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Adobe Premiere Pro CC - Essentials Training

Speeding up or slowing down footage in Premiere pro

Daniel Walter Scott

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Hey everyone, in this video we are going to actually bring in our footage, keep some of it slow-mo, speed some of it up. Just, really a nuts and bolts kind of video, where we actually kind of get some stuff together, and we'll get it vaguely similar, between us, doesn't have to be exact. All right, let's go throw some stuff on the Timeline. 

So close down, if you still have the other Frame Rate sequence. We just want to be in this one called Parkour V1. We're going to add a couple of bits of footage. We're not going to be as prescriptive as we did before, like following time codes, but let's get the same basic stuff in here. You can adjust this later on to suit your taste. For the moment let's open up, we'll start with Lamp 2, double click it. Now in here, I just want a section of it, just really cool, like just a little bit of movement. So I'm going to set an in point randomly, and an out point. Oh, just two in points. So I and O, and drag just--

We don't want the audio, there is audio with it, well there's an audio track attached to it, with nothing on it. So we just want to drag this part down here. "When I first started doing Parkour, it was five years ago." Stop; my stop's not working very well at the moment. A bit stressed out laptop. So roughly that sort of length. Let's go to Lamp 4, open that one up. It's got some really cool close-ups of the hand, so just want the in point, out, oh, I keep hitting in point twice, out point. Grab a chunk of it. It's probably a bit long. I know it's a bit long because I just kind of, I've already done a practice, kind of go through this, and I kind of have an idea. 

Normally there's a lot of playing forward, playing it back, but you don't want to watch me do that. This particular shot has a couple of good scenes. There's the close-up of the hand, and then there's the kind of visionary look over the city. That's what I kind of want. So I want to grab a bit of that, and a bit of that. Some great camera work, I love it, just grab the video. "Years ago, and…" - "I was doing just some small little…" - All way too long. That's all right, let's get the basics in and then we can edit it to the interview. 

The next ones we're actually going to speed up, so I want a couple of the walks. So we'll start with Walk 8, so open that one up. Have a little scrub through, what I'm going to have to do is slow this, turn the quality right down. My poor little laptop is struggling. So I want kind of, before he gets there. In point. Out point. I'm going to drag it on, and over here it's running in kind of slow-mo, it's not what I want. I want to get back to real world speed, so we're going to go to Speed and Duration. 

So I've just selected it, right clicked it, and in this case I want it to be-- is it 50? 50% of the speed, no I want it to be 200, man, I get that wrong every time. 200 speed, so sped it up, so it's shorter, but now it's kind of running… 

"…and blow my mind." I might switch this to 1/4 as well. Cool. "… and blowing my mind that…" And then just to be a little bit longer now. So don't worry too much about matching mine. We're going to do that jump sequence, and we'll kind of back date all this. So we've got a bit of that, let's grab one more, let's go to Walk 20, and just grab a chunk of this. I've already looked at this one, basically the same walk all the way along. I keep hitting the in point twice. Out point. We're going to drag this over, right click it. So select it first, right click it, speed, 200%. Make it just a teeny bit longer, and then we're going to end with that Superman. 

Now you'll notice that I've just gone through and picked, cherry picked some stuff to kind of match my intro, even though it was shot in a progression, I'm just kind of-- it's just the style that I was looking for, at least the style I came up with. You can do it differently. For the moment though, just the purposes of the exercise, let's go to Superman 4, and what I want is, I basically want just bef-- I want that bit, so just before he comes out, so about there, set an in point, come along, and he kind of dives, and starts going over. That's kind of what I want; out point. Listen to it. 

I'm going to leave that slow-mo because I'm going to want to, yeah, I'm going to want to play around with this in a second. And for me, I'm going to time this jump, to a profound bit of his dialogue, where is it? "I realize that there's no limits, all limits are inside your head." Oh, see? No limits; limits inside your head, look at that. That is keen. Holy Molly, that's brave. Anyway, big jump. So I'm going to time that with, but I feel like it needs music first, before we go through and start cutting it all up. So let's go off, get our music in, and then we can kind of come back, and start timing this and playing with a little bit more of the slow-mo. All right, I'll see you in a sec.