Fine Control of Keyframes - Final Cut Pro 10.6
When you animate in Final Cut Pro, whether using Keyframes or using the Ken Burns Effect, there are advanced controls that you may not have noticed. WATCH NEXT: Animate with Keyframes Final Cut Pro 10.6. • Animate with Keyframes Final Cut Pro 10.6
In this tutorial, you will see how to use these controls for your Final Cut animations.
I call these abilities the “Ease-in and Ease-out” controls.
Controls such as the animation slowly and smoothly starting and ending without snapping.
At the end of the tutorial, I’ll give you more control for the keyframes that control animation in Final Cut Pro.
Keyframes can apply to anything visual - Video, Stills, Title, Generators - as well as Audio.
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Use these TIMESTAMPS: to jump directly to the time in the video.⏰
Beginning: 0:00
Ease-in and Ease-out for Ken Burns Effect: 0:51
Linear path selection: 1:28
Ease-out selection: 1:33
Ease-in and Ease-out: 1:54
Fine Control of Keyframes: 1:59
Bezier Curves to change the Keyframe path: 3:26
Linear and Smooth: 3:41
Delete Keyframe Point: 4:02
Keyframe Lock Point: 4:07
Keyframe Disable: 4:23
Opacity Keyframes: 4:33
Opacity - Linear, Ease, Ease-in, Ease-out: 5:13
I’m Bruce Macbryde and my goal is to improve your knowledge and speed up your workflow in Final Cut Pro. 🎬 Final Cut Pro. 👨💻
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TRANSCRIPT:
First, I'll show you the Ease-in and the Ease-out controls for the Ken Burns Effect, and then I'll show you the fine controls for keyframe animation.
Then finally, Ease-in and Ease out for Keyframed opacity changes. Let's look at the Ease in and Ease out control for Ken Burns. Make sure the clip is selected in the timeline, right-click on the beginning or the endpoint. You've got several choices: Ease in and out, Just Ease-in, and Just
Ease-out as well as Linear. If I show you Linear first, you'll get a better feel for the others.
The image snaps into view - plays through smoothly and then snaps out of view. The Ease out control softens the beginning so that it does not snap in as distinctly. It actually starts slowly from the beginning and then moves quickly towards the end. equally the Ease-in does the same at the end of the clip. It starts quickly from the beginning and then moves slowly towards the end.
And finally, the ease-in and Ease-out affect both the softness at both ends. Now let's look at the fine controls for keyframing. Select the clip you want to animate in the timeline. I'll use this clip to increase the view of the right-hand yacht. This is the clip playing without any keyframes.
I'll quickly add the keyframes to make the right-hand yacht more prominent. Select the beginning of the clip in the timeline - right-click in the viewer, and select Transform in the keyframe control window, at the top left of the viewer. Click the diamond with the + sign in the middle.
Now move the playhead in the timeline, to the point where the right-hand yacht, comes into view.
With the Option key down, select the left bottom blue dot, and drag out to show a bigger view of that yacht. A keyframe is added automatically, each time you reposition the clip in the viewer.
Now move the playhead and the timeline, to almost the end of the clip, and reposition again.
A new keyframe is automatically added again, and if I move back to view the path, I can see that the yacht almost goes off the screen. I can add another keyframe here, by moving the image, in the viewer up to a more pleasing position. Another keyframe is automatically added.
Now if I scrub through, you can see that the yacht stays more in view.
Each of these keyframes can be clicked and the fine controls, then become available.
Left-clicking - you have Bezier curves, that allow a fine change of the path.
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