7. Moving a Still Image
Ken Burns, in his PBS series "The Civil War," popularized a technique of moving still images around in the frame to heighten visual interest. In fact, iMovie created the "Ken Burns Effect" so beginning editors could do the same thing. Final Cut doesn't have a prebuilt filter for this kind of movement. On the other hand, using keyframes and Bezier curves, you can create the same effect with much more precision. This exercise shows you how.In this example, you are going to do a simple move, starting in a lower corner, then tilt up and zoom in to a close-up. You'll also use an Ease-In, Ease-Out keyframe so that your image slows gently to a stop.
| 1. | Open Chapter 10 Lesson, if it isn't open already. Double-click Seq Image start to load it into the Timeline.This sequence contains a still image that is larger than full-screen, which allows you to move around inside it, while still maintaining a high degree of image quality.
NOTE | On Image Size
Final Cut is designed to edit video, not large graphics or images. Although FCP has an internal limit of 4000 pixelsx4000 pixels, I've found it gets really grumpy if your images are much larger than 2000x2000.So, when you are scanning images for use in a video, pay close attention to the total pixel count. Video dots per inch (dpi) is always 72, so it isn't the dpi that matters; it's the total number of pixels.Remember, also, in your scanning calculations, that a full-screen 4:3 DV image of a still graphic is 720x540x72 (in FCP 4.1x, the sizes were 720x534x72).Image scanning tables can run dozens of pages, but the following table gives you a few numbers to start your thinking in the right direction. (This is for 4:3 DV video.) |
| Scanned Graphics Sizes |
|---|
| Image Size | What You Can Do |
|---|
| 720x540x72 | Full-screen, no movement | | 720x1080x72 | Start full screen in bottom half, tilt up to top half | | 1440x540x72 | Start full screen on one side, pan over to other side | | 1440x1080x72 | Start in lower corner, pan and tilt up to opposite upper corner |   | | 2. | Double-click the Fred Kalbermatten.tiff image clip to load it into the Viewer. Notice the duration of this clip is 5:00. Click the Motion tab to make it active.The scale was set to 50% when the picture was imported. This is because Final Cut always imports a still image so that the entire image is visible in the Viewer or Canvas. This particular image was scanned at 1440x1080, so that it fits perfectly in a 4:3 aspect ratio. | | 3. | Set the Canvas to Image+Wireframe (or select the Canvas and press W to toggle to the Wireframe mode). | | 4. | Position the playhead at the beginning of the sequence. In the Motion tab of the Viewer, set a Center keyframe and a Scale keyframe.  | | 5. | Position the playhead at the end of the sequence and change the Scale to 100%.Don't create any keyframes. Again, using the Arrow tool, drag the image in the Canvas until the snowboarder's body fills the frame. Notice that whenever you change a setting, Final Cut automatically set new keyframes for the appropriate motion control. | | 6. | Play the sequence. It looks nice, but it would be even nicer if the final move gently slowed down and "landed" on the close-up. To do this, Ctrl+click the green keyframe that represents the final Center keyframe and select Ease In/Ease Out.Play your sequence again. See how the motion gently slows down and stops. You can adjust this by dragging the inside control point closer to the keyframe (to speed this landing up) or further from the keyframe (to slow the landing down).You may also notice that the image seems to "pop" when playback stops. This is because, during playback, Final Cut does not show the full resolution of the image in order to allow the CPU to create more real-time effects. Once playback stops, Final Cut displays the image at high-quality resolution, which makes the image seem to suddenly "pop" into focus.Everything you've already learned about keyframes, Bezier control points, and curves also applies to moving graphics. The nice thing is that because they are larger than full-screen, you can move around inside them with no loss in qualitywhich is something you can't do with a video image.You can compare your version to mine by playing Seq Image finished. | | 7. | That wraps up this chapter. Save your work, quit Final Cut, and take a break. You've earned it. |
| Helpful Keyboard Shortcuts |
|---|
| Shortcut | Function |
|---|
| Cmd+J | Displays the Constant Speed change dialog | | Q | Toggles between selecting the Viewer and the Canvas | | W | Toggles the Canvas, or Viewer, between Image, Image+Wireframe, and Wireframe modes | | M | Sets a marker | | MM | Edits a Marker | | Option+P | Plays a sequence requiring rendering without first rendering it. | | A | Selects the Arrow tool | | C | Selects the Crop tool | | D | Selects the Distort tool | | Shift+drag corner with Arrow tool | (In Canvas) Scales a clip asymmetrically | | Cmd+drag corner with Arrow tool | (In Canvas) Scales and rotates a clip simultaneously | | Shift+drag corner with Crop tool | (In Canvas) Crops a clip while maintaining 4:3 aspect ratio | | Cmd+drag corner with Crop tool | (In Canvas) Crops all sides of a clip simultaneously | | Shift+drag corner with Distort tool | (In Canvas) Distorts all four corners to create perspective simultaneously | | Shift+drag position with Arrow tool | (In Canvas) Constrains clip movement to horizontal or vertical | | Shift+drag rotation with Arrow tool | (In Canvas) Constrains clip rotation to 45-degree increments | | Ctrl+K | Adds a Motion keyframe | | Shift+K | Goes to next keyframe | | Option+K | Goes to previous keyframe | | Shift+I | Goes to the In of a clip or Timeline | | Shift+O | Goes to the Out of a clip or Timeline | | Option+V | Pastes the attributes of one clip into a selected clip, or range of clips | | Shift+N | Creates a still frame at the position of the playhead in either the Viewer or the Canvas | |
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