Unlimited AE and Premiere Pro templates, videos & more! Unlimited asset downloads! From $16.50/m
  • Overview
  • Transcript

6.5 Adobe Premiere Time Lapse Workflow

So now we've taken a quick look at how to use the basic settings of Premier, let's look at the more advanced workflow where we use Premier and After Effects together to import our sequences. So I'm gonna open Premier. I'm gonna click on New Project again, and I'm gonna ignore this and click OK, and overwrite any previous files. This time, however, I'm going to use a 720. I've created lower resolution project files to work with, and not the full HD. So we're just gonna go with 720. It's also gonna be a bit easier to process. We'll just click OK. And here we are again, back in Premier. So I'm going to disable this window here so we have a bit more work space. In fact, you can always reset the workspace by going here and clicking on reset current work space, so that's just gonna put it all back where it should be. I'm gonna double click on the project window and it's taking me to one of my cloud folders and I could select this and choose an image sequence, and it will import that just fine. But it's not gonna be stabilized and it's not gonna be overly useful. I prefer to do this work in After Effects and bypass this altogether. What's amazing though about Premier is Adobe Dynamic Link. In fact, most of the Adobe products talk to one another in a way that enables you to jump between programs without exporting, and having a more non-destructive workflow. So I'm just gonna click on here where it says import after effects composition, and I'm gonna search for my lake project. So, look for this after effects project file, and you should be able to import these compositions. If I jump back into After Effects you can see here are all these different comps which is the same as the ones here. So I'm just gonna select the first one, hold Shift, and click OK, and bring them all in together. So we can see them as thumbnails. Before I had them in a list view. So you can always change list view to this icon view. And if you roll over the clips you can have a quick preview. So these are my comps and I've added some very subtle animations to some of them, like basic pans. And I'm gonna start cutting them together in what I feel to be a logical order. So I'm gonna begin by auditioning this clip by double-clicking, and putting this in my source monitor, and I'm gonna just go to the beginning of the sequence here. And it's a little shaky on this one. This wasn't the best of the sequences, but I'm gonna try to work with it anyway. What I want to do is just find an interesting piece of the video. So I think just as these God rays come across it's a relatively interesting part. So I'm just gonna hit I for in, play through and I think roundabout there is enough. I'm just gonna drag that into my timeline. Let's increase the view area. Let's find a clip to cut that one to, and I think that the pier one, remember this one from before? This was a really nasty looking clip, but it seemed to scrub up quite nicely in our time lapse in Lightroom together. So again, I'm just gonna have a little look through that. And I've made a similar panning animation. I think somewhere about here, maybe. I for in. I think around about there we've seen enough. And we just take that, cut that there. So let's look at them together. Now I noticed that this one is a little bit faster than that one. So maybe I want to go and edit the original After Effects file. So let's try that. So here, directly from Premiere, if I select this clip and right-click on it, I can choose from the menu, Edit Original. And that's gonna send me right over here to After Effects, to that exact clip. So what I want to do is just slow that animation down. So it's pretty slow already, but I want it to be a little bit more slow. So, I think what I'll do is go in and change the speed. I'm gonna do that by increasing the scale, sorry, decreasing the scale and then I'll take position. So I'm just gonna pull that over so that we don't see the black border. That should take a slower path to that final key frame. We probably cut before we get there. But just to be safe, I'm going to go there and pull this back, and we should have a much slower key frame. Now here's the cool thing, if I save it and return to Premier. It's gonna update with that on my timeline here. So let's watch the two together. So that's a bit smoother, a bit slower. I think those two are working a lot nicer now. So, basically this is a great little workflow. Instead of exporting your videos out from After Effects, you can just quickly go back, make changes, add these animations. And this is why I often shoot a little larger resolution than my output files. So I've still got room to pan and zoom and animate within these time lapses. So let's find the next logical shot. I'm thinking that maybe either the lake here. Could be a good one. Or the cloud reflect. They're kind of related. I'm gonna find a little bit where that water just sheens as we see. Watch this here. Yeah, I'm gonna get it just before that tree line becomes visible. And the boat swings out. Let's try from there. In and out. Round about there. Now just drag that into the timeline. And, I think, to follow that one we'll take the cloud reflect And let's have a little look at that one. I think a similar sweeping motion, maybe about there. So then it cleans up, and then we see the cloud out there. You see that whoosh as it comes flying towards us around about there and mark it out. It's always best to cut on motion when you can. Let's preview that. And that's sort of working. Okay, next up let's bring in this one perhaps. I've basically got three shots from the same area. I've got this one, and you'll remember this one I was using when I was scouting. This is a location I went back to. It's actually about an hour before I took the sunset. And of course this is the closing shot. So let's do this. I think this is gonna be a nice revealing shot for this one. And then we close with that. So I'm going to double click it again and audition it. Let's have a good look at it. And, again, I've got a very subtle animation going on. I seem to remember there were a couple of joggers came whizzing past and I think, there they are. That's going to be a good cutting point, so I'm gonna cut around about there, so I'll hit O, and I'll just go back to when I believe that could be interesting. So maybe, we see this object or person coming past. We'll get it to around about there, N, and I'll just stick that one there. And we have this, joggers come running up and then in our next shot, I cut to the base of it so then this path here comes to foreground. And I wanna find like a similar motion. So around about here, when these guys come past, could cut together quite neatly. If I take I there, and cut round about where the smoke comes across, could be interesting. And I'll take that. So, let's have a look at those two together. This is very subtle. But I've got these guys being replaced with these guys. There's a symmetry there. But the edit could be a bit tighter. So let's use our ripple edit just to fine tune that. So I'm gonna come in, you'll remember this from the last video. I'm gonna use the shift key to fine tune perhaps this side. And what's great is you can kind of see both the shots together. So I think what I'll do is pull that over maybe from this side, and I'll try to get these guys in a relative shot. So let's get those kind of lined up with where the girl is in the background. And let's see how the transition is now. Because our eye is following them on this shot, it gives us a sense of continuity when we come from this one, but I think we need to cut there, so I am going to get right in close and cut that there. And now let's see, close enough. I might come back and fine tune that later, otherwise we'll never get away from this video. Then we have some time to let the eye linger and we have the smoke which comes across which can act as a nice natural white to our next shot, which is the money shot. So here's the sunset. It's quite long. Remember, I did 400 frames. So it's 16 seconds long. So we're gonna manipulate the time of that, and I've added this zooming out animation, because it feels like we're leaving the location. The day's ended, so what started as a bad, cloudy, stormy day eventually the clouds cleared, and then it became sunny. And in the sunset. So let's just take that whole clip in there, and work with that. So let's see them all together. So we cut directly from that. There we are, we're leaving the lake. But as it is incredibly long, I'm going to do a magic trick. So round about there, I'm gonna add a key frame and I'm gonna manipulate the speed. So let's look under this little menu here. Here we have the option to change the timing. So I'm gonna click on the speed. If I hold the control key, you'll see this little plus icon appears and I can click on that. And then what I can do is push this one up. I'll try about 200%. And let's see. Let's double the speed of that and ramp that. Okay. It's also gonna make the clip shorter. So it's going to basically start fast. And then when it hits there it's gonna slow right down. So what I'll do is come in a bit closer. If I pull these handles out, it's gonna smooth the transition between them. So let's see. We want it to slow somewhere in between. And we want it to just kind of hold on the setting sun. So it's going to go quite fast, and then it's going to slow. There. But I think we can go a little more extreme, and go up to maybe about 300. Let's go all the way up, way up there. Okay, now let's watch that. A bit faster, and then boo, slows down. And disappears. Meanwhile, the camera's still gently panning out. We could probably cut it round about there or we can add another key frame and speed it up some more. Maybe about 300 again, seem to be good. Yep. And you see that. This could happen a little bit sooner perhaps. Sooner still. All right. And there you have it. So in the next video, we'll look at how to get the video out of Premiere and export it in a format that's good for sharing or publishing.

Back to the top