been editing videos with Adobe Premiere Pro for over a decade. Plus I'm the creator of some of the world's most popular video editing courses - with over 150,000 students and thousands of 5-star reviews like these from the Adobe Premiere Pro course:

My Promise to You

I'm a full time video editor and online teacher. I'll be here for you every step of the way. If you have any questions about the course content or anything related to this topic, you can always post a question in the course or send me a direct message. 

What is this Adobe Premiere Pro course all about?

In this complete guide to Adobe Premiere Pro video editing course, you'll not only learn all of the editing tools available in Premiere Pro, but also how to edit with the mindset of a professional editor.

Learn from someone who is currently working in the industry, who knows the most current editing techniques, and who has a Bachelor of Arts in Film and Television Production from one of the country's top film schools.

BONUS: As a bonus, you'll receive supplemental video and audio clips to practice with while I teach you with.

By the end of this course, your confidence as a video editor will soar You'll have a thorough understanding of how to use Adobe Premiere Pro for fun or as a career opportunity.

Go ahead and click the enroll button, and I'll see you in the first lesson!

Cheers,

Phil

Transcripts

1. Intro to Module 7: Welcome to the Adobe premiere Pro masterclass module Number seven Motion in Adobe Premiere Pro will be learning how to make our images and videos MAWR dynamic with motion, including The Ken Burns Effect, also adding motion with Key framed to our own titles, the practice files for this course are in the project tab of the skill short class. And, as always, I encourage you to enroll in the other modules of this complete masterclass, which is five or six hours long. And you can get to all of those other modules by clicking through the links on the course Description page or just by searching on skill share for Adobe Premiere pro Masterclass. I'm really excited about this module, though, because I do a lot of motion graphics work and after effects, which I have courses on two. But after effects can be daunting and a little bit trickier to work with and a lot of the things you might want to do with moving text around or shapes around or creating some dynamic lower third titles. It can all be done right within Adobe Premiere Pro, so let's get started right away 2. Add Motion to Your Titles: one thing that will make your video stand out from the crowd is not only having nice, clean graphics but adding motion to those graphics. And you can do that right within Adobe Premiere Pro. I used Adobe after effects for a lot of my own motion graphics, but a lot of what you can do for some basic graphics can be done in Premiere Pro. So say, Let's for this title right here say we want to have it pop up onto the screen. What we can do is selected this clip, and this can be done for any clip, whether it's Ah title video, clip a photo, then go to the motion tap. We saw the motion tab before, when we were controlling the size and the placement of our photos. We can add key frames to create an animation. It's a thing that tells Premiere Pro that at this moment in time, this clip should do this. It should be at this size at this position at this rotation or at this opacity or anything like that. Let's zoom in here to this graphic. Let's go forward just about a second or so we're going to set a position key frame. So up here in the first line, we have position clicked the stopwatch next to position. It creates this key frame right here. Then go back to the start of the clip just by dragging up here or down here to the very start of the clip. And all we have to do is move the position down or to the laughter to the right. So if we do that and then we play through this, everyone does. I knew then their mama's baby. And I'm realizing halfway through creating this class, how odd this is to be using this footage of Anthony and Bikini and tight pants. So I apologize that this has probably been the weirdest course. The weird is added that you've every see every scene, but I don't want to go back and re record everything with another project because I think this is a very important project. So don't mind Anthony and his tight pink shorts. So anyways, what you didn't notice was the video or the title was popping out, one that I knew, and it pops up a little bit slow, so I'm going to make it a little bit faster. So I go to the ice bucket tech text. Then I could just take the second key frame and move it to the left to make it faster. Everyone does. I knew that looks good, but everyone, it's not too fluid. It just kind of comes on and then stops abruptly. And that's because the animation between these two key frames is Lanier. It's going at the same rate from the very beginning to the very end. But that's not how things move naturally in the world. We when we start to run or we start to move, we start slowly than we get faster. And then when we're about to stop, we don't stop abruptly. Unless we run into something, we slow down and then we stop. And so for this one, we wanted to ease into this final resting spot. I don't really care how fast it goes from the beginning, but at the end I wanted to ease into that last spot. So I'm going to just right click this second key frame, go to temporal interpolation and go to WBEZ EA, and you see that the key frame changes from the diamond to this hourglass figure everyone the night. So now when you play through it, it kind of slows down to the final resting spot, and I think that looks a little bit more natural. So that's how you add sort of an intro motion into a title. Say we want to just add a little bit of motion to this entire graphic just going from left to right just a little bit. What we can do is select this title, Goto Motion said, a key frame at the very beginning for position, then go somewhere in the middle. Usually, I go just anywhere in the middle and just drag the position to the left or to the right wherever you want, maybe just to the right, just a little bit. And then I'm going to drag this key frame all the way to the right. So it's at the very end. Now, if we play through this, you get this very subtle motion. Super subtle. But the more subtle I tend to think the better the more professional it looks. So that's how you add motion to your titles, where you can do this to any other graphic in photo shop. So that's how you add motion to your titles in Premiere Pro 3. Create the Ken Burns Photo Effect: We just learned how to add motion to a title. Let's do the same thing for our photos, but with photos. Sometimes you call this the Ken Burns Effect, where you slowly zoom in to or out of the subject or a part of your photo. Ken Burns is a famous documentarian. He's made a lot of great documentary's from Civil Award World War two baseball. He's a he's one of my favorite documentarians of all time. We're going to do the same thing, so we're going to enemy the position. But we're also going to animate the scale, so I generally don't care where I'm setting the key frames. Initially, I'll move them later, so I'll just go anywhere on this photo. If this is a good final resting area, that's good. But if not, maybe we want to find the final resting spot or the shuts the final shot right there. Set key frames and then move these to the end. And then we have to decide if we want to assume aneurysm out. I think I'm going to be zooming in, so that means the key frames before have to be a smaller scale. So I'm going to send this to 60 and I'm also going to just move it down a bit. So now between these two key frames, that kind of moves up and zoom Zen, I'm going to move these key frames to the very beginning, or just like so we will take away my voice. Okay, I'm going to do the same thing with the car image. But instead of zooming in, I'm going to zoom out. And sometimes I think that looks really good when you're zooming in and then you match it up with the zoom out right after that. So I'm going to set a key frame right there and they're and this will be our final resting spot. Then I'm going to zoom in just a bit, maybe 25 and tilt up, maybe over to Anthony and just a little bit. So the car is revealed. Move these key frames over to the left, zooms and zooms out, has never looks pretty good. Let's play through that one more time for disease. Zooming into this nice photo of Anthony and his mom, a graphic of people that zooms out from Anthony revealing him in his car. That's how you add the Ken Burns effect to your photos 4. EXERCISE: Make Vide Clips More Dynamic with Motion: adding motion to a video clip. Whether it's while you're actually shooting or during post production can make it more dynamic. And that's what this practice exercise is all about. Adding motion to your videos With the advent of especially four K footage and even to Cape footage, even back when we were shooting just regular HD or 7 20 p verses 10 80 p. These higher resolutions allow you to zoom in on footage and move it around in pushed production without losing quality. So that's the exercise for you today to take the video clip that's included in this lesson , download it and adds a motion to it to make it more dynamic. Here, you can see what I've done with it. I want you to replicate this clip, this type of motion and this'll type of motion right here. Very subtle. Subtlety is the key, I think, in terms of adding motion to video clips, but it does make it a little bit more emotional, more dynamic. In the next lesson, I'll show you how I actually added this motion to this. Now it's your turn to take the clips and try it yourself 5. EXERCISE REVIEW: Add Motion to Video Clip: How did you dio? Hopefully you were able to add some full motion. I have this sequence that I created for the preview of this lesson shown you some different motion of this clip to start out. What we need to do is take this four K interview clip and drag it into a new sequence. You might be saying Wait, what what are you doing? This is a four K sequence. We need to be able to zoom in on this clip, and if we do, we're going to lose quality. That is true. So we have to change the sequence settings for this clip first. And maybe this is something you forgot to do. Go up to sequence sequence settings and then, under editing mode, change it to customs so that we can change the frame size to 1920 by 10 80. This is still HD, and then say OK, just say OK, it's going to say that the clip that we added it's too big for this sequence or it's not the right settings. That's totally fine. And you can see now that I said OK, are sequence is actually smaller than the footage. This is great, because now I can take this clip, go to the motion and zoom out or moving around. So that's what I'm going to do. There's two types of motion I want you to consider, adding to your clips to make them more dynamic. One is a zoom, and one is just sort of a pan across. And like I mentioned in the last little preview lesson, this is something you can do while you're filming. If you have a dolly or a slider or even a camera with a tripod, you can move around the frame. But when you are shooting an interview and you don't want to mess up the shot, it's hard to do that if you only have one camera. So shooting with two cameras is an option. You can have one camera moving around and the other dis stable or shooting with one camera in a higher resolution is if that's possible, shooting and four K or to K to get some footage where you can punch in and move around later on. So with this clip, I'm just going to zoom and start the frame around 57 and I can put my timeline indicator really anywhere and just set a key frame for scale and position. Then I'm going to drag those key frames all the way to the left. And then I'm going to zoom and even more and dragged down and to the right just a little bit, so moving to the right and move these key frames to the very end. Now I want to play through this to make sure that it looks good and it's not too fast because you might have motion. That's a little bit too fast. I actually think this is a little bit too fast, so I'm just going to move these key friends back and change it to maybe 68 and move it just back to the right and back up just a little bit and move these key frames to the right again. Now, the cheese percentage change from 57 to 68 is less than 57 to 72 meaning this motion is slower and more subtle. You can still notice this motion, and maybe this is a little bit too much, but I actually kind of like it. So now I'm going to show you how to add the pan. So I'm going to take this video clip again, drag it onto this sequence. You can see it's already punched in, and I don't want to go any more than 100 on scale. That will mean a decrease decrease in quality when I export it. So if I go up to 110% that's basically digitally zooming in on this footage. I passed the point of its full quality, so I'll just set at 75 and I can make it move either way. But I think going from left to right might look good. So I'm going to move Anthony over to the right a bit, said a key frame for position, dragged out to the beginning and then just drag to the right just a bit and drag this key frame all the way to the right. So now if I play through this pretty darn good, pretty subtle. But I like that. Now I want to show you something. This is a cool trick, actually. So say I added that position animation, But I think oh, actually, I think his head is a little bit too close to the top. I want a little bit more head room. Well, I can't just go in here and drag him down like this because that's setting a new key frame for position, and it's actually making the motion of the video clip, Go to the left and then down and then continue what I can do. I'm just going to believe that what I can do is change the anchor point. The anger point is what I call the saving grace of affecting or fixing position. If I have key frames, I can actually take the anchor point and move this clip around. Now the anchor point, if you're familiar with photo shop or adobe after effects, might make a little bit more sense. It's basically where this clip is anger, too. Originally, it's anchored in the middle. But by moving this anchor point setting around, I can move the anchor point basically elsewhere. That's really all you need to know, but what this can do now as I can move it up or down, and it actually keeps the motion of the previous animation. But this whole clip is nudged down now, so I have a little bit more head room or say I want to move it up even more just to show you what happens. It's moves the whole clip up, but keeps the motion the left to right motion that we added before. So that's just a quick tip if you get stuck so that you don't have to actually go back and change both of these key frames for the position. Because sometimes that happens where you make a bunch of key frames and you do go back and change all of these while you can actually just use the anchor point to do that. So that's how you add motion to a video clip to make it a little bit more dynamic, especially for shorter promotional trailer type pieces. It's kind of a cool way to make your video look even better. Thanks for watching, and we'll see you in another lesson. 6. OPTIONAL: How to Add Motion to Screenshot Graphics: In an earlier lesson, we learned about adding motion to our different clips in this video to Dural. I'm going to walk through adding the motion to all of these social media posts that I did in my original video that looked like this. You see them flying in, there's a little bit of a rotation, and once they fly in, they grow. And then this last one fades in. So let's do that to our project. The first thing I'm going to do is delete this cross dissolve at the beginning, So I'm just going to delete that from all the beginning because these aren't going to fade in. They are going to fly in with this 1st 1 I'm going to go right about here to where the final resting spot is going to be. I'm going to set the position in the rotation. I'm not going to set scale while I can set scale against that scale for now there. Then I'm going to go before just a little bit, and then we'll move our key frames later and I'm going to rotate to the left Negative 25 and then I'm going t move it all the way to the left until it's off the screen and maybe just a little bit down by increasing this next number and then just scan through this with the timeline and see what that looks like looks pretty good. I'm going to move the scale to the left to match up with these 32 other key frames. So now we have these three for the position, scale and rotation. I'm going to select all of those, move them to the left. I'm going to keep my position and rotation right there. Then over here on the right, I'm just going to increase the scale to something like 75 and then move that to the very end of this. So let's just play through this birthday flies in. It's not growing as fast as they want. So I'm going to go to this key frame where I can just delete it, make this 80 being put this at the end. So that's what I did first day. I got 100,000. That's pretty good. I want to add a little bit more pop to this, so I'm going to select all of these key frames for position and rotation. How I did that was by clicking and dragging over the position key frames and then shift clicking and dragging over rotation. That means we don't have to select the scale. Right Clicking, changing the temporal interpolation from linear Teoh. Busy? A. So that's what I did first day. So that adds a little bit more pop to it. So let's do the next one. So after this one flies in, it's on the screen. Yep, this one should poppin right about there. Some going to set a key frame for position, rotation and scale. I'm going to put the position in the scale right about here, actually, so it's gonna fly in from the right land right about there, and that looks pretty good. Then I'm going to go to the left on the timeline. I'm going, Teoh, do the rotation to the right 25 instead of negative 25. Then move it to the right off screen and move it down just a bit. Now I'm going to move these two key firms to the left. First position and rotation Move the scale rotation to the left as well. And then I'm going to set a scale key frame later on for 80 again and move it to the right all the way, selecting rotation and then shift clicking and selection being position. Key frames, right clicking, temporal in relation. I'm changing it. Too busy? A. If I play through that, it's a little slow, so I'm gonna make it's faster by just moving these second key frames in a little bit. 1000. Then the next, something like that may split the difference. And then the next. All right, the last one. We're going to fly in and it's going to land on the right, so I'm just going to move the position over on the right. I'm going to set key frames for position scale rotation moved back on the timeline, just a bit, rotated negative 25 degrees and then move it off the frame and down just a bit. And then the same thing. We're going to move the scale, the position and the rotation all the way to the left. Then I'm going to set another scale key frame for maybe about 68 for this one all the way to the right, and I'm going to select my rotation and my position. Key frame is right. Click them. Change it too busy A. Now let's watch through this zooms on, zooms on, zooms on. That last one is a lot faster than other ones, so I'm going to make it a little bit slower. Just selecting these 2nd 2 key frames and a 1,000,000 make it a little bit slower. And then this last one is just going to fade on and zoom in so we can either fade with a cross dissolve or why not an opacity animation. So I'm going to set my opacity animation about half a second or so in 100 going to go back in time, change it to zero. It's not fades in. Then let's add that scale animation. Let's go on the timeline toe where I can see it. Let's zoom in just a bit, so it's going to come in just a bit, zoomed in already, said a key frame. Move that scale all the way to the left and zoom in. I might also need to pan up while I'm zooming in, so I'm just going to set a key frame, move it all to the way to the left so that matches that first key frame and now move up just a bit with the position. And now move these position and the scale key frames over to the right fades in and it zooms and everything. To me, it's a little bit dramatic, so I'm just going to delete that scale, which was 77 and I'm going to set it at, like 72. Move that to the end again. So now it's just watched through. It zooms, end, zooms in Zoom Zins. They're all growing. And then this last one grows into thing to me. Way could play around with this. Tweet this. I might make this a little bit slower still. Maybe make it a little bit bigger. One cool way that you can reposition objects after you've added position key frames because I noticed that it zooms in, but it's a little bit too low. I wanted to be a little bit higher. We can use the anchor point. The anchor point allows us to move around. Are objects in a different function than the position without affecting the key frames of the position. So if we put it there or, like, go crazy with it. We could put it over here just so you can see what's happening. Love zooms in over there on the left, but obviously we want in the middle. So that's right. The first day I got 100,000 the next, and then they all fade out. I might stagger this fade out so I might have the 1st 1 fade out than the 2nd 1 fade out than the 3rd 1 fade out and then the last one fadeout and have the white just fade out. Just a hair after the rest of them. Just insane. Bigot Lee all fade out one at a time. It looks pretty good. Okay, so that's how I added that effect to those social media posts. Go ahead and do something like that for your own video if you haven't done so already and we'll see you in another lesson 7. Thank You: thank you so much for enrolling in this module, and I hope you learned what you wanted to learn coming into it. If you're interested in moving forward with Adobe Premiere Pro, please check out the next module in this Siri's by clicking through the link in the course description or just by searching for the next module. Adobe Premiere Pro Masterclass Module number. Whatever module you're looking for on skill share, thanks so much and have a great day.