Part 2: How to Use Twixtor to Create Super Slow-Mo in Adobe Premiere Pro?Īs we've already mentioned, we will be analyzing how Twixtor makes slow mos we will be starting with the Adobe Premiere Pro.
#Twixtor vs optical flow pro
The Pro edition provides you with the opportunity to fine-tune the pitch of the auto track, as well as the option to employ mattes and alphas to enrich your tracks and the ability to deal with motion vectors from a 3D system, among other features. The TWIXTOR from Re: Vision Effects has long been the go-to solution for the most excellent post-slow motion. The slow-motion quality is undoubtedly superior to that of simple frame blending, but it is not the finest grade slow motion available. This reduces the ripping and stretching of items when they cross the frame or exit it completely.īut how does Twixtor work is the million-dollar question! While Premiere includes the ability to slow down your film and has a newer, better-quality version dubbed Optical Flow, it cannot zoom in on your footage (called Pixel Motion in After Effects). When items are crossing in the scene, Twixtor is more accurate and shows fewer artifacts than other rendering engines. Always remember that you can customize the retiming on a frame-by-frame basis! Reset the clock to a single-speed setting. This technology allows Twixtor to synthesize new innovative frames by warping and interpolating frames from the original sequence, resulting in unprecedented image quality. It may sound obvious, but always make sure that you’re working with clips that are shot at a higher frame rate (60fps at least) to be able to get the smoothest and seamless results possible later in post.Due to the need for unparalleled image quality, RE: Vision Effects developed unique tracking technology that determines every individual pixel's motion. As a rule, always conform your footage right after you import it in Premiere Pro CC to save the hustle to re-time your shots after you’ve already made edits.Įither way, you’ll be able to get some perfect slow motion videos while using these two different methods. Now, when you drag your clip into the Sequence, it will be slowed down while playing back at 23.976fps. For instance, if you have a clip shot at 60fps and your timeline is set to 23.976fps, enter the latter value and hit OK. All you have to do in this dialog box is select Assume this frame rate and enter the desired frame rate. Once your clip is selected, right-click on it, go to Modify and choose Interpret Footage. Unlike the previous method, however, you should select the clip that you want to conform directly in the Media Browser. Optionally, you can take this process one step further by using Time Remapping function and adding keyframes manually so that you can have even greater control over the process.Īnother way to achieve the same effect, but with more precise results is by conforming the clips in advance. Normally, these additional still images shouldn’t be visible when you play back your clip in real-time, but if you scrub through it frame by frame, you’ll be able to spot them much easier. Keep in mind, that Optical Flow will add some extra frames in order to emulate the perfect slow motion. This function will render just the edit that is located between the in and out points you’ve previously created on your timeline. You can easily do so, by setting up in and out points at the beginning and the end of your clip as shown in the video above.Īfter that, go to Sequence in the top menu and choose Render In to Out. Typically, when you select Optical Flow, you’ll need to render out the effect once it’s applied to your clip. When you are utilizing this particular workflow it’s quite normal to get choppy and uneven results, unless you enable Optical Flow processing under Time Interpolation at the bottom of the Speed/Duration dialog box. Normally, you’d like to set your speed to 50%, even though when you’re working with a 60fps clip on a 24fps timeline, 30% should be just fine. Once you have your video clip inside Premiere Pro CC, throw it on your timeline and by right-clicking on it, choose Speed/Duration. Here are two of the easiest and most straightforward methods you could opt for. The truth is, you can conform those clips in multiple ways and get some excellent results each and every time.
Nevertheless, there are still some misconceptions regarding the way one should treat this footage inside Premiere Pro CC.
Sure, you have to work with media that was shot at 60fps or higher to be able to get some decent results.
I was a bit surprised to know that some video editors still struggle with finding the optimal approach when it comes to pulling off perfectly smooth and seamless slow-motion videos.
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