He is a super talented cinematographer and editor and he has a specific skill that he does much better than me, thus why I brought him onto my team because I'm always surrounding myself with people who are better than me in certain areas and the area that Landon really kills it in is seamless transitions.

他是一位才華橫溢的攝影師和剪輯師，他有一項特殊的技能比我強得多，這也是我把他帶到我的團隊的原因，因為我身邊總是有在某些領域比我強的人，而蘭登最擅長的領域就是無縫轉場。

Now personally, I think this style of shooting and editing is becoming super overused and cliche especially in travel videos.

現在，我個人認為這種拍攝和剪輯方式已經變得超級過時和老套，尤其是在旅遊視頻中。

I do use them from time to time but I've noticed a lot of videos that either overuse them or than adding to it.

我確實時不時會使用它們，但我注意到很多視頻要麼過度使用它們，要麼比添加更多。

So in this video, Landon and I are going to be sharing our top eight seamless transitions and not only showing you how to achieve them but also hit on when they are most effectively used and times when they feel forced or overdone.

是以，在這段視頻中，蘭登和我將分享我們的八大無縫過渡技巧，不僅向你展示如何實現這些技巧，還會告訴你什麼時候使用這些技巧最有效，什麼時候使用這些技巧會讓人感覺勉強或過度。

In this video, we're going to be covering the basics of shooting and editing seamless transitions but there's a lot of in-depth Premiere and After Effects work that is needed for some of these that would take too long to cover in this video.

在本視頻中，我們將介紹拍攝和編輯無縫轉場的基礎知識，但其中一些內容需要深入的 Premiere 和 After Effects 工作，在本視頻中無法一一介紹。

So we built another mini course, Seamless Video Pro, dedicated to teaching you how and when to plan, shoot and edit seamless transitions.

是以，我們開設了另一門迷你課程--"無縫視頻專業版"，專門教你如何以及何時計劃、拍攝和剪輯無縫轉場。

So if you like this video and like to learn more about our seamless transition workflow, stick around to the end to learn more about our mini course and yes, this mini course is included inside the full Full-Time Filmmaker course as well.

是以，如果你喜歡這段視頻，並想進一步瞭解我們的無縫轉換工作流程，請堅持到最後，瞭解我們的迷你課程，是的，這個迷你課程也包含在完整的《Filmmaker》課程中。

Let's go ahead and dive in now to our top eight seamless transitions that we like to use and when.

現在，讓我們來深入瞭解我們喜歡使用的八大無縫過渡技術，以及何時使用。

Landon, go ahead and take it away.

蘭登，把它拿走吧。

Alright, the first and easily most common transition is probably the whip.

好吧，第一個也是最常見的過渡可能是鞭子。

Now I find myself using this transition way more than any other transition because it's great for keeping the flow of the video and also from transitioning from one subject or another to another.

現在，我發現自己使用這種過渡方式的次數比其他過渡方式都多，因為它能很好地保持視頻的流暢性，還能從一個主題過渡到另一個主題。

So one of the biggest mistakes I see people making with the whip transition has to do with the basic camera movement.

是以，我看到人們在鞭子過渡方面犯的最大錯誤之一就是基本的攝影機移動。

Obviously you need fairly quick movements in camera to be able to mesh both clip A and clip B together but I find that the majority of the time the camera either isn't moving in the same direction as the other clip or the transition as a whole just feels rushed and not seamless.

顯然，你需要在鏡頭中快速移動，才能將片段 A 和片段 B 融合在一起，但我發現大多數情況下，鏡頭的移動方向要麼與另一個片段的移動方向不一致，要麼就是整體過渡感覺匆忙而不流暢。

So the solution to this would be planning out your shots ahead of time and knowing which shots are going to go together.

是以，解決這個問題的辦法就是提前計劃好拍攝，並知道哪些鏡頭要一起拍攝。

So if clip A is this shot of Parker dribbling the basketball then passing towards the right of the frame I'm going to have the camera whip following the action that's taking place.

是以，如果片段 A 是帕克運球，然後向畫面右側傳球的鏡頭，我就會讓攝影機的鞭子跟隨正在發生的動作。

So I'll whip directly to the right.

所以，我會直接向右鞭打。

Now in order to have a seamless transition clip B needs to start whipping in the same direction that clip A was whipping at the end which is directly to the right.

現在，為了實現無縫過渡，片段 B 需要開始向片段 A 結束時的方向鞭打，也就是直接向右鞭打。

So for this clip I'll throw my camera vertical so it at least starts whipping towards the right then slowly levels out with the horizon.

是以，在這個片段中，我會將相機垂直放置，這樣它至少會開始向右傾斜，然後慢慢與地平線持平。

Now for any transition especially the whip you want to make sure that your shutter speed isn't set too fast because that's part of what's going to give away the seam between each of your clips.

現在，對於任何過渡，尤其是鞭子的過渡，你都要確保快門速度不要設置得太快，因為這也是造成每個片段之間接縫的部分原因。

So instead bring your shutter speed down to about two times your frame rate.

是以，請將快門速度調低到幀頻的兩倍左右。

So if we're shooting at 60 frames per second the shutter speed should be at 1 over 125.

是以，如果我們以每秒 60 張的速度拍攝，快門速度應為 1 比 125。

We also want to make sure that the exposure and colors from clip A to clip B match pretty well.

我們還要確保從片段 A 到片段 B 的曝光和色彩都非常匹配。

So now that our two clips are filmed the editing for this one is super simple.

現在，我們的兩個片段已經拍攝完畢，剪輯工作也變得超級簡單。

If we did our job right while shooting all we really need to do is place the clips next to each other and cut them at the right moment which is at the peak of the movement and when the colors and exposure between each clip match best.

如果我們在拍攝過程中工作得當，我們真正需要做的就是把這些片段放在一起，並在運動的頂峰、每個片段之間的色彩和曝光最匹配的時候剪切它們。

Now normally the speed between each of your clips will vary just a little bit so some simple timer mapping to adjust the speed at the end of clip A and at the beginning of clip B will help that seam become less obvious.

通常情況下，每個片段之間的速度會略有不同，是以通過一些簡單的定時器映射來調整片段 A 結束時和片段 B 開始時的速度，會讓接縫變得不那麼明顯。

Just don't move too fast otherwise the timer mapping will have the opposite effect and make it more obvious that you just attempted a whip transition.

只是不要移動得太快，否則計時器映射會產生相反的效果，讓人更明顯地看出你剛剛嘗試了鞭子的轉換。

Now the goal of a seamless transition isn't to distract the viewers it's meant to add to the story of your video and help them feel somewhat attached to the location people or action that's taking place.

現在，無縫過渡的目的並不是分散觀眾的注意力，而是為了增加視頻的故事性，讓他們對正在發生的地點、人物或動作產生某種依戀感。

Now another effect that I'll drop onto my footage if there's not enough blur between each of my clips is directional blur.

如果每個片段之間的模糊程度不夠，我還會在片段中加入另一種效果，那就是方向模糊。

Now I love this blur effect because you can keyframe it to go from 0% blur to however high you'd like.

我喜歡這種模糊效果，因為你可以對它進行關鍵幀設置，從 0% 的模糊到你想要的任何高度。

I usually put it up to about 15% then I choose the direction that the blur is moving to make it feel natural.

我通常把它調到 15%左右，然後選擇模糊的移動方向，使其感覺自然。

Now it's a great little nudge for your footage if you forgot to bring down your shutter speed or if you just need a little bit more motion blur.

如果你忘記調低快門速度，或者你只是需要更多的運動模糊效果，現在它可以為你的鏡頭提供一個很好的小提示。

Our second transition is seamless masking.

我們的第二個過渡是無縫遮罩。

Also known as frame blocking this is where a foreground object wipes across the entire screen to reveal a different piece of footage.

這也被稱為幀遮擋，是指前景物體擦過整個螢幕，顯示出不同的片段。

Now there are tons of applications for masking and you can actually do it pretty easily right inside Premiere Pro but if there's fine tuning that needs to be done I'll usually bring it into After Effects.

現在有大量的蒙版應用軟件，你可以在 Premiere Pro 中輕鬆完成蒙版，但如果需要進行微調，我通常會將其帶入 After Effects 中。

I think the two most important aspects of making an awesome seamless masking transition is first making sure that again you're using the same directional movement from both clip A and clip B and that each clip is either shot on a different focal length or is providing somewhat of a different perspective or location than what the previous clip gave.

我認為，要製作出完美的無縫遮罩過渡效果，最重要的兩個方面是：首先要確保片段 A 和片段 B 的運動方向相同，而且每個片段的焦距都不同，或者提供的視角或位置與前一個片段不同。

For example in this clip I'm going to be playing some soccer and we'll go from one perspective of me dribbling the ball to a different one.

例如，在這個片段中，我將踢足球，我們將從我運球的一個視角切換到另一個視角。

Now for clip A what's key here is making sure that the object that's wiping across the entire frame and being masked out hits every part of the frame at one point and moves in a smooth continuous motion.

現在，對於片段 A 來說，關鍵是要確保擦拭整個畫面並被遮罩掉的對象在一個點上擊中畫面的每一部分，並以平滑的連續運動方式移動。

Now in this case my ankles are going from the left to the right side of the frame plus the camera is orbiting slightly to the left so my ankles are going to move a bit quicker across the screen than if we were just shooting a static shot of me dribbling across the camera.

在這種情況下，我的腳踝會從畫面的左側移動到右側，再加上攝影機的軌道略微偏左，是以我的腳踝在螢幕上的移動速度要比拍攝我在攝影機前運球的靜態鏡頭快一些。

Having multiple kinds of movement meaning the subject moving and the camera also moving helps the transition move faster and can actually help distract your eye from being able to tell any flaws in the transition.

有多種運動，即拍攝對象在運動，攝影機也在運動，這有助於更快地完成轉場，實際上也有助於分散你的視線，讓你無法分辨轉場中的任何瑕疵。

Now the second clip is another moving shot and the key to these two clips working perfectly together is matching the camera movement between clips.

現在，第二個片段是另一個移動鏡頭，這兩個片段要完美地結合在一起，關鍵是要在片段之間匹配攝影機的移動。

So since our camera was orbiting slightly towards the left clip B needs to at least start with that same movement at that same speed.

是以，由於我們的攝影機在軌道上稍微向左移動，剪輯 B 至少需要以同樣的速度開始同樣的移動。

Once those two clips are filmed all we really need to do is create a clean mask on the first clip by drying it out with a pen tool then going frame by frame and making sure that it completely wipes across the frame.

拍攝完這兩個片段後，我們需要做的就是在第一個片段上創建一個乾淨的遮罩，方法是用鋼筆工具將其烘乾，然後逐幀進行處理，確保完全擦拭整個畫面。

I usually adjust the feather quite a bit so that movement feels a little more seamless and again we have a full tutorial in the paid course walking you through the full process of masking if you're not sure how to do that.

我通常會稍微調整一下羽毛，讓運動感覺更加天衣無縫。如果你不確定如何進行遮罩，我們在付費課程中有完整的教程，會指導你完成整個過程。

But for the second clip it's as easy as placing it directly under the first clip and then just moving it left or right on your timeline until the timing of the two clips matches up.

但對於第二個片段，只需將其放在第一個片段的正下方，然後在時間線上左右移動，直到兩個片段的時間吻合即可。

You might need to do a little bit of speed ramping to match the speed between each clip but besides that you're probably good to go.

您可能需要稍稍調整一下速度，使每個片段之間的速度相匹配，但除此之外，您可能就沒問題了。

Now on to the third transition which is the smooth zoom.

現在進行第三個過渡，即平滑變焦。

This transition is slowly becoming more and more cliche especially in travel videos but I think if you do it correctly it'll help add to the story of your video rather than take away from it.

這種過渡慢慢變得越來越老套，尤其是在旅遊視頻中，但我認為，如果方法得當，這將有助於增加視頻的故事性，而不是削弱它。

Now I find that this transition works exceptionally well when the theme of each clip is identical.

現在我發現，當每個片段的主題相同時，這種過渡效果特別好。

For example in this video of my trip to Iceland I zoomed in on a waterfall to then reveal a couple of friends jumping into a lake.

例如，在我冰島之行的這段視頻中，我放大了瀑布，然後看到一對朋友跳入湖中。

It wasn't too overbearing of a transition because it was going from a water theme to more water.

因為是從水的主題過渡到更多的水，所以過渡得還不算太激烈。

Now this transition is a great example of one that should have some prior planning.

現在，這種過渡就是一個很好的例子，應該事先做好規劃。

If you're zooming from a clip of some trees to a clip of Parker's face it's honestly kind of a useless transition because you're not adding to the story.

如果你從一些樹木的片段放大到帕克的臉部片段，老實說這是一種無用的過渡，因為你並沒有為故事增色。

You're probably just throwing it on because you feel you couldn't figure out how to make those two clips cut together well.

你可能只是因為覺得自己不知道如何把這兩個片段剪輯得很好，才把它扔上去的。

Now to make this transition work well and not be cliche we need two clips that either follow a certain theme like tying travel themed hyperlapses together or the water theme example I just gave.

現在，為了使這種過渡效果良好，不落俗套，我們需要兩個片段，這兩個片段要麼遵循一定的主題，比如將旅行主題的超時空連接在一起，要麼就是我剛才舉的水主題的例子。

And generally it helps sell the zoom when both clips have the same camera movement of pushing in or pulling out.

一般來說，當兩個片段都有相同的鏡頭推入或拉出動作時，變焦效果會更好。

Now to show you how we pull off the smooth zoom effect we're going to take a look under the hood of my Thailand travel video where I had four different clips that were each shot on the glide cam slowly pushing forward.

現在，為了向大家展示我們如何實現平滑變焦效果，我們來看看我的泰國旅遊視頻，在這段視頻中，我有四個不同的片段，每個片段都是在滑行攝影機上慢慢向前推進拍攝的。

I then sped them all up and then threw on warp stabilizer to smooth them out.

然後，我將它們全部加速，再用經線穩定器使它們變得平滑。

So here's what the four clips look like before applying any smooth zoom presets.

下面是這四個片段在應用平滑縮放預設之前的樣子。

Now we've actually created our own smooth zoom presets for Premiere Pro that we sell separately that include a zoom in, a zoom out, an up and down, a side to side and a spin transition preset but we are including these for free in the paid course.

實際上，我們已經為 Premiere Pro 製作了自己的平滑縮放預設，並單獨出售，其中包括放大、縮小、上下、左右和旋轉過渡預設，但我們在付費課程中免費提供這些預設。

And we made sure to make these super simple and easy to use.

我們確保這些功能超級簡單易用。

All you do is create an adjustment layer then drag the preset on top and there you have your smooth zoom transition.

只需創建一個調整圖層，然後將預設值拖到上面，就能實現平滑的縮放過渡。

Then once I apply that to all the clips here is the final result.

然後將其應用到所有剪輯中，這就是最終效果。

Now the drawback to this preset is that it's not super customizable so if you like to make tweaks or add other effects like Landon's Iceland example that has optic compensation to give it that warpy look or maybe throw in some chromatic aberration then we recommend using After Effects and we'll leave links in the description for more advanced presets that we recommend using.

現在，這種預設的缺點是可定製性不強，所以如果你想進行調整或添加其他特效，比如 Landon 的 Iceland 例子，它具有光學補償功能，可以呈現出扭曲的外觀，或者添加一些色差，那麼我們建議你使用 After Effects，我們會在說明中留下鏈接，推薦你使用更高級的預設。

But remember don't use presets as a crutch and just drag and drop them onto two random clips.

但切記不要把預設當作柺杖，隨意拖放到兩個片段上。

Make sure your edit is already flowing well and then use the preset as the cherry on top.

確保你的剪輯已經非常流暢，然後再使用預設作為頂部的櫻桃。

The fourth transition is the luma key.

第四個過渡是 luma 鍵。

This one is also becoming more and more cliche especially in travel videos but I think it's because we typically see people using the luma key transition poorly and aren't unlocking the full potential of that effect which makes it feel cheap so let's talk about how to use it to its fullest potential.

這一點也變得越來越老套，尤其是在旅行視頻中，但我認為這是因為我們通常會看到人們對 luma 鍵過渡使用不當，沒有釋放出該效果的全部潛力，這讓人感覺很廉價。

The luma key effect basically removes all of the shadows or all of the highlights from an image.

盧瑪鍵效果基本上可以去除影像中的所有陰影或所有高光。

Now I think the best way to get the most out of this luma key transition and not have it be just another drag and drop transition is by doing two things.

現在，我認為最好的辦法是做兩件事，以最大限度地利用這種 luma 鍵轉換，而不是讓它成為另一種拖放轉換。

First you should have a subject that fills most of the frame.

首先，你應該有一個能佔滿大部分畫面的拍攝對象。

This will distract your viewers eye to focus primarily on the dominant subject and not notice any of the imperfections that happen when you apply the luma key effect.

這將分散觀眾的注意力，使其將主要注意力集中在主要主體上，而不會注意到在使用盧瑪摳像效果時出現的任何瑕疵。

The second thing that helps the luma key effect be more profound and less cliche is by going from either a bright scene to a dark scene or vice versa.

其次，從明亮的場景到陰暗的場景，或者從陰暗的場景到明亮的場景，都能讓 Luma Key 效果更加深刻，不那麼老套。

The luma key is your chance to transition between two completely different scenes that normally wouldn't be able to go together very well.

luma 鍵是在兩個完全不同的場景之間進行過渡的機會，而這兩個場景通常無法很好地結合在一起。

For our example we're going to transition from me being inside my dark office to a bright shot outside.

在我們的示例中，我們將從我在黑暗的辦公室內過渡到外面明亮的鏡頭。

And to help distract the viewers eye from seeing any imperfections we're going to have both a dominant subject and have the dominant subject do a quick movement like a 180 jump.

為了轉移觀眾的視線，避免看到任何瑕疵，我們將同時使用一個主導主體，並讓主導主體做一個快速運動，比如 180 度跳躍。

Once clip A is shot and it looks good, clip B is literally going to be the exact same thing but in a different brighter location.

一旦拍攝了片段 A，而且看起來不錯，片段 B 就會是完全相同的內容，只是在不同的亮度位置。

Once we're in the editing room we just need to do some time remapping to make sure those two clips are moving at the exact same speed.

進入剪輯室後，我們只需進行一些時間重映射，以確保這兩個片段以完全相同的速度移動。

Then do a little bit of repositioning so that I stay in the center of the frame.

然後稍微調整一下位置，讓我保持在畫面中央。

After that we'll just add the luma key effect to the first clip and then keyframe it so that it goes from 0 to 100 and that the peak of the animation is happening at the same time that I'm at the peak of my 180 spin.

之後，我們將在第一個片段中添加盧瑪鍵效果，然後設置關鍵幀，使其從 0 到 100，動畫的峰值與我 180 旋轉的峰值同時出現。

Now we can smooth it out just a little bit so there's no sharp edges from the shadows and even add some blur to really mesh it all together.

現在，我們可以稍微平滑一下，使陰影沒有尖銳的邊緣，甚至可以添加一些模糊效果，使其真正融合在一起。

Alright the fifth transition is rotation.

好了，第五個過渡是旋轉。

Now there's a couple different ways that you could do a rotation transition.

現在有幾種不同的方法可以進行旋轉過渡。

And the first way which is my preferred method because it makes editing in post a little bit easier is by doing the roll on location with your camera.

第一種方法是在拍攝現場用相機進行拍攝，這也是我最喜歡的方法，因為它能讓後期編輯變得更容易一些。

So I just use the infinite roll feature on my Ronin-S.

是以，我只使用 Ronin-S 上的無限滾動功能。

Now for this example I'm just going to have Parker walk away from the camera while I follow him and do the infinite roll.

在這個例子中，我讓帕克離開攝影機，而我跟在他後面進行無限滾動拍攝。

Clip B is going to be the same movement with the same subject but at a different location.

片段 B 將是同一個動作，同一個拍攝對象，但拍攝地點不同。

Now all I need to do to make sure that these two clips work well together is be at roughly the same distance and height from Parker and make sure that my camera is rolling in both the same direction and at the same rate.

現在，為了確保這兩個片段能很好地結合在一起，我需要做的就是與帕克保持大致相同的距離和高度，並確保攝影機以相同的速度朝相同的方向拍攝。

Now in post these two clips probably only need some time remapping to be able to really flow well into each other.

現在，在後期製作中，這兩個片段可能只需要一些時間重新映射，就能真正流暢地相互融合。

But if they need an extra boost I'll throw on a radial blur and just animate the keyframes until I think the motion blur looks natural and it hides the seam between each clip.

但如果它們需要額外的增強效果，我會添加徑向模糊，並對關鍵幀進行動畫處理，直到我認為運動模糊看起來很自然，並能隱藏每個片段之間的接縫。

Now if you don't have a gimbal that can do the infinite roll feature you can also just do a handheld rotation like this example from Landon's Iceland video.

現在，如果你沒有能實現無限翻滾功能的雲臺，你也可以像 Landon 冰島視頻中的這個例子一樣進行手持旋轉。

In this example clip A actually didn't have any in-camera rotation.

在這個例子中，片段 A 實際上沒有任何鏡頭內旋轉。

Clip A did however at least have some subject movement.

不過，片段 A 至少有一些主體移動。

So he used that subject motion and exaggerated it into a rotation by digitally zooming in then keyframing a digital rotation to match the speed of the in-camera rotation of clip B.

是以，他利用拍攝對象的運動，通過數字放大將其誇張為旋轉，然後設置數字旋轉的關鍵幀，使其與鏡頭內片段 B 的旋轉速度相匹配。

That way both clips are rotating in the same direction and at the same speed.

這樣，兩個夾子就會以相同的速度同方向旋轉。

Then he just added the effect radial blur to help blend the two together more seamlessly.

然後，他只是添加了徑向模糊效果，以幫助將兩者更完美地融合在一起。

So even if you didn't plan out two rotation shots beforehand sometimes you can use this trick to cheat the rotation effect and still make it work.

是以，即使你沒有事先計劃好兩個旋轉鏡頭，有時你也可以使用這個技巧來欺騙旋轉效果，使其仍然有效。

Moving on to our sixth transition is the match cut.

我們的第六個過渡環節是匹配切割。

Now this is one of the oldest types of editing cuts in Hollywood movies.

這是好萊塢電影中最古老的剪輯方式之一。

A match cut technique isn't really a seamless transition but depending on how you use it it can feel pretty seamless.

匹配切割技術並不是真正的無縫過渡，但取決於你如何使用它，它會讓你感覺非常無縫。

For this example the focus of each of our clips will be on the action that's taking place.

在這個例子中，我們每個片段的重點都是正在發生的動作。

So I'm going to be running from the left side of the camera towards the right and then jumping in a very specific way once I get to the middle of the frame.

是以，我要從鏡頭左側跑向右側，然後以一種非常特別的方式跳到畫面中間。

For the second clip I'm going to do the exact same movement but in a different location.

在第二個片段中，我將做完全相同的動作，但位置不同。

And then Landon's going to make sure to make the exact same camera movement trying to keep me, the subject, in the exact same spot in his frame.

然後蘭登會確保攝影機做出完全相同的移動，試圖讓我這個拍攝對象在他的畫面中處於完全相同的位置。

Now there's really no fancy editing that goes on in creating a match cut in post.

現在，在後期製作匹配剪輯時，真的不需要進行任何花哨的剪輯。

All we need to do is match up the scale and positioning of each of these clips so they match identically.

我們需要做的就是匹配每個剪輯的比例和位置，使它們完全一致。

Then trim it at the peak of the movement.

然後在運動的最高點進行修剪。

What really helps mesh these two clips together isn't actually what you're seeing on the screen but also what you're hearing.

真正讓這兩個片段融為一體的，其實不是你在螢幕上看到的，而是你聽到的。

So using sound effects or beats of the music will help hide the cut even more from your viewers.

是以，使用音效或音樂節拍將有助於向觀眾進一步隱藏剪輯。

So instead of this we could have something like this.

是以，我們可以這樣來代替它。

Alright, our seventh transition is the glitch transition.

好了，我們的第七個過渡是故障過渡。

And this one really only comes into play when it matches the style of video that you're trying to create.

只有當它與您要製作的視頻風格相匹配時，它才會真正發揮作用。

You don't really have to worry too much about the specific shots that you need to get if you plan on using a glitch transition.

如果您打算使用閃轉騰挪，就不必太在意需要拍攝的具體鏡頭。

But I think the most classy way of using a glitch transition is by glitching in your dominant subject like this.

但我認為，使用滑動過渡的最優雅方式是像這樣在你的主導主題中進行滑動。

Now to make this happen all we needed was a clean push-in shot of our location for clip A, then the same shot but this time with our subject for clip B.