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
  • Simon Says Assemble, taking the pain out of transcription and translation in post production

    Simon Says Assemble, taking the pain out of transcription and translation in post production


Articles
AJA Video Systems - Ki Pro GO User Review with Spellbinder Films
Ben Sherriff The Ki Pro GO is a portable multi-channel H.264 recorder offering up to 4-channels of simultaneous HD and SD recording to off the shelf USB drives with redundant recording capabilities. Our friend Ben Sherriff tales a look
Tags: AJA | ki pro go | dit | h.264 | recorder | live events | usb recording | 10bit | Ben Sherriff
Contributing Author Ben Sherriff Click to read
ERA IaaS at University of Salford
KitPlus The University of Salford (UoS) is widely recognised in both academic and professional circles as a leading educational establishment in acoustics and media production. In 2011 the University moved its television and radio courses from its main campus just outside Salford city centre into the Orange Tower on the main piazza of MediaCityUK (MCUK).

This purpose-built hub for broadcasters, facility houses and production companies was created when redevelopment of the old Salford Quays docks area began in 2007. UoS was among the first institutions to consider moving to MCUK, along with the BBC, which had already committed to transfer many of its departments from London.

Tags: era | salford university | university of salford | seagate | mcuk | KitPlus
Contributing Author KitPlus Click to read
In Ear Monitors Help The Cast And Crew of Americas Got Talent Cope With Covid19 Restrictions
KitPlus Capturing performances for television is a stressful business, especially if the programme is being filmed live. You want everything to be perfect but you are also aware that many things can go wrong, even with the best laid plans.
Tags: bubblebee | inear | sidekick | KitPlus
Contributing Author KitPlus Click to read
ITN using Densitron Intelligent Display System across multiple news programmes
KitPlus Impressed by the system’s flexibility, ITN has gradually rolled-out the IDS solution for display and control applications across ITV, Channel 4 and Channel 5 news output
Tags: ids | densitron | itn | newsroom | display | KitPlus
Contributing Author KitPlus Click to read
Using Modern Technology at Envy Provides a View into the Future of Post Production
Michael Darer ENVY’s use of modern technology, including remote edit capabilities and their expansive use of Signiant Media Shuttle, enables them to collaborate with customers and partners around the world, and made the transition to remote work during the COVID-19 pandemic any easy one. Although project files and media are stored securely on-premises at ENVY’s facilities in London, they are able to collaborate globally thanks to their forward-thinking approach to post production.
Tags: envy | signiant | media shuttle | assetts | Michael Darer
Contributing Author Michael Darer Click to read