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.