Make Time for Remapping


Alex Macleod TV-Bay Magazine
Read ezine online
Download PDF
Download PDF

For my 4th Kitplus article I thought I’d highlight an effect in Premiere Pro that frankly I would be lost without. Namely - time remapping.

I own and work with a Sony FS7 (other cameras are available) - and given that it’s now one of the most popular cameras in UK broadcast today I’d be willing to guess most editors will have come across the clips from that camera at one point or another.

One of the coolest features of the FS7 is that it will shoot up to 150 frames per second continuously in HD - and we all know everything looks better in slow-motion right?

The biggest drawback in working with high-frame rate clips however, is that if you use them all the time, they can become quite dull. That’s where the time-remap feature in Premiere Pro comes in really useful. Premiere also has a great option built in for clips that weren't originally shot in high-frame rate. So let’s dive in and have a look.

If you take a look at the timeline you can see we have some clips on it. The sequence for this timeline is set to 25p. When you add a slow motion clip to it, you’ll see that it defaults to the 25p standard which is dictated by the sequence setting.

When you play this clip back, it will play in slow-mo continuously - from start to finish.

On this occasion - we want it to play back at regular speed - then dip into slow motion, then snap or ramp back into regular 25fps again. This gives us our speed ramp look.

So in order to make this work we need to right-click onto the grey clip FX box and select time-remapping>speed. Having done this, let’s increase the video track height of the clip on video track one so it’s nice and big and we can see what we’re working with.

The white line you can see running across the length of the clip now refers to the speed of that particular clip. If you click and drag it upwards - you will increase the speed, and if you lower it you will slow the clip down. As this clip is already in slow-motion, the goal here is to increase the speed so that it plays back in real time - i.e at regular speed.

The amount you will need to increase it by will depend on the frame rate at which it was shot. With a clip shot at 100fps, you’ll need to increase its speed by a factor of 4 to 400%. Simple maths. Best thing to do is make the change, then view it and let your eyes make the decision.

Once you have it playing back at normal speed, pick a spot where you want the slow mo to begin - then (pc) control+click or (mac) cmd+click onto the speed line. This will add a key frame. Now, when you drop the speed line immediately after the keyframe to 100%, you’ll get a really cool effect - regular speed to slow mo, in one frame. Looks ace!

One thing to bear in mind about the keyframe you created on this speedline, is that you can actually split this keyframe, & drag the two points apart from one another to create a ramp. It’s a bit finicky to get make it work, but with perseverance it becomes easier. You’ll find at first that you have a straight consistent line of acceleration from the point where the speed change begins, to the point where it ends. However if you click in between the gap, you’ll see you get a blue handle. If you now click and drag this handle to the right or left, you’ll see you can create a curve.

You’ll find also that once you’ve created these points, that it can be tricky to move them around to where you want them. For this, I would advise holding your (pc) alt key or (mac) option key when dragging. This gives you full control over the exact point when your speed change begins & ends. This technique is used best and has the most impact when you time the speed change points to beats in your chosen music.

The final thing to mention here, is that whilst this is all possible to do with clips that were not shot in high-frame rate, you will probably find that the end result looks jerky and often a little bit rubbish.

That’s where optical flow comes in. If you want to take advantage of this, then simply choose your clip & right click it - then scroll down to time interpolation> optical flow. Premiere will now do it’s best to interpolate frames in between the ones you have shot, to smooth the slow motion effect. It really is a great little technique - so give it a go!

Find out more from MediaCity Training and the courses they offer at www.mediacitytraining.com and check out their taster sessions at the KitPlus Show in MediaCityUK on 5th November.


Tags: iss138 | premiere pro | post production | editing | speed remapping | remapping | mediacity training | Alex Macleod
Contributing Author Alex Macleod

Read this article in the tv-bay digital magazine
Download PDF
Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Matrox Mojito at NAB 2014

    Matrox Mojito at NAB 2014

  • Tony Taylor from TMD talks about Post Production

    Tony Taylor from TMD talks about Post Production

  • Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

    Davinci Resolve 14 with Fairlight from Blackmagic Design at NAB 2017

  • Forscene at IBC 2014

    Forscene at IBC 2014

  • Quantel LiveTouch at IBC 2014

    Quantel LiveTouch at IBC 2014

  • Quantel deal with AFP at IBC 2014

    Quantel deal with AFP at IBC 2014

  • Snell Kahuna Production Switcher at IBC 2014

    Snell Kahuna Production Switcher at IBC 2014

  • Forbidden Technologies FORscene at BVE 2014

    Forbidden Technologies FORscene at BVE 2014

  • Forbidden Technologies FORscene App at BVE 2014

    Forbidden Technologies FORscene App at BVE 2014

  • Autodesk at NAB 2012

    Autodesk at NAB 2012

  • Tony Taylor from TMD talks about LTFS at IBC 2013

    Tony Taylor from TMD talks about LTFS at IBC 2013

  • Tony Taylor from TMD talks about Mediaflex CI

    Tony Taylor from TMD talks about Mediaflex CI

  • Facilis at IBC 2013

    Facilis at IBC 2013

  • Facilis at NAB 2013

    Facilis at NAB 2013

  • SGO at IBC2011

    SGO at IBC2011

  • Sonnet Technologies demo a mobile workstation for editing in the field at IBC 2018

    Sonnet Technologies demo a mobile workstation for editing in the field at IBC 2018

  • FORSCENE Cloud Editing at NAB 2015

    FORSCENE Cloud Editing at NAB 2015

  • Editors Keys at NAB 2014

    Editors Keys at NAB 2014

  • Forbidden Technologies on BroadcastShow LIVE at IBC 2013

    Forbidden Technologies on BroadcastShow LIVE at IBC 2013

  • Lightworks on BroadcastShow Tour May 2013

    Lightworks on BroadcastShow Tour May 2013

  • Scott Hill uses EditShare: Lightworks at NAB 2013

    Scott Hill uses EditShare: Lightworks at NAB 2013

  • NUGEN Audio: Loudness Toolkit at NAB 2013

    NUGEN Audio: Loudness Toolkit at NAB 2013

  • Dalet at NAB 2013

    Dalet at NAB 2013

  • AJA at BVE 2013

    AJA at BVE 2013

  • Avid at BVE North 2011

    Avid at BVE North 2011


Related Shows
  • Larry Jordan and Den Lennie talk editing at BVE

    Larry Jordan and Den Lennie talk editing at BVE


Articles
TVFutures - Learning Editing Platforms
Connor Eves Long before I even started University, I knew I wanted to be a video editor. I used to spend large amounts of my time editing together my own YouTube videos (In fact, I still do- occasionally) My name is Connor Eves, and I’m now just a few months away from attempting to enter the post-production realm at a professional level, a thought that is on my mind near enough everyday.
Tags: iss141 | portsmouth university | ccitv | premiere pro | blackmagic | davinci | avid | fcp | final cut pro | Connor Eves
Contributing Author Connor Eves Click to read
Gearing up for The Americas with Simon Reeve
Jonathan Joung For several years, it has been my honour to collaborate as director of photography with Simon Reeve, the well-known British author, adventurer, and TV presenter. Our latest partnership, the popular BBC Two program “The Americas With Simon Reeve,” is our most ambitious project yet, tracing Simon’s journey from the top to the toe of two continents. Series 1 of “The Americas,” covering North and Central America, has just finished airing on BBC Two. Currently in production, Series 2 will continue the story down through South America and will air in 2020.
Tags: iss141 | litepanels | vitec | pxw x500 | a7s dslr | dionic xt | flowtech | smallhd 702 | Jonathan Joung
Contributing Author Jonathan Joung Click to read
Creating Broadcast Quality Live Streams for Social
Alex Pettitt

We go behind the scenes of YouTube Premiere League Football Show, “The Kick Off”

Now in its third season, live streamed roundtable “The Kick Off” is the perfect weekly companion show for football fans looking to discuss the latest Premiere league match. Featuring YouTube sensation, True Geordie, and including the option to chat interactively with the show hosts as standard, it’s no surprise that “The Kick Off” now regularly attracts around 1.7 million views.

Tags: iss141 | kickoff | blackmagic design | atem | youtube | ursa mini pro | grabyo | super chat | adsense | Alex Pettitt
Contributing Author Alex Pettitt Click to read
CLASS - Software Workflows
Bruce Devlin - new NAB is approaching. Apart from deciding on whether to come for a bike ride with myself and the KitPlus Team, you should also be thinking about what information you want to get from the vendors and the thought leaders that will stay relevant long enough be deployed.
Tags: iss141 | class | dpp | dpp tech leader | cots | smpte | nab2020 | Bruce Devlin - new
Contributing Author Bruce Devlin - new Click to read
CVP Helps Productions Choose the Right Lens for the Job
Sam Measure CVP Technical Specialist, Sam Measure, on how the company’s free online Lens Coverage and Camera Comparison tool is giving something back to the filmmaking community.
Tags: iss141 | cvp | lens tool | arri | fuji | red | alexa lf | venuce | monstro | full frame | super 35 | hawks | vantage | david fincher | Sam Measure
Contributing Author Sam Measure Click to read