HOW TO CREATE A SEAMLESS "THROW" TRANSITION

[Applause] hello hello welcome back we are in montreal quebec this video is sponsored by storyblocks a little bit more on them in just a bit every now and again when you're making a sequence whether that's a product video or any other kind of video you run into a scenario where you have shots that line up for a seamless smooth transition and occasionally you end up in scenarios where your shots do not match up for a seamless transition so today i want to break down a type of transition that i have used a lot over the past couple of years that i don't think i've ever fully broken down and then i'm going to show you an example of two shots that don't necessarily go together but how you can make them work in post but our first transition of the day i like to call the focal length change or the focal length switch up basically we go from a wide shot to a tight shot mask the two clips by having some kind of movement in motion blur so we're going to start off with our zeiss batus 25 millimeter not the widest lens out there but still fairly wide now as usual because people do always ask we're using the aputure 300d mark ii with the aperture light dome mark ii to light this beautiful scene there's also a massive window to my left which we will show in the b-roll which we'll probably forget to film after but maybe we won't if you're seeing a shot right now it means we got the shot and if not means we forgot so what i want to do is i want to start with a whole lime throw it up i'm going to follow it and as it comes down that's when we're going to cut to our tighter focal length and it's three slices am i throwing it up and putting slamming it down now you're just going to let it i'm just going to let it drop we're going to try and make it land right there and go nope and go so close nope three two one go oh i just missed it three two one maybe three and two dennis is cutting limes getting them ready for the next shot all right so that was our wide shot with the 25 mil now we're going to switch over to the 40 mil to get our tight shot you usually want to be a little bit more careful than i am when you're changing lenses but uh i'm impatient so so as you just saw in the previous shot dennis threw up a whole lime it hit the cutting board and the plan is that on that way down we're going to use some motion blur and a speed ramp to transition to a sliced lime which is going to kind of fall apart like this and i'm going to try and add some camera shake so that it all flows and matches with each other for those of you who are wondering we are shooting in an aperture of f4 this gives us a little bit more in focus but also a somewhat shallow depth of field for a nice looking shot so i'm gonna come down like that and like shake as you drop it what's the highest you can go there three two one three two one three two one go that might have been good all right welcome to final cut pro x here are the two shots we just got in our timeline already and i haven't really done anything to them yet but i'm going to start and i'm going to try and give you a live kind of editing breakdown of how i would edit a transition like this beginning with our second clip here i know i want it to start when dennis's fingers are no longer in the frame so i'm going to skip ahead here frame by frame and right there you can see that there are no more fingers so i'm going to hit command b to splice the clip and delete the beginning backtracking now a little bit on our previous frame i'm going to scrub through backwards with our arrow keys and i'm going to cut the clip at the point where the line is dropping down and that's a little bit too far so i'm going to back up a frame hit command b on the keyboard and i'm going to delete all of this here and this is what we are left with so already even just a hard cut these two clips match up fairly well just because of the same camera movement but it can still be a lot more smooth and seamless so what i'm going to do now is add some re-timing here to our first clip i'm going to scrub through to the point where dennis picks up the lime and throws it once it's in the air i'm going to hit shift b this creates a speed ramp between these two parts of the clip i'm going to set the beginning part to a custom speed of 80 and hit enter and i'm going to select this latter part of the clip and make the speed 20 for slow motion going from 80 speed to 20 speed we get something that looks like this and what i want to do is speed the clip back up as the lime is coming back down so i'm going to scrub through to the peak of the throw and right there before it starts coming back down i'm going to hit shift b again and i'm going to set this to a custom speed of a hundred and fifty percent these numbers will obviously vary depending on your footage but these are the speeds that work for me so coming in at eighty percent speed the throw at twenty percent and then speeds up to a hundred and fifty percent the second clip does happen really fast so similarly i'm going to wait to the point where the limes hit the table hit shift b and set this part to 20 for some slow motion and this is what the transition now looks like so that's looking pretty good we can definitely trim up the end here and delete that now this is looking pretty good but i do still think there is room to make it even more smooth and seamless one thing i want to do is kind of clean up this first shot it is a little bit shaky so i'm going to turn on stabilization and i'm going to set each one of these parameters to only be 0.5 because i don't want it to be too strong the next thing i'm going to do is go up to view and turn on my horizon that way i can see the middle of my frame and what i'm going to attempt to do is keep the lime centered throughout the entire shot oh and i did almost forget to mention that a very important step here is to take our scale and actually scale up to 120 this will give us a lot more latitude to move the clip around when we're trying to center that line in the middle of the frame as you can see it does deviate from the middle quite a bit especially towards the end here so what i'm going to do is click through to a point of the shot where the lime is perfectly centered and it does look like it's pretty centered right there so i'm going to make a keyframe then i'm going to turn on my transforms and i'm going to click through by a few frames to the point where the lime really deviates from that center line so right around there it's gotten really far away so i'm going to use the x position here to move it over to make sure the lime is centered scrubbing through one more frame you can see that the lime has deviated a little bit from the center once again so i'm going to pull it back working backwards now i'm going to keep clicking through and throughout the clip i'm just going to be making minor adjustments to my position to make sure that the lime is more or less in the center the whole time so what you're seeing here are all of the different position keyframes that were created throughout this first clip and if i zoom out here you can really see the frame move around as i click through frame by frame notice that the box this is our whole shot it moves around so that the lime stays in the center and what that means is that we've effectively created this manual stabilization or tracking on the line by setting key points if i turn off our horizon and play this back full speed you can see that our transition is now a lot smoother in fact i'd say it's almost perfect between the speed ramping and the position changes this transition has turned out really smooth and all there is left to do is add a color grade and some sound effects it's a very large pizza now what about if you have two shots that don't cut together seamlessly they don't have the same direction camera movement you can't really match them in post so this next example is two shots that don't necessarily cut together all that well the first shot is gonna be the cap coming off of the bottle and the second one will be the liquid pouring into the cup three two one go three two and go that was good all right we're back in final cut time for the second transition and as you can see we've already got our two shots laid out here in our timeline haven't done anything to them yet but i'm going to start off by highlighting both hitting command r and changing the speed to 20 to slow them down so if we play these back you can see that our first shot our camera movement is going from left to right this looks fine everything's good but then when we go into our second shot we actually have an opposite camera movement going from right to left the problem with this is that depending on what your overall sequence looks like what the pacing is what music you choose this cut can be very jarring and take people out of your video not to mention look how close up this is shot compared to our second shot which is much wider there's definitely a slight clash between these two shots that makes me a little bit uncomfortable and i'm going to show you how i would go about fixing this now in order to make this work the goal we are trying to achieve is to hide the cut by hiding the cut we will effectively distract the viewer from the stopping of one clip in the start of another tying the two clips into one another much more seamlessly i think something that might help is a little bit of variation in our speed so i'm gonna speed up the beginning of this clip because it takes a little bit long so i'm going to hit shift b over here and change this part of the clip to normal speed so now we start a little bit faster and as the cap comes off it slows down this already makes the shot a little bit more dynamic and might distract a little bit from the cut but this second shot is still bothering me so i'm going to select our second shot here and turn on stabilization to smooth everything out and i also want to add a little bit of a push in throughout that shot so on our scale here at 100 i'm going to make a keyframe and then i'm going to go to the end of the shot to our last frame and i'm going to set this to 120 so we basically scale in by 20 over the course of the shot i'm now also noticing that the horizon or the orientation of this shot is a little bit off and i can confirm this by going to view turning on our horizon guide and you can see that the line of this cup is just a little bit crooked so i'm going to go in our rotation and set it to one degree just to level things out a little bit and i also want our cup centered so i'm going to go ahead and turn on our transforms move the cup over to the middle that looks a lot better so i'm going to set a keyframe and then i'm going to go to the end of the shot once again and center this and fix our rotation now because we made some adjustments at the start of the second clip you can see that there's now this negative space around the frame so i'm actually going to punch in to about 105 and that should get rid of any negative space you'll also notice that when i set a keyframe on a rotation at the end of our clip i had forgot to set a keyframe at the start and that's why this looks crooked so i'm gonna make sure that the end keyframe is set go back to the beginning of our clip and i'm going to set another keyframe and change this to one degree now our shot will stay level now playing this back after everything we've done so far this is what it looks like okay so so far we've done a whole bunch of stuff but we haven't yet completed our objective of hiding that cut between the two shots so to do so and start that process i'm going to head over to storyblocks.com for those of you who don't know storybox is an online subscription service and with a membership plan you get unlimited downloads of high quality royalty-free stock footage this also includes motion backgrounds after effects templates and of course overlays if you're ever in need of some video assets of any kind to help tell your story whether that's a quick drone shot a film burn or a time lapse then head down to the link in the description below or go to storyblocks.comdanielshiffer to learn more alright so here we are on storyblocks.com oh hey brian and what i'm gonna do is go up to the search bar here under video and search for a film burn as you can see there are a ton of assets to choose from but i think for my purposes i'm gonna begin with this one right here keep things nice and simple so i'm gonna hit download and now back in final cut with the film burn in our timeline all we have to do is scrub through and find the brightest part of the film burn that looks like it would be right there and what i'm going to do is hit m on the keyboard to create a marker i'm going to zoom out and then simply drag this over and make sure that this marked part of the clip is directly over our cut what this means is that when the film burn comes in we're making sure that the brightest part is over that cut so that we don't see it and of course the last step is to set our blend mode to add and what we end up with is something that looks like this all there's left to do is add a color grade some sound effects and this other lens flare that i got from storyblocks which i'm gonna put over our second clip and here is the final result there you have it that's it for today's video thank you so much for watching follow me on instagram daniel.shifer don't forget to follow dennis on instagram dennis lipman also don't forget to subscribe and follow me i already said that just end the video

Channel: Daniel Schiffer

Views: 361,556

Keywords: seamless transition, product video, epic b roll, Daniel Schiffer tutorial, final cut, editing tutorial

Id: AR2425w1X7k

Length: 12min 14sec (734 seconds)

Published: Thu Jul 29 2021