How to add fake pans & zooms to images in Premiere Pro

Hi everyone, in this video we're going to take our images that go like this, where they just kind of fade across each other to a little bit more sizzle, where they actually move, and pan, and zoom when they're going. Ah, a little bit zooming, just a bit of movement, plus we'll do a bit of Color Grading as well to get them to kind of, not be so strong, the original one, there's very kind of high contrast between the different images. This other one we're trying to bond them together, a little bit more with some Color Grading. There's a couple of little shortcuts in this one here as well for images, so enjoy. 

To get our images moving around we're going to start at the beginning. With the first one selected, 'Car 1', we're going to set a 'Scale and Position', we'll do both of them, often, yeah, just do them both, and what I might do is, because these other ones are really close-ups, I might do the same thing for this, and just fake it. 

So what I might do is actually just start this one off really scaled up, and just find a bit that I like, I'm double clicking it. I might just kind of move across the front grille, kind of something like that to the wheel maybe. A bit of 'Quattro' in there as well. 
So I've got my first one, Position and Scale, and then, after this whole thing, how do I jump to the end? Can you remember the shortcut, hold the 'down' key, I always hit the 'up'. The down arrow key on your keyboard will jump to the gap, and what you'll notice is that it jumped to Car 2. Goes to the end and it assumes that you mean the next track, but I didn't, I meant, stay in this one but just go to the end, and it's going to bring in a little bit of a shortcut for you. It's handy, your Playhead, can you see it? 

When it moves along it actually automatically selects wherever it's at, even though you didn't click on it, which is, most of the time useful, lots of the time not. You can go to 'Sequence', and down here go to the one, that says 'Selection Follows Playhead'. You can turn that on and off while you're in here in Premiere Pro, just to say actually I've selected this one, and now when I hit down arrow, I'm still part of Car 1, hasn't jumped to the next one, and when I move my Playhead, can you see, it hasn't automatically selected it. It's up to you, there's some times where it's infuriating, and sometimes when it's awesome. 

So I turn mine on and off, depending on what I'm doing. You might be-- people can get really staunch on which one they really like, and they'll turn it off forever or have it on forever. So with it selected let's add another couple of keyframes. You can force them in and then make the changes, whoops, don't hit that arrow. Here we go, it just jumps back to the nearest keyframe. Don't click on those ones. So you can either put these two in, or you can make changes and they'll go in automatically. And how much change? it's at 98%, 98.4. It's surprising how much-- how little change you need, let's say we go up 10%, in terms of Scale. Let's go back and watch. 

It's surprising how much 10% changes it. Let's say we're trying to fake a bit of a camera pan, somebody moving with the camera. It's kind of moving along to kind of, rather than, it just looking like we're zooming. So we're going to go to something really small. So we'll go just 5% or 3%, so what was it? Can't remember, 98, let's go 93, and now have a look at it. Still pretty big though, right? It's pretty bad. 98 to-- I'm going the wrong way, 93, what Math am I doing? I decided to go backwards, anyway. Let's just leave it like that, 93. I've still gone 5%, but I've gone the other way. Yes. There's a little bit of Dyslexia in there, I think. Let's go to 'Position', and let's change that as well, we're just going to do, a slight kind of movement across here, because we've got lots to play with, because we're zoomed in, so we can just do like a little bit of a move as well. 

I'm not even sure how much of that move I'm doing now. Terrible. So go to 'Position', and I'm going to go, you, actually let's go, you, yeah, that way a little bit. Cool, let's go back. Way too much, let's leave that for the moment. You're as frustrated as I am with my going-ons. Let's have a look at the-- one thing we need to be careful of, is making sure when we do make adjustments, if I do need to come back, I want to adjust this keyframe, make sure holding 'Shift' on your keyboard, or in our case we can use the up/down arrows, because it is locking into this end point. Let's work on the next one. Let's have it selected, and let's set Position and Scale. Even though we can't really see it yet because it's kind of transitioning, we're going to leave it as is, and just after a bit of time, at the end, so I'm going to use my down arrow, I'm going to set two new keyframes and I'm going to play with my-- I'm going to add a 5% this time, come on, brain, 52. 

I know it's not exact but, at least this is what I wanted to do, rather than doing it backwards. You see they're just nice, subtle change. Is the camera moving, is the image moving? That's what we're going for. It's Camera 3, so Car 3. The one thing I will mention though is, this Sequence, Selection Follows Playhead is per project. So if you turn it off now you'll have to turn it off in the next one, and the next project, and the next project. Go back to an old project and it will be back on again. It's pretty persistent, so it likes to, you set it for the project, not for the application.

So this one here, we don't have much to play with. So what I'm going to do is, let's say I just want to do a Pan, I'm not going to do Scale. So I'm just going to scale it up a little bit, so that I've got some room to work with. So I'm going to do left to right. So I'm going to go all the way to the edge here. I'm going to set my keyframe for Position. I'm not going to worry about Scale, because I'm not going to change it over time. I'm going to go down arrow to get to the end. It's a little bit hard to write, I'm going to have to go back one. Even though that's the end I can't see it, it's that really weird quirk for Premiere Pro. 

I'm going to go back one frame using my left arrow, and I'm going to grab my Position, and just drag it that way. How much? That's probably too far, let's give it a little play. Yeah, it's way too far. So what we'll do is, go back one. Holding "Shift' maybe just to make sure you're on the right keyframe, and just going to go a little bit. One of the quirks you might have noticed is that, watch, that doesn't start moving until the actual change. There's an easy way to fix it. Basically what's happening is that, we're saying Cross Dissolve so what it is, is it's grabbing a bit of the car, and throwing it over this side, a bit of that car, and throwing it over the other side, but what I've said with my keyframes is, if I use my up and down arrow, on this gap here, for Car 3 this is where the animation starts, and without the Cross Dissolve, watch this. 

That's the full on beginning of this animation, but because I have that Cross Dissolve, and it leaps across, can you see there's actually this gap here, and that's the gap we're going to fill by just going, you, just dragging it to the front. You can kind of just drag it up to the inner bangs there, can't go any further. So you can just keep going further, further, further, and it will just stop there. Now in here you'll notice that it starts moving, on this side of the transition as well. So we probably need to do it for these other ones. I don't think you really notice it, these other ones. I notice that now that I'm looking, so I should go in, so with Car 2 selected I'm going to grab you and you. Close our Scale, grab you, drag it to the end. 

Same with these ones at this end, drag it this way. You get what I mean? We've got Car 2 selected, and with these transitions they actually leak into both these sides. So when I was being very careful before, making sure my start and stop was at the end of the clip, they're actually extending across. So let's do the same for Car 1, Car 1 just needs to go this way. So we've got them kind of going, it's looking pretty good. 

One thing I want to do is, these images, there's a real big kind of photographic style difference. This one here, very strong black and white, this one here is very kind of washed out, that kind of faded film Instagram feel to it, really soft focus. This one here is a more classic brochure for your car photograph. So we're going to add a bit of color grading, just to get them kind of in the same sort of zone. 

So to add our Color Grade we're going to do it not to each individual clip, we're going to do it to something over the top that sits in this track here. Do you remember what it was called? It's a pop quiz. You remember, that's right, it's under 'Project', it's under the new little item option, which one was it? That's right, 'Adjustment Layer'. I'm going to click 'OK'. I'm going to call my one 'Color Grade', let's go my spelling as well. I always spell it with American one, because that's most of the audience, but let's go with a 'u', it's one of the words I can spell. You might disagree, it's got a 'u' in there. Let's add it to our Timeline, let's stretch it out so it covers everything, and with it selected I'm going to do some, 'Creative', I'm going to pick, I don't know what I'm going to pick. I know what I'll pick, I've already played around with this. I'm going to pick 'Noir', and lower the intensity down, because I just want to wash out some of that really strong blue, it can be there, but I want to kind of match these other ones. 

So I'm going to do that, also do some of that faded film, I don't know. It's weird, we spent ages trying to get everything rich blacks and whites, and then all of a sudden we all now want to wash out the blacks, to make it look, I don't know, like the 70s or 80s, or my kids, as a photograph. Oh man, that's it. All my photographs as a kid is, all this kind of washed out gray stuff, rounded corners. Put your hand in the comments if you had rounded corners around all your images. That was a thing, that was white borders, I don't even know what it is now, it's faded out, anyway. 

So we've got some color grading going just to add a bit of consistency. I'm going to reframe just this once from adding a vignette around it. I can't, just a little touch there, go back to 0. That can be a way to kind of add consistency across. You might add noise, just some sort of way of binding them together a little bit. Before we go I'm going to set you like a little mini project. It's not going to be one that I put in our proper class projects, because it's just one I want you to practice with. 

I want you to add the other cars. So we've got three of them, add the other four. Do the same thing, 3 seconds, add a Transition, doesn't have to be Cross Dissolve. It doesn't have to be my Color Grade but just get the practice of using images, and figure out if you've got any quirks, and extend the music to kind of fit with it. You can go and grab more images from any of the free image sites or Google images. Just to kind of continue on the Audi goodness, but you don't have to submit this work, I'll know if you've done it, I've got my spidey senses ready to go, but you don't actually have to submit it, just your own little bit of editing practice. Once you've done that I will see you in the next video.