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Keyframe management with kdenlive

Keyframe Management with Kdenlive

Last modified August 5, 2024

This site has been automatically translated with Google Translate from this original page written in french, there may be some translation errors

Object

Keyframes by example

In the title of the beginning (or end) that was set up there , we see it appear suddenly from one frame to another, it would be nicer to see it appear progressively frame after frame. We will use keyframes, for that we will place a Composition and transformation composition under the title, like this


In the transition properties, we see a cursor on the left, this position corresponds to the first keyframe which is placed by default at the beginning of the clip. We will consider that at this location, the title has not yet appeared, so we set an opacity to 0%, we move the cursor a little further in the transition (from the timeline or at the transition properties), and we click on the Add a keyframe cross, at this point the title will have completely appeared, we put the opacity back to 100%. The title will appear progressively between the first and second keyframes.



Similarly, we create a 3rd keyframe just before the end of the title (opacity at 100%) and a keyframe at the very end of the clip (opacity at 0%), the title will start to gradually disappear between the 3rd and the last keyframe. This should give this for the last keyframe.



You will notice that you move from one keyframe to another using the arrows. With the latest versions of kdenlive, it could also look like this with the middle icon to add a keyframe (+) or to delete it (-) and the two side icons to move respectively to the previous or next keyframe.

To see if everything is working, if we place ourselves for example between the 3rd and the last key frame, we can see the title gradually fading.



Even more powerfully, at the timeline level, you can play on the position of the key frames and even the opacity value by moving the points that materialize the key frames. In the image below, for the second key frame which is now lower, the opacity has thus increased to 66% instead of 100%.


You can add a keyframe by double-clicking directly in the transition in the timeline.
We find the possibility of creating key frames for many transitions and certain effects (rotoscoping for example), it is during the transition to be able to create stopping points which will lead to an evolution of the clip. In the example above, we changed the opacity parameter, but we can also change the size of the image, make it rotate, or I don't know what else.

You can select multiple keyframes at once and move them, just hold down the SHIFT key and encompass the keyframes to move


Then we move by drag and drop the one marked in red

The Time Remap function mentioned in the effects section also uses keyframes. First, we activate its display



To enable it for a clip in the timeline, check the Change Time Scale box from the context menu


We will simply slow down a part of the clip to 30%, for this in the configuration parameters of the effect, we will place a first key frame at the beginning of the clip to slow down and a second key frame at the end of the part to slow down, as a reminder by clicking on we create the key frame, with we move to the previous key frame and with we move to the next key frame. We place ourselves at the second key of the end of the part to slow down and in the Speed ​​before field, we put 30. You see that the last line has taken an angle, if we now switch to visualization at the timeline level, the blue line marks the visualization and it also takes an angle at the time of slowing down.


You can play on the slowdown by moving the red button with the mouse materialized by the hand above. Note a funny little thing, when we move this red point backwards, before the first key frame. In this case the clip will play normally until the second key frame, then the clip will play in reverse (reverse video) at slow speed until the first key frame and resume its course at normal speed.


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