Freeze-Frame Intro Effect – Final Cut Pro Tutorial
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Freeze-Frame Intro Effect – Final Cut Pro Tutorial

November 12, 2019

Hey guys, whats up. This is Serge, and welcome back to my channel for another Final Cut Pro tutorial. Today, we’ll learn how to add the Freeze Frame character intro effect, inspired by the opening credits of the movie Snatch. Let’s jump right into Final Cut Pro, and see how we can do this. Skim the clip in your timeline, and place your skimmer over the frame you want to use for your freeze frame. Press Option F on your keyboard to create a freeze frame of your selected
frame, and ripple trim it to the desired length. Let’s do about three seconds. Select you clip, hold down the Option Key, and drag up to make a copy of your selected clip. Select your bottom clip, and press V to disable it for now. What we need to do next, is isolate our subject from the background, and for that, we’ll use Draw Mask tool. Open the effects browser, and in the search bar at the bottom, type in Draw Mask. Grab the Draw Mask effect, drag it over and apply it to your top clip. With the top clip selected, in the inspector, change the Shape Type to
B-Spline. So, instead of straight lines and sharp corners between our control points, we’ll get smooth, curved lines. This tends to work better for outlining people. Zoom in on your viewer, and add control points to outline your subject. Take your time here, and be as accurate as
possible. If you need to make a sharp corner in your
mask, you can change the shape type of individual
control points. Right click on your control point, and select linear. Keep adding control points to outline your entire subject. In my example, there’s a few stray hairs which would be impossible to isolate, so I find it works best if you just leave them out of the mask, but try to keep the overall shape of the hair. Using the B-Spline shape type here will help keep your mask looking realistic so you don’t have a bunch of sharp corners
here. Once your entire subject is outlined, click on the original control point to close
your mask. Next, let’s add an outline to our subject, to separate her from the background. Final Cut Pro does not come with an outline
effect, but you can either use a plugin for this, such as the Outline Effect from BrettFX, or use the feather tool in your mask for this. Hold down the Option key and drag up on your top clip to make another
copy of it. With your bottom clip selected, in the inspector, select the Color Tab. In the Exposure controls, drag your global exposure puck all the way up to one hundred percent. If we disable our top clip, you can see this turns our entire subject
white. I’ll re-enable my top clip. Select the bottom clip again, and in the inspector, go back to the video
inspector. In the Mask section, drag your falloff slider all the way up to
one hundred percent, and move the feather slider to around 30, to give our subject a white outline. Select both your top clips, and Press Option G on your keyboard to combine them into one compound clip. With your compound clip selected, select the color inspector, and from the dropdown menu, select Color Curves. First thing we want to do is bring down the saturation in all three
color channels. Grab the top control point on the red channel, and drag it all the way down. Repeat this for the green and blue channels. Next, grab the shadows control point on the luma channel, and drag it to the right to crush the shadows. Drag the highlights control point to the left to blow out the highlights. You can also add control points anywhere on this line, and adjust them until your image looks just like you want
it to. Right about there looks good. Next, lets re-enable the bottom clip, and add a generator between out layers. Open the titles and generators browser, and from the generators dropdown menu, select the backgrounds category. I think the organic generator will fit in
good in this clip, so let’s grab it and drag it into our timeline, between the two layers. Ripple trim it to the same length as your
freeze frame clips, and add a cross dissolve transitions to each side to fade it in and out. Ripple trim the transitions to about 7 frames
long. Here’s what we have so far. With the generator covering our bottom layer, let’s animate the position and scale of
our subject. Select the top layer, and with the playhead at the start of your
clip, click the transform button at the bottom of the viewer window, and add a keyframe here by clicking the keyframe button in the top
left corner. Move your playhead ahead about 20 frames, and reposition and resize your subject to make room for a title. We’ll set the scale to about 120 percent, move her to the left side of the screen and add a bit of rotation. And for our last step, let’s add and animate some text. Move your playhead back to the start of your
clip, and in the search bar of the titles and generators
browser, type in Basic. Click and drag the Basic Title down on into your timeline, between the top two clips. Ripple trim it to the desired length. Select your top clip, and press Control V to show video animation. Place your playhead on the second set of keyframes, where the subject is in her final position. Select your title clip, enter your title text, and adjust the font, size and appearance of
your title. Move your playhead ahead another 20 frames, and in the video inspector, add keyframes to all your transform parameters. Move back 20 frames, zoom out on your viewer window, hit the transform button, and move your title off screen. You can also adjust the rotation of your title, to make it rotate as it comes on screen. Let your clip render out, and this is your finished result. Thanks again for watching, and if you enjoyed this video, make sure to check out the rest of my channel
for more like it. New videos uploaded weekly, so make sure to
subscribe. Thanks for watching, and I’ll see you back here next week.

Only registered users can comment.

  1. This one is very useful Serge. This will help me with some future ideas as I wanting to see how else to use generators in FCP X. Thank you sir.

  2. Just when I think I know most shortcuts, you show me something new. For example, manipulating the Draw Mask controls to create an outline. Nice. Or, pull down the RGB of the Color Curves for B&W. I like it. But, at 6:00, you do too much work to add keyframes to all transform parameters when you could just right-click in the Transform bar header and select 'All'. Done. Or, maybe it was you that taught me that trick. Great work Serge.

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