Vary changes to speed or direction with Time Remapping

Vary change to clip speed

Move an unsplit speed keyframe

Move a split speed keyframe

Play a clip backward, then forward

Remove the Time Remapping effect

You can speed up, slow down, play backward, or freeze video portions of a clip using the Time Remapping effect. Using speed keyframes, you can change speed numerous times within the same clip. Take a clip of a man walking, for example. You can show him moving forward quickly, slowing suddenly, stopping mid-step, and even walking backward, before resuming his forward motion. Unlike Clip Speed/Duration which applies a constant speed across the entire clip, Time Remapping allows you to vary the speed throughout the clip. Also, you can ease in or ease out speed changes.

You can apply time remapping only to instances of clips in a Timeline panel, not to master clips.

When you vary the speed of a clip with linked audio and video, the audio remains linked to the video, but remains at 100% speed. The audio does not remain synchronized with the video.

You create variable speed changes by applying speed keyframes. You can apply speed keyframes in the Effect Controls panel, or in a clip in a Timeline panel. Applying speed keyframes in either location is like keyframing Motion, Opacity, or any other keyframe effect, with one notable difference: a speed keyframe can be split to create a transition between two different playback speeds. When first applied to a track item, any change in playback speed on either side of a speed keyframe is instantaneous at that frame. When the speed keyframe is dragged apart and spread out beyond one frame, the halves form a speed change transition. Here, you can apply linear or smooth curves to ease in or ease out the change between playback speeds. See the video tutorial, Variable Speed Changes, at www.adobe.com/go/vid0235, or the video tutorial, Time Remapping In Premiere Pro CS3, on the Creative COW website.



Footage is displayed at constant speed in one direction.


Time-remapping distorts time for range of frames within clip.
Note: It is best to apply time remapping controls to a clip in its own video track, or at least one not followed immediately by other clips. Slowing any portion of a clip makes the duration of that clip longer. If a second clip immediately follows the lengthened clip in the video track, the lengthened clip is automatically trimmed where the second clip begins. To recover the frames trimmed from the lengthened clip, click the Track Select tool, Then Shift-drag the second clip toward the right to make room. All clips lying to the right move to the right. Click the Selection Tool, then drag the right edge of the lengthened clip to the right, exposing its trimmed frames.
Vary change to clip speed

1. In a Timeline panel, click the Clip Effect menu and choose Time Remapping > Speed. (The Clip Effect menu appears next to the filename of every clip in a video track. Zoom in, if necessary, to make enough room in the clip to display the menu.)

A horizontal rubber band that controls the speed of the clip appears across the center of the clip. The clip is shaded in contrasting colors above and below the 100% speed demarcation. A white speed-control track appears in the upper portion of the clip, just below the clip title bar.

Choosing Time Remapping > Speed from a video effect control

2. Ctrl-click (Windows) or Command-click (Mac OS) at least one point on the rubber band to set a keyframe. Speed keyframes appear near the top of the clip, above the rubber band in the white speed-control track. Speed keyframes can be split in half, acting as two keyframes for marking the beginning and end of a speed-change transition. Adjustment handles also appear on the rubber band, in the middle of the speed-change transition.

Moving a speed keyframe up or down. Note its separable halves.
A. Speed keyframeB. Rubber band
3. Do one of the following:

Drag the rubber band on either side of the speed keyframe up or down to increase or decrease the playback speed of that portion. (Optional) Press Shift while dragging to limit the speed change values to 5% increments.

Shift-drag the speed keyframe to the left or right to change the speed of the portion to the left of the speed keyframe.

Both the speed and duration of the segment change. Speeding up a segment of a clip makes the segment shorter, and slowing down a segment makes it longer.
(Optional) To create a speed transition, drag the right half of the speed keyframe to the right, or the left half to the left.

A gray area appears between the halves of the speed keyframe, indicating the length of the speed transition. The rubber band forms a ramp between the two halves, indicating a gradual change in speed occurring between them. A blue curve control appears in the gray area.

Blue curve control in gray area between halves of a speed keyframe

4. (Optional) To change the acceleration or deceleration of the speed change, drag either of the handles on the curve control.

The change of speed eases in or eases out according to the curvature of the speed ramp.

Dragging a curve control handle to ease in a speed change

5. (Optional) To revert a transition speed change, select the unwanted half of the speed keyframe, and press Delete.
Note: Speed and Velocity values for the Time Remapping effect are shown in the Effect Controls panel for reference only. You cannot edit these values directly there.
Move an unsplit speed keyframe
In a Timeline, Alt-click (Windows) or Option-click (Mac OS) the unsplit speed keyframe, and drag it into its new position.
Move a split speed keyframe
In the white control track area of the clip, drag the grey-shaded area of the speed transition into its new position.
Play a clip backward, then forward
In a Timeline panel, click the Clip Effect menu and choose Time Remapping > Speed. (The Clip Effect menu appears next to the filename of every clip in a video track. Zoom in, if necessary, to make enough room in the clip to display the menu.)

A horizontal rubber band that controls the speed of the clip appears across the center of the clip. The clip is shaded in contrasting colors above and below the 100% speed demarcation. A white speed control track appears in the upper portion of the clip, just below the clip title bar.
Ctrl-click (Windows) or Command-click (Mac OS) on the rubber band to create a speed keyframe .
Ctrl-drag (Windows) or Command-drag (Mac OS) a speed keyframe (both halves) to the place where you want the backward motion to end. A tool tip shows the speed as a negative percentage of the original speed. The Program monitor displays two panes: the static frame where you initiated the drag, and a dynamically updating frame that reverse playback returns to before switching to forward speed. When you release the mouse button to end the drag, an additional segment is added for the forward playback portion. The new segment has the same duration as the segment you created. An additional speed keyframe is placed at the end of this second segment. Left-pointing angle brackets appear in the speed-control track, indicating the section of the clip playing in reverse.
The segment plays backward at full speed from the first keyframe to the second. Then, it plays forward at full speed from the second to the third keyframe. Finally, it returns to the frame at which the backward motion began. This effect is called a palindrome reverse.
You can create a segment that plays in reverse and doesn't return to forward playback. Use the Razor tool or the Trim tool to remove the segment of the clip with the forward playback section.

Keyframes, left-pointing angle brackets, and rubber band in a palindrome reverse
6. (Optional) You can create a speed transition for any part of the change in direction. Drag the right half of a speed keyframe to the right, or the left half to the left.

A gray area appears between the halves of the speed keyframe, indicating the length of the speed transition. The rubber band forms a ramp between the two halves, indicating a gradual change in speed occurring between them. A blue curve control appears in the gray area.

Blue curve control in gray area between the halves of a speed keyframe

(Optional) To change the acceleration or deceleration of any part of the directional change, drag either of the handles on the curve control.

The change of speed eases in or eases out according to the curvature of the speed ramp.

Dragging a curve control handle to ease in a speed change

Remove the Time Remapping effect

You cannot toggle the Time Remapping effect on and off like other effects. Enabling and disabling Time Remapping affects the duration of the clip instance in a Timeline. In effect, Time Remapping performs an edit. However, you can use the Toggle Animation control in the Effect Controls panel.
Click the Effect Controls tab to make this panel active.
Click the triangle next to Time Remapping to open it.
Click the Toggle Animation button next to the word Speed, to set it to the off position.

This action deletes any existing speed keyframes, and disables Time Remapping for the selected clip.
Note: To re-enable Time Remapping, click the Toggle Animation button back to the on position. You cannot use Time Remapping with this button in the off position.

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Interview with an American Buddhist Soldier Serving in Afghanistan.

(Above: 1st Lt. Stephen J. Hunnewell)

Recently I was given the opportunity and honor to interview Buddhist Soldier and two-time Bronze Star Medal recipient, 1st Lt. Stephen J. Hunnewell, who is currently serving with the U.S. Army in Afghanistan. I just first want to say how wonderful it is to know that there are Buddhists in the military. It is my hope that the calming teachings of Buddhism are helping the soldier deal with the stresses of combat.

I was humbled to be able to interview such a unique and courageous individual. As a Buddhist, I find war a particularly vicious extension of suffering that causes deeps wounds of the spirit and body. Yet, I am also a realist and understand that sometimes such abhorrent measures are unfortunately necessary to protect the innocent and maintain a semblence of humanity. Otherwise, the merchants of endless suffering pour forth rivers of blood that is unabated. That is an ugly picture to paint, to be sure. However, it is necessary that we Buddhist realize that we don't live in a Utopian world. It would be nice to believe that ending war on Earth is possible but, so long as there is attachment to power, greed and hatred, it will exist.

This doesn't mean that we shouldn't do everything in our power to reduce violence, war and bloodshed. We can also pressure our leaders to ensure that we will only go to war when all other methods of settling disputes has been thoroughly exhausted. It also means that we conduct war in a way that lessens innocent casualties and utilizes non-violent methods to bring an end to hostilities. Lieutenant Hunnewell is engaged in such non-violent projects within the Afghanistan war-zone and we are thankful for his sacrifice, work and inspiration.

As a Civil Affairs Team Leader, Hunnewell is responsible for overseeing a three Soldier team whose primary objective is to advise local Afghan officials on the implementation of productive governance processes and assist them in forming meaningful connections with the local population and ensuring they are properly serving the citizens which they represent.

So, now that you know his role better; lets proceed to the interview, shall we?

1). How do you maintain your Buddhist practice while out in the field?

I make a concerted effort each day to take some personal time for reflection and meditation. I am lucky in that where I live now I have my own personal space, wood walls separate myself and other Soldiers, and I am able to meditate whenever I am at the Combat Outpost. I spent the majority of this deployment living amongst the Afghan people and when I was living with them I usually woke-up before dawn, sat outside, and centered myself.

2). There are so many great and historic Buddhist sites in Afghanistan. How do you feel about the destruction of the Bamiyan Buddhas by the Taliban in Afghanistan?

The destruction the Bamiyan Buddhas is not only a great loss to Buddhists, but to all humanity. The sites were works of art and pieces of history which we have all been robbed of. Currently, the Government of the Islamic Republic of Afghanistan (GIRoA) is assisting the Chinese government in excavating the ancient site of Meys Aynak in Logar province.

3). How has your Buddhist practice helped you reach out to the Afghan people and communicate with them on the same level?

With regards to the reintegration process and conducting negotiations and mediations my practice has helped me tremendously. A short story; I was conducting a civic negotiation with local farmers in the Pech Valley, Kunar province, which is the most violent area in eastern Afghanistan and where the majority of my accumulated 18 months of service in Afghanistan has been spent. I was accompanied by a representative from the United States Department of Agriculture (USDA). We were assisting GIRoA officials in engaging local farmers in order to educate them on diversifying their crops to produce more nutrient dense feed for themselves and their animals as well as to deny the insurgents fields to hide and stage ambushes in. The farmers were very stubborn and would not listen to the government officials or the USDA representative and I.

I continued to engage in calm negotiations and eventually the farmers were convinced that diversifying the crops was not only good for them and their animals but also in the best interest of the coalition forces (CF) and the Afghan National Security Forces (ANSF). The representative from the USDA then said to me, “Wow! You have a tremendous amount of patience with these people.”

I feel that my practice helps me to enter a situation with a beginners mind. I try to see the world from their view and not bring in preconceived notions. How would an Idaho potato farmer react to someone trying to tell them to grow blueberries? The people of the valley have grown corn for thousands of years and it had worked for them, why change? The operation, which was dubbed “Operation Crop Diversification”, resulted in over 1000 farmers in the valley diversifying their crops with the help of government subsistence and no attacks from the fields on both CF and ANSF.

Furthermore, I have engaged with insurgent leaders within days of being personally attacked by their troops and possibly themselves. A few of the incidents resulted in serious injuries and the loss of life, which harmed me as well. But I would continue to engage them in civil discourse in order to give hope to the reintegration process. Many times groups and individuals have been fighting due to a feeling of being wronged and many times they only want to have their grievances heard...

(...to be continued tomorrow).

~Peace to all beings~

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