Subtitles of the Movie

This movie will discuss the timing parameters of the File In node, as well as how to retime a composite in the globals. When we do an Image File In to bring in a sequence, it comes with two parameters tabs below the parameters for this Buildings node. Those two parameters tabs are Source and Timing. To retime a sequence using the File In node, you would first click the Timing tab. Let's go over each parameter here to learn what it does. Timeshift - this slides the whole length of the sequence forward or back in time. In-Point - this parameter lets you set where the In point is on your File In. Does it start at frame one or does it start later on? In Mode - if we've adjusted the time shift or the in point, there will be blank frames at the start of the sequence. This parameter lets us set how those end frames are handled. The ways that the first or last frame can be handled are black, where black would fill in before the first frame hits, or after the first frame hits, if you choose it in the Out Mode, Freeze, which would freeze the very first frame, R, which is repeat, and that loops your file, so if there are five frames, it would go 1, 2, 3, 4, 5, 1, 2, 3, 4, 5, Mirror, and this is a 1, 2, 3, 4, 5, 4, 3, 2, 1 mirror, where the last frame of the mirror is not repeated. Or Inclusive Mirror, where it includes that last frame twice, so it would go 1, 2, 3, 4, 5, 5, 4, 3, 2, 1. Pulldown is a parameter that controls whether 3:2 Pulldown is being added or removed from footage coming or going to a film format. And then there's the Retiming parameter, which lets us change the speed of our footage in a variable way, as opposed to a constant way, which is what we're going to discuss. The Retiming parameter is covered in the movie about retiming footage. The most straightforward way to retime footage, aside from the Time Shift In point and Out point parameters, is actually in the globals tab. So if we click on Globals, we can see that. You'll find the globals tab under the parameters tabs and here the first field time range is extremely helpful. When you click on Auto, this loads in the duration of your longest clip into the time range, but you can manipulate how this time range is actually played back. So, our default notation here is 1-100. This means that Shake is reading in the images 1-100 including all the frames in between, in order. Let's say we wanted to start on frame 6, I would change this first number to 6 and it would skip the first 5 images in the sequence. To play every other frame starting with frame 1, I would do a 1-100X2. That would play every other frame starting with frame 1. So only the odd frames. To play every other frame starting with frame 2, I would do 2-100X2, so that would 2, 4, 6, 8, etcetera. If I just want to play a couple of ranges from my composite, I could do something to the effect of 1-10, 40-50, and this would skip those frames that are not listed here. And if I wanted to go backwards, I would type in 100-1. This way of retiming, using the Globals Time Range parameter is good for starters, but you can learn more about retiming footage the pro way using techniques that smooth out the transitions from frame to frame and also allow for non-linear retiming in the movie about retiming footage.