Premiere Pro Slow Motion Deep Dive

1. Introduction: Welcome to this course where we're gonna be discussing everything that has to do with slow-motion in Premiere Pro. This is going to be in incorporating basically the knowledge behind how to create goods Slow Motion, essentially, how to use your frame rates so that you can slow it down and have it look good. How we can use Premiere Pro to help us when we don't have the frame rate necessary by using things like frame blending and frame Interpolation. And we're also going to be covering how to actually do that in Premiere. So it's gonna be a step-by-step guide. In this course is gonna be finished out with a project where I can give you some files and you can work with all this so that this knowledge will become permanent inside of your brains and you can use this moving forward. What's great about this is that these techniques are pretty similar across editing platform. So once you really understand slow-motion overall, then you are pretty much ready to go with slow-motion on anything else. You just research how it works in that app in particular, and you'll get up and running in a couple of minutes. So let's start with a little bit of theory and then we'll actually jump into Premiere Pro and we'll begin working on it. 2. Slow Motion Overview: Let's get a good overview of what slow-motion is and what we need to know to work with slow-motion and to get good slow-motion. Because there's actually a couple of things that we're going to be very helpful in learning slow-motion and actually utilizing it. So the first thing here is to understand the idea of frame rate. Frame rate is how many images are captured per second. Understand that when you create a video, it is a series of images. So you create or you capture 24 images per second, and you have yourself a video. That's our limit. Our lower limit as human beings is around 24. We can go a little bit less, but anything less than that and we will be able to discern the individual images coming through. Think of like a flip book when you're flipping through the different pages of the book, if you slow it down, you can actually watch the movie changed. But if you speed it really fast, it almost looks like nothing is happening. Like there's there's no page as being dropped. There's just a movie being played. And that's what happens with our eyes as well. So cinemas typically use 24 frames a second. It was established a very long time ago and we have all learned that That's what looks like a cinema quality movie. So it's kinda hard to move that standard. If you remember the Hobbit series, they actually tried to move to 60 frames per second and it looks really neat, but it looked a little abnormal and it didn't work as good as they wanted it to. Therefore, people haven't really adopted it since then. Or the other attempts of people trying to release into the cinema with 60 frames a second. So we have a couple of standards here, 24, like I said, cinema standard, a lot of your personal cameras will be at 29.97 or 30. Or if you're looking at action cameras, knee and go pros and anythings in those likes, you get 60, one-twenty. Some things will get you up to 240, anything past that. And you're looking at professional Camera of some sort of professional slow-motion camera, which can capture thousands of frames per second. But at the cost of needing a ton of storage for all of that information and only being able to do it in tiny little birds, five to maybe 30 s maximum for any of those sorts of cameras. We wanna do is we want to find footage or record footage that has the highest frames per second that we can get. The reason being is the more frames we have, the more that we can slow the footage down while still being at that natural threshold of 24 frames per second. When you create a movie, you Choose a frames per second. For example, you choose 24 or 30. You're uploading YouTube, you can choose 30, I think up to 60. I think they support 60 as well. But the entire film is going to be that many frames per second. Which means at the end of the day, if you had 240 frames per second, it's going to export in 24, it's going to drop basically, I think, yeah, about nine out of every ten frames to make it work. But it's gonna look indiscernible. It's gonna do it in a pattern that makes it look like just any other footage that comes out. However, what that means is you have the information to actually slow that Footage down and still have it look like it's 24 frames a second. You can do that all the way down from 121, 60, 30. They all work. However, the more frames you have, the more ability you have to actually slow the footage down. What I mean by this, That's what this chart here is for. You can see that with 240 frames per second, we can go all the way down to one-eighth of the speed, that's around 12.5% speed. You can bring something going really fast and slow way down and then bring it fast again. That's what the power comes from with that many frames per second, 120. That's a little more realistic of what you might be able to actually achieve if you're specifically filming something for a slow-motion sequence, like I said, Go Pro's and stuff have that ability. Nowadays, what you can do is you can actually slow it down to one-fourth, which is 25% speed. That's still a very good Slow Motion Capture. It's still, you're going to do that sort of slow, that nice Slow down. You have a lot of wiggle room in there too. You can slow it, ramp it down, wrap it up, and there's a lot of playtime. If you're looking at 60 frames a second, and we're assuming that we're going to be playing a video at 24 frames. If your final production is at 60, at 60 can't really slow anything down. You can go a little bit with frame Interpolation. We'll talk about that later on in the course. That's where Adobe will actually create frames for you by guessing on both sides and then generating one in the middle. But we'll talk about that when we get there. If we're talking about 24 frames a second, 60 and go down to about half, a little more than half speed and before it starts hitting that 24 frames per second threshold. And then if you get all the way down to 30 frames per second, you can really only Slow it down about 20%. So you can a more like that sort of thing where instead of it going really slow and then moving forward, you just slow it down and touch and then you can push it back forward. After that. This is important to know. It's the basis for the rest of the course. The only other thing that we need to talk about is going to be Motion Blur. But if you're using any high frames per second, Motion Blur is not going to really be a problem. It's if you're trying to use some of these 30 or 60 frames, if it's captured really blurry, It's not going to look very good either. So keep a note of that as well. Now that we've covered the overview of what frame rates are and how they apply to slow-motion. Let's jump into premiere Pro and actually start working with some footage, slowing it down and seeing how different things work. 3. Quick Note on Refresh Rate: I want to give a really quick Note on hertz. What are hertz? That's the Refresh Rate of your monitor. Why is this important? Well, when you're working with slowing down footage or high frame rate footage, you to understand that your monitor also has a frame rate. How many times itself can Refresh? Most monitors stick around 60 hz unless you have specifically bought a monitor that goes higher as the market continues to advance, will start seeing more and more thing common 9,120. But understand that if you are working with 240 frames per second footage, whenever you actually play it back on your machine, it is not going to look any different than one-twenty or 90 unless you have a monitor which meets that value, there are monitors out there that to have 240 hz refresh rate. That means that a 240 hz video file will look different than one 20 hz. It will look smooth or it'll look CRISPR to look clear. Just make a note of that because you might be downloading some footage or grabbing some off your GoPro and you put it on and it looks exactly the same as any other footage. The data is there, but your monitor isn't refreshing to give those frames out. It's just like playing back a sequence at 24 frames a second. When you have 240 frames, it's leaving those frames out. And most of the time it's going to look perfectly natural to do that. But just a quick Note on that in case that confuses anybody. 4. Premiere Pro Overview : So now let's actually jump into Premiere Pro and begin working with it and looking at the frames per second and slow-motion and seeing how it all works out in the files that you can download from this course, you'll see that I have a 240 frames per second piece of footage. It is a piece of footage called Snow slow-motion. So what we do is let's go ahead and open up premiere Pro, and then we're going to create ourselves a new project. There's a button right there. It says Create New Project. If you're in this screen, you can just File New and then project. You can. Once one has been created, it might look a little different, so good a window workspaces, and I'm using the editing workflow here. Now, I am using Effect Controls in the top-left. That's what I want to be looking at. And the bottom is project timeline and then program. What we're gonna do is we're gonna import that snow Slow Motion. Wouldn't make sure we jumped to the edit and not the import section. If you want to import it through here you can. But I just like this view where it's all in one. If you right-click, you can go to Import and you can find that piece of footage. It's included in the course. Go ahead and throw it in. If I drag that over to the sequence, we're going to run to our first problem. And that's our sequence is going to be set to 240 frames per second. Why is that a problem? But when we export the sequent out, we're going to be exporting at 200 frame, 40 frames per second, which means we have no room to actually slow the footage back down. Nothing uses 240 frames per second except slow-motion footage. It's a basically a mount of extra data only for the purpose of slowing down or creating really smooth motions or having a, you can sometimes do some cool effects when you have a little extra information on the frames. But for what we're doing, we don't need that. So if we go up here to sequence and then sequence settings, we're going to change this down to the 24 frames per second. This will allow us to drop this speed way down and to actually see that work. Now, as you can see, if we play this back over here and I'm gonna actually make this just a little bit larger. So it's a bit of a more of our focus as we've already imported our footage, so we don't really need anything else. We see that it's 24.240, so we'll just slide this away as well. So you can see it's very basic boring footage here. What we have is just some snow moving. If we go ahead and click Command or Control R, like so, we actually get to the speed and duration right here. With the speed, we can slow this down. Like I said, we're going to 12, basically 13%. And this is still going to look smooth. As you see. It's not choppy at all and that's from all the math we've done the math always checks out. So if we Slow any slower than this though, and we can actually right-click and go to Speed Duration just two ways to get there. If we slow down to, for example, 5%, well then we're going to start looking choppy and you can see the choppiness as it moves through. This allows us to create whatever slow motion we want. So if we want to go up to, for example, half speed, we can do that right here. And you can see that we're going fast. We can use the Cut tool. Don't follow along because this is just to show something. I'm actually show you a better way of doing it in a second. But I'm just gonna make this particular portion right here 50% and this portion down here, I'm going to make it back out of that 12%. And then it's gonna go back to that. So now you can see it kinda goes fast, slows down, fast again, but it jumps a little bit because it should actually shorten. There's a whole lot of things that we're going to make a little bit better with this. But if we then go back to the speed duration, we can try something else. When we go to time Interpolation, we can switch this to optical flow and that will allow us to actually take our footage. For example, this back foot is right here. We can slow it way down to like 5%. It's going to then try to fill in the extra information and make it a little bit smoother. Now, as it tries to do this, I actually need to switch to optical flow. You're gonna notice that it's still choppy and that's because we actually have to render this out. It's such a CPU intensive GPU intensive process that we need to actually create what's called a render. So if we click the I button and the 0 button right here, and we go up and click the Enter button. We just have to click Enter. You'll see it'll quickly render this out. We can see it's actually smooth right leg. So that's Interpolation. Now, we're going to cover that in a whole video and a little while I just wanted to show you what I was talking about. It's actually generated frames in here so we can go beneath our threshold down to the 5% threshold. This, however, is all very basic, and if you notice, it's a little clunky, were having jumping spots, were having problems here. Premiere Pro can deal with this a little bit better. So in the next video, I'm going to be showing you how to actually take the timing and re-map it in a better way where you can add keyframes, you can slow it down, you can bring it up all in one video. So let's jump into that as we further our alerting here. 5. Time Remapping : Let's go ahead and look at time Remapping. That's gonna be a different thing than we're talking about last time. What we were doing last time was very choppy and it was un-optimized. And we showed that to you so that you understand why we wouldn't do it that way. It looks simple, but there's a lot more that Premiere Pro can offer. So we're gonna take our footage and drag it back into our sequence. I just deleted the old one out. This is something important right here. Make sure that when you go to keep existing set or when you drag it in, you go to keep existing settings. If you change the sequence settings, we're gonna go back to that 240 frames per second. That means that our sequence, and we can always check this right here. If we just scroll to the right is 242 for 24 to 40, we're good to go. Now. We want to right-click on our footage here, and you can drag this up a little bit. I'm actually going to drag this a little bit bigger. The more room you have working here, the better. So just make this video layer right here a decent size to work with. What I right-click on this, I'm gonna go down to show clip keyframes here at the bottom, we're going to go to the speed portion of this. Click on speed right there. And you're going to see that we now have a new line right here. This line, the middle is now our speed. We can actually create our Remapping. What is Remapping? It means that it's the ability for us to go faster than slower than faster than slower, pop in, pop out, that sort of idea. With this, we can actually click on this button right here. And it will create what's known as a keyframe. If we want to zoom in, we can do that by utilizing this little area down here. If you click on the right dot and bring it closer, it zooms and you come out at zooms out. So we want to zoom it in just a little bit so that we see a good amount of time here. So this rate, how we're looking at about 2 s of Footage, Let's bring it out. So we're looking at about 4 s of footage right here. If we expand this out, it'll make our transition longer. So let's expand it out just a little bit. For, let's say at a right about here. If we take this right side and drag it down, you'll see that this overhear will transition from what our previous speed was to what our current speed is. Now you see I drag it down pretty far 33%. We're at 240 frames per seconds, so that's perfectly fine. It can go down to 12%. But if we went for it, if we're working with like 30 frames per second, we could only really go down a very small degree around it, right around with this at, without needing to use that Interpolation that we're gonna talk about in a little while. So let's say that we want to take this and we're going to drag it down really slow. So we're going to drag it down to, let's go to near the limit 15%. So we're going to start from normal speed and then we're going to slow it way down. Like that looks pretty cool. We don't want it to be sharp though. We don't want to sharply move from fastest slow. To fix that, if we click on this area in the center here, it will actually highlight the keyframe. We can actually adjust the Bezier. And if you see, when I turn right, it's actually adjusting our curve. And we want to have it curve. This is all artistic preference. I'm gonna go right about here. That we were going to gradually Slow it down as we come into it. So it's going to slowly start slowing down and then speed up. And you're gonna actually notice it over here. It looks pretty neat. You can see, it looks natural. It looks like something you might actually see in a piece of cinema or some special effect. Because that's what most times people do. It's always a Bezier. You want that slow to fast motion, but you want it to be curved as you hit there so that there isn't anything jarring. Jarring is never good. We've created this. We can then go ahead and create another keyframe. For example, we could do create one right here and have it speed rate backup. So this is what actually create a cool effect if you create basically the same on each side here. So you want about the same distance on each side. Bring it back up to 100%, right? Like so. Then, now we have it at 100 per cent. We can then make it just as long as it was. Again, just look to the right over here and then we can click on it and use that Bezier. What we're gonna do is when a create sort of a U in this a basically symmetrical you, a trough right here. What that's going to do is you going to see it slows down and then speeds back up again and imagine something more interesting like a motocross sport or something like that. That's the effect usually want is usually want it to slow down, speed back up again. Overall, there's some shots where people walking out of an elevator and slow-motion or you want the entire thing to be slow. But for those quick hits of slow-motion, this would be the technique for that Remapping up in the top left. You'll also notice that we do have some different controls over here as well, where you can kinda look at what the percentages as we move through this Footage so you can see the differences right here and you can create keyframes from this place, as well, as well as turning off the ability to toggle the elevation or not. But that is the essence of speed ramping. It's essentially this ability that we can create these keyframes and ramp it up and ramped the speed down. Now, in the next lesson, I will teach you what I've been telling you. I'm gonna be teaching you and that's time Interpolation. How can we use our footage? How can we use information? We don't have to slow things down when we don't really have the information of slow things down. In the next lesson. That is what we're going to talk about. Thanks, and let's jump on over there. 6. Time Interpolation: Okay, so let's actually talk about what Premiere Pro can do to help us that actually expands our ability to do things. And that is what we've been talking about and the idea of actually creating frames with Interpolation. Basically that means that it's going to generate some frames for us. We're at 24 frames per second. It's dropped down to 15 and we need to get it back up to 24 frames per second. Well, we can't generate images ourselves. It would never look good. It would look like a cartoon and everything would be generally even if we spent the hundreds of man-hours to actually do it, what we can do is you have a frame here and you have a frame here. And the only thing different from it a lot of times is the thing that's moving. So you have the thing that's moving here. Think of this as an image and then the next image, it's over here. Well, we could create frames in-between this, correct. We would just take we would essentially if we had a program to do it, it would just draw the hand in a few more times between those two points to create those frames. And that's what we're able to do in Premiere Pro. We're able to actually recreate some frames in non-complex images. What I mean is if you're going with a forest and you're spanning across the forest with lots of movement and there's a missile going this way and someone running that way, your ability to slow things down is not going to be very good. And I'll show you what that is going to create artifacts, bubbles around people. But if you have a very stationary image, especially with a neutral background, a less complex background, you can slow it down a pretty decent amount before it starts looking bad. Let's jump into prepayment Pro, and I'm going to show you some of this stuff in your course. Software. You're going to have a piece of footage called dirt bike. It's gonna be named dirt bike. It's named clip right here, but find it, I'll rename it just to avoid any fusion. So it's going to be dirt bike dot move and go ahead and grab that and pull that into your clip. Now, again, keep the existing sequence settings if you're using them from the previous one, or if you are going to be creating a new one, make sure that it's set to 24 frames per second. Now, this piece of Footage, The reason I chose it, isn't that 25 frames per second. So we have a tiny bit of wiggle room, but almost no wiggle room at all. It's almost like just putting in 24 frames per second into it. And what this generates is our ability to slow it down is almost nothing. So if we make sure that we're on the speed time remap rate here. We take the footage, which as you can see on the right over here, it is just footage of dirt bike driving Mexico jump Lanza jump keeps going. If we slow this down to even like just 75%, one, three-fourths, you'll notice choppiness. It's starting to appear choppy as we move through. It's not the best. And I'm actually going to zoom this in just so you can see what I'm talking about. There. It's jumps between as we go. And if you'll really want to exaggerate, this brings us down to 50. And you will see the choppiness. We're losing frames here. There's not enough information for our mind to pretend it's a video instead of a series of images. So how do we fix this? Well, well, we wanna do is we want to use time Interpolation. We want to go into the speed and duration and we want to change this from frame sampling, which it's already attempting something. It's just not doing a very good job at it. All the way down to optical flow. That's the most advanced algorithm is gonna be taking that. And what like I said at the beginning of the video, it's gonna be generating frames in between. Now, there's a limit at this particular moment we are at 50%. Let's take a look and see if we've actually improved anything. This is a very high CPU-intensive. I've talked about that earlier in the course. Meaning we have to render these frames out. A render means that we have to put it through Adobe's engine and actually regenerate all of the frames to actually be able to view it. Otherwise, it's going to just not apply the effect and it looks exactly the same. Now, this is a long piece of footage, especially when you solve it down, we start getting close to, I don't know what are we at like 20 s, 40 s, that might take a little while to render a little shortcut here, if you click the I button on your keyboard, it creates an endpoint. Let's just go to 3 s, or let's go ahead and actually find where he jumps because that's gonna be the coolest part to slow down. So let's start irate here on the four. So I'm gonna click the I button and then we're gonna go to where we want it to be over right about here at the landing. Oh, right there. Now what this does is it creates a subset of our, of our sequence here. And now if we click the Enter key, it will render out just that subset. Instead of having to render out the entirety of our footage, it just the one tiny area we're looking at. If we then zoom in right here and take a quick peek, you can see that it's, it's doing a pretty good job. Now what I talked about the artifact thing, if you take a quick peek here, Let's zoom this and a touch. You can see the bubble around him as it comes out. For this, it's doing a great job. It allows us to Slow footage. We couldn't normally slow, but this is why it's important to make sure that you have the correct frames per second. If you see, if we had Film this into 40, there would not be this artifact thing right here. And the best example of it is take a look at this right there. And as we come through, we're gonna go frame by frame here. See the poll is now this way. Now the poll has moved this way. That's the algorithm. It's just trying to guess what might be there in-between the frames. And it's doing a good job, but it's not doing a perfect job and that's where you start getting that problem. And you can actually see that the poles remanence are over here. It doesn't understand that the pole isn't moving in the person is. It's an algorithm. That is, like I said, the, the limitations to it. But if you zoom in all the way out and you play this only for a tiny bit, It's going to look really cool. And this works really well if we want to do tiny little bursts of speed down footage. So let's go ahead and redo what we did in last one, but on this piece of footage, so if I go into here and I create myself a keyframe, so what to make sure that we generate a keyframe? Let's say right before the jump, right here, we're going generate a keyframe. We're going to make sure the left side is backup to 100%. And this is going to jump the footage a little bit, just because when you do something like this, um, when you shorten the clip or speed it up and makes it shorter when you slow it down and expands it. We now have this jump here and we're going to make sure should have gotten up to 100% before we did this. Because like I said, it expanded. So it's actually right here where we want to make our keyframes. So I'm going to click on this one and delete it. And we're going to then generate a keyframe right here. I'm going to right-click up here and just click Clear in and out. That's going to just make this all look a little cleaner. Now, we're going to zoom in right here. And let's say that right as they jump, we're going to do what we did in the last one. Expand this out a little bit, and then lower the right side down to, let's say back to that 50%. I mean, we could even do something extreme and go like to 25% just for a few seconds. Because what we're gonna do is we're going to really, and if you buy a few seconds, I mean really a few frames like parts of a second. So we're going to bring this down to, let's say maybe like ten frames. It's going to go from a quick, It's gonna go really slow for a little, just tiny little burst. And we want to make sure that this is curved like so. Then we're going to copy that on the backside here. And we're going to bring the right side backup to 100% and expand that out as well and get about the same sizing. You would want to make sure that you measure each side of these if you do nine frames and the left side, nine frames in the right side, make sure it's symmetrical. And then we're gonna go ahead and move that to the right there until it looks like the trough is about the same. And you can see this whole thing takes place. We essentially go down and backup and almost half a second. Now when we look at this, it looks pretty cool. Slows down for a second, keeps going. Now it's choppy. So let's go ahead and render this out and actually take a look at what we just did. So if we zoom this back out a little bit, fighting me here a little bit, but okay, that's fine. I on this side and then we'll go to the right side over here. Move it over to Yap, maybe at that jump 0, click Enter. Those, render out really quickly. And then now we take a look. Slow right there, it moves really quick. And that's what we're really trying to create here is those little burst of motion. You won't notice those tiny bits of, especially because we chose apart where the background is very clear. It actually does a fantastic job. And we actually are able to do a quick jump right there. So that is how we can use Interpolation to actually expand past what our normal ability to Slow footage down to do. We're going to continue with some more complex topics as we move forward and keep learning on this slow-motion journey. 7. Generate Motion Yourself: I want to also touch in this course on the idea of using Remapping on different instances. We've been talking about speed, and that's within creating slow-motion with recorded footage. However, sometimes you use icons or use other things. And I just wanted to touch on how you might also be able to Slow those things down as well. Let's say that we wanted to recreate what I just created right here, which is kinda cool. It slides in and it slides out to do that what we're actually going to do, and I'm gonna delete the keyframe so we can start over here, is we're gonna just gonna take an image. And instead of working in the actual speed portion, we're gonna be taking it and we're gonna be working in the positioning up here, the motion. We're gonna be creating our own motion and then affecting its speed afterwards. So let's go ahead and start on this. It's a very simple effect on once you've done this, you'll understand how to do other ones as well. And you'll understand that how, how did they Slow that icon down in that certain way. So if we go ahead and create, click on this track and field PNG, which is also included in the files, and drag it over the dirt bike composition and then just expanded outwards. I might start right here, just expand it so it covers the entire way rate here. If you still have this from the last lesson, we can go ahead and clear the in and out and just work from here. We're gonna go up to Effect Controls and we're gonna go to motion and then position from here, we can go ahead and grab this starting at the left side. So right now it's in the center. Let's grab this and position this right off Camera. We're going to grab this left, which is the X. The right is the Y up and down. X is left and right. We're then going to move about 5 s. Then we're gonna move it all the way across. So it's off the other side. Now, at first, it's just gonna be a nice linear move across. It's almost funny how slow it's going. But let's say we want to slow that down and speed that up with these keyframes. If we drop this arrow down, we actually have the ability to use the same technique where we're rounding the edges out on the time Remapping. If we take this and sort of pull these towards the center, what we're gonna do is we're going to create a pretty linear down and then up sort of feeling to this clip. So if we then replay this, you're gonna see that we're actually able to slow this down and almost pauses in the center and then re-accelerate on the end. We can, we can manipulate this, you can pull this up or down, create sort of little puppy effects. For example, we could actually have it go really quick and then slowly come back out. So you can see it kind of slides in. And then eventually it just slowly slides up. So maybe again, it's all about playing with this and having some FUN with it. What works best. But anyway, overall, what I'm trying to say here is that if you're going to work with icons, It's not necessarily in the speed when you're creating the motion itself. It's predefined motion. If it's a predefined Motion, was what I mean there that you've actually gotten from a clip, like let's say that this animation was baked into a clip. You're just dropping this clip in and it's already just moving across slowly, then yeah, you need to use time Remapping. But if you're the one generating the motion, you can also slow things down and speed them up by manipulating the Motion in there. I just wanted to touch on that in the course because I think encompasses a little bit of what time Remapping and slowing things down is all about 8. Nest to Save Time: So now let's go over a different scenario in which you may need to know and additional step if you want your slow-motion to be good. And that's when we're going to be actually composing a scene together. Let's say we want to add an effect or an icon, or a change of color or something on top of our layer. When we do that, The problem is we have now two separate layers, which means that the timing of the layers is going to be different. If you see, I just created a little slow footage right here. The JumpStart's, you slows down and keeps going. However, this funny little explosion that I've added in does not react with the rest of it. So how do we fix this? How do we make sure that when we slow down footage, that we slow it all down at the exact same time. And that's going to come with this idea of nesting the footage together. Essentially, we're going to take the footage, compress it down into a single layer, and we'll Slow that single layer down itself. How do we do this? Well, if we highlight both of these and right-click on this and then go into nest. We can actually create ourselves a nested sequence. So we're going to make this the jump sequence. If I can type right here, There we go. So if you'll notice there's one thing we need to keep in mind, and this is an important thing and it's something a lot of people overlook. It's going to immediately make the sequence frames per second of your original sequence. So remember what our original sequence was, 24 frames a second. However, the footage we have in here is 25 frames and 30 frames. The explosion as 30 frames a second. So if we drop it down to 24, we actually lose some data because it's actually being transferred down before we begin the slow-motion. So theoretically speaking, if we took a 240 frames per second and throw it in the sub-sequence and tried to slow it down, there wouldn't be enough information to slow it way down and you'd be like why it's at 240, it because we've lost all that information. So what we wanna do is we want to click on this new sequence that's been created, the jump sequence here, we want to go up into sequence, sequence settings. We're going to bring it to the smallest frames per second that we have in there, or in this case, our minimum. In this case we have a 25 to 30, So we're gonna go to 25 frames per second. If we had a 30.60, we'd go to 30. If we had a 2,430.60, we'd go with the 24 whatever the least amount is. That's what I'm going to stick with because if we go up higher, it doesn't have the information for that. So we're actually copying those frames over. So in this case we're gonna go to the 25 frames per second. We're going to click Okay, on that. Now, this allows us to create that same motion. If we right-click on this goes show key frames down to speed. We can affect the speed just like normal. So if we go to right here, we take this just like we've been doing, create ourselves a keyframe right here. Zoom in and just a little bit so that we're working with a second here. I'm going to bring this down to, let's say about 50% speed right about there. Stretch it out so that it happens in a little bit of a gradient and then move it forward right about here. We want to create another keyframe and then want to bring this right side backup to 100. And then expand this out once more. And then give it a little bit of a gradient like that. And now what we have is it slows down everything. Of course we need to also right-click Speed Duration, change this to optical flow. Click the Enter key to render these frames out. Thank you, OneDrive. And you're gonna see now when it jumps, the explosion slows down as well. And that's how you get both of them to slow down and your whole scene to feel cohesive, very important thing. Otherwise, two layers, you could have done this manually slow to each one of them down. But the problem is what if I want to change it? What if I'm like, okay, I like that, but I want it slower or I want to take this keyframe and I want to move it over. Now. They all match with just one movement and that's what we're gonna do when we're creating these sorts of things, these effects in Premiere Pro is would it make sure that if we want to change the effect because it might go to an editor or might get feedback from the public that we can change the effect really easily. We don't have to copy paste, move everything around just to make IED explosion Slow down with the footage there. So this is a bit of an advanced technique, but it's important to learn if you are constantly using some effects, especially the slow motion effect. 9. Create Your Own Slow Mo Camera: The last sort of thing that I want to touch on is how can you create a super Slow Mo Camera yourself without having to go spend a lot of money. Well, if you shoot it right, and you think about it, you can do a lot. Let's take a look at this footage right here. This is only 25 frames per second footage and it's being slowed down. So it looks like it's in slow-motion. This is the fast version and this is being slowed down about 35 per cent. So how are we able to slow it way down? Because remember the chart at 24 frames a second, we should only be able to slow it down like 10% maybe. What, how are we able to slow it downwards or upwards? About 60 to 70%. This is the key to the frame Interpolation, the idea of creating new frames. When there is a clear, solid background, the software works way, way better and that's because it doesn't have to guess what's happening in the background. All it has to do is guess that our movement going across and that's way easier. Now you'll see a tiny glitch right here, and it's when his arm crosses in front of his body, you see that the Interpolation falls apart a little bit and you just have to keep that in mind as well. If you're trying to create a super slow motion shot, don't have things that cross the body. Try to keep it all outside. Or if you're doing an effect, have it go outwards, things like that. If you keep those in mind, you can generate really, really super slow motion with Premiere Pro only. And that's a really powerful technique because like I said, you don't need a $20,000 Camera to do it. If you think about it and you Film it correctly, then you can actually use Premiere to slow things way further than what should be possible. So just to show you how we did this, It's really simple. It's what we've been doing. You need a solid background. This will be included and you can look for anything online if you'd like with a green screen or even a black screen, the white screen doesn't really matter. It just needs to be solid in the background and contrast it to the person. If this person was wearing a dark green shirt and a slightly lighter green behind it, the software would get a little bit confused. But after that, all you gotta do is just go to speed and duration. And you can slow it down to this turn on optical flow and then render it out. Now for this particular, because we're not really adding any effects. If we change this, there's a tiny little thing that's a little gotcha right here. Let's say we want to bring this down to 30%. You'll notice that if I click the Enter button and just keep replaying it, it's not actually rendering and out. So we just need to go to settings are the sequence and then down to render into out and that will render it so you can actually look at it. It's just a silly little thing that it doesn't think it's an effect, so it's not rendering and as an effect, but they see it's rendered out. And now we have super slow motion. And what's crazy is let me show you something here. If we actually sold his way down to like I might be a little extreme, maybe ten right here. And then just quickly render out, sequence, render and out. It actually will capture it pretty well, way down to ten per cent. You'll notice that during these movements right here, it looks pretty good. Anything that crosses the body is not going to look good. And we do start to get just a little bit of artifacts around the edges. But we've slowed 24 frames per second down to essentially if we, if we actually do the math, we're down to like two to three frames a second. And from that we're actually generating upwards of a 1900's frames in-between and it's looking pretty decent. Like I said, if you're going to just slow something way down, it's not going to look the best. But if you took this shot right here, how to go and fast motion and then really super slow motion for just half a second and then back too fast. No one would ever notice that you're using this and that's the power of this tool. So that's kinda wanted to just wrap things up with this idea is that if you think about it in the future, you can actually really, really reduce the frame rate if you Film things correctly 10. Wrap up + Project: Thank you everyone for joining me in this small but really in-depth view of what we can accomplish in Slow Motion. In Premiere Pro, There's a lot that we can accomplish. And really if you just think about your shots before you film them, or if you just understand what your limitations are, you can do a lot with Premiere Pro. So thank everyone for joining me for that. Now, there are a project with this course, and if you'd like to join in on that project, that would be great. It's essentially what I want you to do is find some footage online. I've linked some places you can get some stock footage from, go out and record some footage, use the footage that I've given you, create some sort of slow-motion experience, meaning slow something down, speed at backup, wrap it up and down. There's actually a really FUN thing where if you slow it down, then speed it back up above what's 100%? Meaning it goes a little quicker than normal and comes back to normal, can look really cool, experiment around with something, make it look really, really neat and then submit it and let everyone see what you've created doesn't need to be a long endeavor. You can spend 30 min and just have some FUN and really cement what you have learned. Thanks again everyone for joining me. If you have any comments or questions, send them on over to me. I would love to have a discussion on any of this stuff if you'd like to see more or there was some sort of slow motion that you think I've missed. Let me know. I'll update the course, I'll add that in because I think that this course should be really focused on everything that in Premiere Pro, where you can use slow-motion. So thanks again, and I will see you all around.