All it took was three decades to get it in the hands of ordinary folks. This is way better-the beamee can be in motion, which adds needed realism to an unreal effect. When this was done on Star Trek (the Kirk and Spock version), the people being beamed couldn’t move either. The only limitation of this technique is that the person/monster/object you’re beaming in has to be the only thing moving during that beam-in moment. Otherwise, set your camcorder on a stack of library books or something, but don’t bother trying this with a handheld camera unless you’re trying to be terribly avant-garde. One piece of hardware will make this a lot easier: a tripod. No blue screen, no lab work, no special plug-in, no $999 for Final Cut Pro.
#IMOVIE SLOMO HOW TO#
But I’m going to tell you how to do it anyway.
Cool, right? It was, until you saw it six thousand times. The effect is (as if you didn’t know), there’s a scene on the screen, and an actor or monster or object fades into the scene. I’m sure there’s a proper technical term for this effect, but since the original Star Trek started using it about six times per episode in the 60s, it’s been colloquially called a “beam.”
Oooh, but you won’t be able to resist overusing this next one. Like many other snazzy effects, slow motion should be used sparingly. I suppose you could connect any number of four second segments together to make a longer slow-motion segment, but four seconds is usually too long.
#IMOVIE SLOMO MOVIE#
To do quarter-speed slow motion, export your movie back to the camera, or save it to disk as streaming DV (QuickTime Pro required), then Import it back into iMovie and do steps 1) through 6) again. But hey, that’s how Final Cut Pro does it too, and unless you have a video camera that will record at 60 frames per second, this is as good as it’s going to get. It also drops the effective frame rate to 15 frames per second, which is unnoticeable for a short segment. Each 1/30th of a second image is printed twice, which slows the movie to 1/2 its previous speed. The result is that the frames at the end of SkateTrickFront will be fit with the frames at the beginning of SkateTrickBack/1, rather like a “perfect shuffle” in a pack of cards. 100 frames is 03:10.ĭrag the Cross Dissolve Slow icon between SkateTrickFront and SkateTrickBack/1, and wait patiently. Sure hope that math wasn’t too fuzzy for y’all. Open the Transitions palette, select Cross Dissolve Slow, and set the duration slider to twice the length of the segment you want to slow. Move SkateTrickFront and SkateTrickBack/1 to the Movie Track, and discard SkateTrickFront/1 and SkateTrickBack. You now have four clips, SkateTrickFront and SkateTrickFront/1, and SkateTrickBack and SkateTrickBack/1. Using Split Clip at Playhead from the Edit menu, split SkateTrickFront at the end of the segment you wish to slow (03:05 in this example) and split SkateTrickBack at the beginning of the segment (01:15). Rename the first of these copies SkateTrickFront, and the other SkateTrickBack.ĭetermine exactly which part of these clips you want in slow motion, and using the scrubber bar, note to the second and frame where that segment begins and ends.įor example (uh, I’m going to presume everybody’s familiar with the basics of clip editing, so I’ll drop the step-by-step routine), if the clip is 06:00 long, and the segment you want to slow begins at 01:15 and ends at 03:05, write that down.Select Paste twice in the Edit menu, and two copies will appear in the Shelf, both named SkateTrick.
#IMOVIE SLOMO FREE#
0 kommentar(er)
