Shotcut tutorial · companion page
A train pulls into a Barcelona platform and wipes the word off the screen as it passes. The mask is not a rectangle you position — it is a shape you draw by hand around the train in Glaxnimate, re-shaped every five frames for forty frames, and handed back to Shotcut through one filter: Mask: Draw (Glaxnimate) with Operation set to Subtract. Cut from a real travel project, mistakes left in.
Reading in another language? Use the translate picker in the header, or your browser’s own translate command — the Shotcut and Glaxnimate filter, control and value names are marked to stay in English so they still match what is on your screen.
The title never animates. It sits still for the whole shot. What moves is a hand-drawn hole punched through the copy of the footage that sits above it — and the hole is shaped like the front of the train, redrawn nine times across forty frames.
Every other mask in this series is a shape you place: a rectangle with Position, Size and Softness boxes. This one has no shape controls at all. You draw an outline around a moving object with a pen tool, and the filter’s entire job is to load the drawing.
Clicking New... in the filter panel launches a different program with its own window, menus and timeline. It opens with the clip already loaded behind the canvas so you can trace what is actually on screen. In this video it simply launches when New... is clicked — no download, no install and no separate setup appears on screen.
Arm Record before the first point goes down and every later edit writes its own keyframe. Ben steps forward five frames at a time — 0, 5, 10 and so on to 39 — and drags the shape to catch up with the train instead of redrawing it. Glaxnimate interpolates the four frames in between.
The filter arrives on Operation Overwrite, which paints the drawn shape onto the picture. Switching one dropdown to Subtract removes the shape instead, so the layer below — the title over the untouched footage — shows through the train-shaped hole. No keyframes are needed in Shotcut at all.
Ben has a cinematic title reveal tutorial from July 2021 under almost the same name. The two share one word of vocabulary — Subtract — and nothing else. The older one makes a title rise out of a horizon with its reflection sinking below it; this one makes a passing train erase a title. If you came here looking for the water-line reveal, that is the other page.
| 2021 — title reveal | 2025 — this one | |
|---|---|---|
| What the effect does | a title rises out of a horizon line, its mirrored twin sinking away below it | a moving train wipes an already-placed title off the screen |
| Mask filter | Mask: Simple Shape, twice | Mask: Draw (Glaxnimate), once |
| Mask geometry | a rectangle typed into percentage boxes | a bezier outline drawn by hand around the subject |
| Other applications | none | Glaxnimate |
| Where the motion lives | keyframed Position on the text, in Shotcut | nine keyframes on the mask shape, in Glaxnimate |
| Keyframes in Shotcut | 2 per title clip | 0 |
| Other filters in the stack | Text: Simple, Flip, Opacity | none on the masked clip |
| Tracks | 3 — title, flipped copy, background image | 3 — effects copy, title, footage |
| Footage it needs | a still photograph with a horizon in it | a shot with something that physically crosses the title |
| Operation | Overwrite → Subtract | Overwrite → Subtract |
The one genuine overlap is the last row, and it is worth noticing. In both tutorials the mask filter arrives on Overwrite so you can see the shape while you work on it, and in both the final move is the same dropdown change to Subtract. That is a property of Shotcut’s mask filters generally, not of either effect.
Ben calls this one a swipe throughout the audio, the thumbnail says TITLE SWIPE EFFECT, the project file is named Barcelona Swipe.mlt, and the video’s own title says title reveal. He also refers back to an earlier “swipe transition” tutorial. All four names describe this one effect.
[ Again, if you know me, I like taking the shortcut. I like taking the lazy way of doing things ]
Ben Espanto · 8:37
The video carries twenty-six chapter markers, which is far too many cards to read. They are grouped below into twelve sections at the natural seams, and every one of the twenty-six is still individually listed and clickable inside its section, so no deep link is lost. Chapter titles are quoted exactly as YouTube has them — including the four that misspell Glaxnimate as Glaximate. Click any screencap, timestamp or chapter chip to play that moment right here in the card.
“I think I’ve already done a tutorial on this, but I want to show you this technique, not using a theoretical example, but an actual example of how I utilize it in one of my travel videos.”
1:28 · the Shotcut window Ben is actually working in. The titlebar reads Barcelona Swipe.mlt* - 2560x1280 30.00fps 2ch - Shotcut — a real, saved project for his Barcelona travel video, not a scratch timeline built for the camera. The channel had been quiet while he was travelling; this is the first tutorial cut from that trip’s footage.
“And so what I want to do, or what I’m intending to do, is for the train to wipe away the text as it passes by the Barcelona text.”
2:05 · the timeline: EFFECTS on top and empty at this point, TEXT carrying a transparent clip, and PIXEL carrying the phone footage of the train. The title BARCELONA sits over the platform and the train is about to reach it. The player status bar reads Proxy and preview scaling are ON at 540p.
“I want to find the spot where I can begin wiping, because I don’t really need to include the rest of the other ones, because it’s just going to make the process a little longer.”
3:38 · the EFFECTS track selected. Its Filters header reads Track: EFFECTS rather than a filename, because this filter sits on the track head, not on a clip: Size, Position & Rotate at Position -160, -80, Size 2,880 x 1,440, Zoom 112.5 %. That is the project’s standing scale-up for its 2560 x 1280 frame, and it has nothing to do with the wipe.
“So what I’m going to do now is while that file is selected, I’m going to go to filters and I’m going to go plus. And I’m going to look for Glaxnimate.”
4:32 · typing gla into the filter search returns exactly one entry, Mask: Draw (Glaxnimate). All five chooser tabs are legible in this frame — Favorite, Video, Audio, Time, Sets — and the Filters toolbar above it carries eight buttons. The selected clip is PXL_20250422_110041072 - Converted.mov.
“I need to make sure that both fill and stroke have been selected. When that has been selected, I then need to go to the very first part of my timeline here, and then I’m going to click the record button. This is the most important.”
5:52 · Glaxnimate, a separate program, with the clip already loaded behind the canvas as a reference. Create is set to Layer with Fill and Stroke both ticked, and the third tool down the left rail — Draw Bezier — is active. Its own timeline runs 0 to 40 along the bottom.
“I’m going to go and create a dot there and just connect all the dots. Should be pretty simple. And then I’m going to go back to the original dot. And so that’s the beginning. And so that’s my first keyframe.”
7:04 · the first closed shape, drawn point by point around the front of the train and closed back onto its starting dot. It fills solid white, and white is what the mask reads. The canvas carries a red outline because keyframe recording is already armed.
“I can go and click the right arrow icon — one, two, three, four, five — and then I could just move this selection to the right a little bit. I mean, I don’t need to be extremely exact.”
7:50 · the playhead at 10 f with Recording Keyframes lit in the status bar beside the live cursor coordinates. The shape has been dragged right to follow the train. Every move at a new frame writes a keyframe by itself, because recording was armed before the first point was placed.
“Here, maybe we can be a little bit more detailed since this is the last one. I’m going to kind of unravel this a little bit, see what it’s actually covering up.”
10:40 · the final keyframe, where the train fills most of the frame and the five-frame shortcut stops being good enough. Points are added, dragged and deleted here rather than nudged as a group. Ben’s own verdict on the result: “It’s not perfect, but again, this thing happens so quickly.”
“So now I’m going to go and click File, Save. So now that I’ve saved it, I’m not going to click out of this. I’m actually just going to drag it over to the right.”
11:48 · File saved in the Glaxnimate status bar, and the asterisk gone from the titlebar. Glaxnimate is left running and simply pushed aside; back in Shotcut the Reload button in the filter panel pulls the new animation in. Nothing is imported and nothing is rendered out.
“What I want to do, I believe, is I want to first go into subtract. I want it to be subtracted as the train is moving forward like this. See, it’s already doing what I wanted to do.”
13:35 · the Operation list open on the Mask: Draw (Glaxnimate) filter. Five entries: Overwrite, Maximum, Minimum, Add, Subtract. The filter arrives on Overwrite, which paints the mask over the picture; Subtract is what makes the same shape punch a hole through it instead. This single click is the effect.
“I like exporting at 80%. That’s the highest quality usually that I go for YouTube. And then instead of progressive, I usually go interlaced, and then I go Lanczos best.”
15:42 · the Export panel in advanced mode. Resolution and Aspect ratio both 2560 x 1280, Frames/sec 30.000000, Format mp4, and Scan mode taken from Progressive to Interlaced, which switches Field order on at Top Field First. Use hardware encoder is ticked and Interpolation at Lanczos (best) is left where it already was.
“Stay tuned as I finish this video and I’m going to add it to this description for this particular tutorial.”
16:30 · not an interface shot — the outro cuts to Ben’s own YouTube channel page in a browser, with the Bentacular and Fishtacular rows and the Shotcut Tips, Tricks and Tutorials playlist on screen. The finished Barcelona video was headed for the travel channel and had not been published at recording time; he estimates “a month or two”.
Every name and number below was read off the screen in the video, not off the audio. Where something was never shown — and on this one that includes the Shotcut version itself — this page says so rather than filling the gap.
This technique needs an object in the footage that physically passes in front of where your title sits. Ben’s is a metro train pulling into a platform in Barcelona, shot on a phone, with the title parked over the far end of the platform so the train reaches it.
The frame size, rate and project name all come off the titlebar, which reads C:/Users/dasro/Desktop/SHOTCUT Stuff/!Learning Opportunities/Barcelona Swipe.mlt* - 2560x1280 30.00fps 2ch - Shotcut for the whole runtime. The source clip is a Google Pixel file that has been converted, and the timeline shows it running through a proxy.
The bottom track holds the footage. The middle track holds the title. The top track is where the copy you are about to mask will go. Ben’s tracks are named rather than numbered, which is his own timeline convention from his template tutorial.
Do not copy those numbers into your own project. They scale 2560 x 1280 footage inside a 2560 x 1280 frame and mean nothing outside it. They are shown here only because they appear on screen and would otherwise look like part of the effect.
Play the shot and find the frame where the moving object first touches the title, then the frame where it has finished crossing it. Split at both, with S on the keyboard or the split button. You want the shortest possible section, because you are about to hand-draw a shape on every fifth frame of it.
“But first I’ve got to find the spot, because I want to save myself some time here. I want to find the spot where I can begin wiping, because I don’t really need to include the rest of the other ones, because it’s just going to make the process a little longer.” Ben’s section comes out at forty frames — one and a third seconds at 30fps.
With the split section selected, press Ctrl+C. Click the EFFECTS track head to make it current, put the playhead on the same frame you copied from, and paste. You now have two copies of the same footage stacked, with the title sandwiched between them.
The alignment is the part that has to be right. The masked copy on top and the original underneath must play the same frames at the same moments, or the hole will not line up with the train it was drawn around.
Select the copy on the top track, open Filters, click the + button and type gla. One result comes back. Add it, and the panel that appears has no shape controls at all — just buttons for making, opening, editing and reloading an animation file, two checkboxes, and one dropdown.
Invert and Reverse are both left unchecked for the whole tutorial and are never discussed, so this page cannot say what either does from these pixels.
A Windows save dialog titled New Animation File opens, pointed at the folder the project lives in. Type a name and save. Glaxnimate then launches on its own — in Ben’s case onto a second monitor, which he drags across.
Glaxnimate’s own file extension is .rawr. The file is a sibling of your project, not something buried inside it, so it moves and backs up with the rest of your work — and a project whose .rawr file has gone missing has lost its mask.
Glaxnimate opens with your clip behind the canvas. Choose Draw Bezier from the tool rail on the left. In Tool Options, leave Create on Layer and make sure Fill and Stroke are both ticked. Send the playhead to frame 0. Then click the Record button at the right-hand end of the timeline toolbar — before you draw anything.
This is the step that is easy to skip and expensive to skip. “This is the most important. I’ve missed this a few times as I was making this.” Without Record armed, you draw a static shape and nothing animates.
Click point by point around the moving object until you come back to your first dot and the shape closes. It fills white. That is keyframe one. Now step forward five frames with the next-frame arrow, drag the whole shape sideways to catch up with the object, and let recording write keyframe two. Repeat.
The last step is only four frames long, not five, because the document ends at 39 — Ben notices it on screen: “Oh, four. It looks like four is the end.” The shape only needs to cover what the object is hiding, not the object precisely. “I don’t need to be extremely exact” and “I don’t think the Barcelona text goes anywhere below this section here” are both reasons to leave whole regions of the frame alone.
On the last two or three keyframes the object is much larger and closer, and a plain sideways drag stops working. There the shape gets individual points moved, added and deleted instead. Budget your patience for the end of the clip rather than spreading it evenly.
Save in Glaxnimate. Do not close it — push the window aside, bring Shotcut forward, and click Reload in the filter panel. The mask appears on the clip. Leaving Glaxnimate open means the next round of fixes is a save and a reload away rather than a relaunch.
Then step the Shotcut playhead through the section one frame at a time with the right arrow and watch where the mask does not cover what it should. Ben’s first pass comes back wrong — “I don’t think I went low enough, I think is the problem” — which he fixes in Shotcut rather than by going back to the drawing.
If the mask does not quite reach the title, moving the title is cheaper than redrawing the mask. Select the title clip, and in its Text: Simple filter drag the box up until it sits inside the area the object crosses. Then go back to the masked copy and change Operation from Overwrite to Subtract. That is the effect finished.
“That’s a lot quicker than I thought it was going to be.” Everything after this is review and export — no second filter is ever added, no keyframe is ever set in Shotcut, and no filter set is saved.
Copy-ready. Anything the video never put on screen is listed as not shown rather than guessed at, and that includes the one thing readers will look for first.
| Setting | Value | Where it lives |
|---|---|---|
| Shotcut version | never shown | no About dialog, no version in the titlebar, never spoken |
| Glaxnimate version | never shown | no About dialog opened |
| Project file | Barcelona Swipe.mlt | titlebar |
| Project folder | Desktop/SHOTCUT Stuff/!Learning Opportunities | titlebar and the save dialog |
| Video mode | 2560x1280, 30.00fps, 2ch | titlebar |
| Track stack, top to bottom | EFFECTS / TEXT / PIXEL | timeline track heads |
| Footage clip | PXL_20250422_110041072 - Converted.mov | PIXEL and the masked copy on EFFECTS |
| Title clip | transparent | TEXT |
| Proxy and preview scaling | on, at 540p | player status bar |
| Section length | 40 frames | the Glaxnimate timeline ruler, 0 to 39 |
There is no version number anywhere in this video. The Help → About Shotcut dialog is never opened, the titlebar carries the project path instead of a build number, and Ben never says one aloud. The upload date is 21 July 2025 and the project file in the save dialog is dated 20 July 2025, so the build is a July 2025 release — but which one is not on screen, and this page will not name one. What the pixels do establish is the state of the interface: the filter chooser has five tabs and the Filters toolbar has eight buttons.
| Control | Value | Note |
|---|---|---|
| Filter | Mask: Draw (Glaxnimate) | the only filter on the clip |
| Animation file | Barcelona Swipe 2.rawr | made with New..., saved beside the project |
| Invert | unchecked | never touched or mentioned |
| Reverse | unchecked | never touched or mentioned |
| Operation, as added | Overwrite | the shape paints over the picture |
| Operation, final | Subtract | the shape becomes a hole |
| Operation list, in order | Overwrite, Maximum, Minimum, Add, Subtract | five entries, read off the open dropdown |
| Keyframes in Shotcut | none | the filter has no stopwatch on any control |
| Mask: Apply | not used | nothing follows this filter in the stack |
| Control | Value | Where |
|---|---|---|
| File | Barcelona Swipe 2.rawr | Glaxnimate titlebar |
| Tool | Draw Bezier | third down the left tool rail |
| Create | Layer | Tool Options, over Raw Shape and Group |
| Fill | ticked | Tool Options |
| Stroke | ticked | Tool Options |
| Fill colour | #ffffff | the Fill panel, HSV mode, V 255 / A 255 |
| Recording | Record armed before drawing | last button on the timeline toolbar |
| Recording indicator | Recording Keyframes | status bar, plus a red canvas outline |
| Keyframe positions | 0, 5, 10, 15, 20, 25, 30, 35, 39 | read off the frame field at each stop |
| Layers created | Path 2, Path 1, Path, Layer | the Layers panel at the end |
| Zoom | 48 % | status bar, unchanged throughout |
| Save | File → Save | status bar then reads File saved |
Glaxnimate’s menu bar, for orientation, reads File, Edit, Tools, View, Playback, Document, Layers, Object, Path, Text, Plugins, Help. Its timeline tabs are Timeline, Properties and Compact Timelime — the typo is the application’s, and it is reproduced here as it renders.
| Control | Value |
|---|---|
| Filter 1 | Text: Simple |
| Filter 2 | Drop Shadow |
| Preset | empty |
| Text | BARCELONA |
| Font | ITC Avant Garde Gothic Std Bold 72, Use font ticked |
| Outline / Thickness | black, 0 |
| Background / Padding | transparent, 0 |
| Opacity | 100 % |
| Position | 0, 543 → 0, 494 |
| Size | 2,560 x 737 |
| Horizontal fit / Vertical fit | Center / Top |
The Drop Shadow filter is ticked on in the stack but its panel is never opened, so none of its values can be read. The title is placed by dragging in the player, not by typing into Position — the number simply lands on 494.
| Setting | Value | Note |
|---|---|---|
| From | Timeline | |
| Use hardware encoder | ticked | Configure... never opened |
| Format | mp4 | |
| Resolution | 2560 x 1280 | matches the video mode |
| Aspect ratio | 2560 : 1280 | |
| Frames/sec | 30.000000 | |
| Color range | Broadcast Limited (MPEG) | |
| Scan mode | Progressive → Interlaced | the one value Ben changes |
| Field order | None → Top Field First | disabled until Interlaced is chosen |
| Deinterlacer | BWDIF (best) | default, greyed out |
| Interpolation | Lanczos (best) | already set; Ben names it aloud |
| Use preview scaling | unchecked | |
| Parallel processing | unchecked | |
| Quality | not shown | see the note below |
The 80 % is spoken, not shown. “I like exporting at 80%. That’s the highest quality usually that I go for YouTube.” Quality lives on the Codec tab, and the Video tab stays selected for the whole export segment — the Codec tab is never opened. The figure is Ben’s stated habit and this page reports it as that rather than as a verified setting.
Interlaced is an unusual choice and the video does not defend it. Ben says only “instead of progressive, I usually go interlaced”. Progressive is the normal setting for web delivery, including YouTube, and it is what every other export in this series uses. It is recorded here because it is what happened on screen, not as a recommendation.
Where the .rawr file has to live is never discussed. What is on screen is that the save dialog opens in the project’s own folder and the file is written there. Whether Shotcut stores an absolute or a relative path to it, and what happens if the file is moved, is not demonstrated — so this page will not claim either way.
Machine transcribed from the video audio. Spoken phrasing is left as-is; only the product names the transcriber mangled have been corrected — it renders Glaxnimate as “Glaxdimate”, “glaxtimate” and “GlacStimate” across the runtime, and bezier as “Bayesier”. Every timestamp plays the video in the hero from that second. Nothing numeric on this page comes from here — all of it was read off the pixels.
I’m just a normal person with no video editing background. I wanted to start making YouTube videos and maybe cool transitions and effects.
I don’t really plan on being a professional video editor, so I was looking for a free, easy-to-learn video editing software.
Luckily, I stumbled on Shotcut, a free open-source video editing program that can do many of the tricks you can do on more enterprise video editors
like Adobe Premiere or DaVinci Resolve, but with a much simpler and leaner interface, thus dramatically shortening the learning curve.
It just takes using your imagination. So let’s learn together. Hey guys, it’s been a while.
If you didn’t know, I’ve been busy building up my other channel, and that other channel is my lifestyle and travel channel.
I’ve been gone from this tutorial channel for a while, but since I’ve been editing some new videos and I’ve been traveling a lot,
I thought I’d take this opportunity to at least share some of the issues and some of the learnings that I’ve run into using Shotcut
as I’m editing these travel videos. It also gives you an opportunity to see some early previews
of some of the videos I’m going to be launching based on my travel. This is probably going to be the first one of this series,
and if you’re looking at the screen right now, as you can see, right now I’m editing a video based on my previous travel in Barcelona, Spain.
And so I’m going to be launching hopefully soon this Barcelona travel video. And so I just wanted to share with you one of the techniques.
I think I’ve already done a tutorial on this, but I want to show you this technique, not using a theoretical example, but an actual example
of how I utilize it in one of my travel videos. This is going to be my Barcelona intro. And I have two tracks here, as you can see,
one text track that says Barcelona, which is going to be kind of my title screen. And then underneath it, there’s a video of a train.
Let me play it right now, right there. And so what I want to do, or what I’m intending to do,
is for the train to wipe away the text as it passes by the Barcelona text, as you can see here, right? Based on my previous tutorials,
I think the best way to do that is using Glaxnimate. That’s what I’m going to do. But first I’ve got to find the spot,
because I want to save myself some time here. I want to find the spot where I can begin wiping,
because I don’t really need to include the rest of the other ones, because it’s just going to make the process a little longer.
And so I think the train touches the Barcelona text around there. And so I’m going to go ahead and go to my original video here,
and I’m going to click S on my keyboard or create a split. And then it ends. Let’s see where it ends. Let’s go back in here. Let me see if I can...
Okay, Barcelona is right there. Probably right there. So I can make a cut right there in the same video. So I’m going to make a cut.
Now what I’m going to do is I’m going to do control C. I’m going to make a copy of that on a top layer, as you can see here that I called effects.
So I’m going to go ahead and select that. And I’m going to go right there and paste it exactly where I copied that previous one.
So now I have a duplicate of each one. Okay, so I just made a copy of that. And that’s the part that I want to show through.
I want the Barcelona text to start disappearing as the train swipes through it. In a previous tutorial, I think I called this swipe transition,
or it might be the Glaxnimate tutorial. So I can link all of that in the description if you haven’t seen any of those previous tutorials.
But again, that’s where I want to edit. So what I’m going to do now is while that file is selected,
I’m going to go to filters and I’m going to go plus. And I’m going to look for Glaxnimate. So now I have Glaxnimate.
And then what I’m going to do is I’m going to create a new file by clicking new. I’m going to call this one Barcelona.
As you can see here, I’ve already created one before Barcelona swipe to so as I save that Glaxnimate is loading on my other screen.
All of a sudden a new pop up should show up as you create a new file. And I’ve just dragged it over. So this is the new screen.
Okay, so here’s the train. And I need to create a mask inside of Glaxnimate that I want to be wiped away as the train glides by.
So ideally, if we remember the Barcelona text is around this section here. And as the train goes by, it wipes the Barcelona text.
And so I need to create a mask here. And in order to do that, I need to go here to draw Bezier. I’m going to select that.
I need to make sure that both fill and stroke have been selected.
When that has been selected, I then need to go to the very first part of my timeline here. So I’m just going to select this icon right there.
And then I’m going to click the record button. This is the most important. I’ve missed this a few times as I was making this.
So I’m going to click it now. And I know it’s recording because you have a little record icon here at the very bottom.
You have a little red here and then there’s a red outline around the actual video.
So I’m going to go back to the very beginning and then I’m going to go into I’m already in the Bezier.
So I’m going to go and create a dot there and just connect all the dots should be pretty simple. I’m going to go here, here, I’m going to go there.
Looks like there’s area there down here, here. And that’s probably as low as they need to go because I don’t think the Barcelona text goes below that.
And I’m just going to go straight across here and then right on top there. And then I’m going to go back to the original dot.
And so that’s the beginning. And so that’s my first keyframe. And so what I’m going to try to do is I’m going to take some shortcuts.
I don’t think I need to go and keep doing this this whole time. I think I can just go maybe one to stop here.
Let’s go back to the very beginning again.
I can go and click the right arrow icon 12345 and then I could just move this selection to the right a little bit.
I mean, I don’t need to be extremely exact. Then 12345.
Let’s see if it still hits that spot because of course the train gets bigger as it gets closer to you. But I think that’s okay.
The selection is still good. And I’m going to go 12345. So I’ve been able to cheat this and not have to go every step.
So it looks like it’s still okay that shape maintained itself.
I mean, there’s a little bit of an open area here, I guess, which I can probably modify a little bit.
But for the most part, I think I don’t even think the Barcelona text goes below this section here. And I’m going to go 12345.
Then I’m going to go here. We might still be okay. I’m just going to go make a tiny little change. Maybe this little spot there goes there.
Again, if you know me, I like taking the shortcut. I like taking the lazy way of doing things. So about right there, I think we’re okay.
And then let’s go 12345 and let’s see if that maintained its shape. I’m okay with that 12345. Surprisingly, it’s pretty close.
It’s probably probably modified this a little bit here. So I’m going to go to this icon there.
Let’s see, maybe bump it up a little higher there and then bump it up here. But I’m okay with that.
And then I’m going to go 12345 and let’s see if I can cheat this here. Okay, now it’s really getting bigger.
But for the most part, I think we’re okay. Let’s go make some modifications here.
It’s really hard to tell when the train begins or when the track begins and when the train ends.
So I’m kind of just selecting like a general area here. I mean, is that part of the train? Let’s just go right there.
Okay, then I’m going to go 12345. Oh, four. It looks like four is the end.
Here, maybe we can be a little bit more detailed since this is the last one. I’m going to kind of unravel this a little bit,
see what it’s actually covering up. Get out of there. Get out of there. Okay, so I can probably go here, go there, there.
Delete that some of these extra points here. Okay, so I could probably go like that. Cover that section up there.
Something like that because I don’t think Barcelona, the Barcelona text goes anywhere below this section here. And then to the very last one.
Okay, so I’m going to go to the very beginning and let’s see if it’s for the most part keeping its shape. I mean, I’m okay with it.
It’s not perfect, but again, this thing happens so quickly. Now, if you’re OCD, then yeah, add additional points there to make sure that it’s perfect,
but you get the general gist of what I’m trying to do. Okay, so I think we’re good. I think we’re good here.
So now I’m going to go and click File, Save. So now that I’ve saved it, I’m not going to click out of this.
I’m actually just going to drag it over to the right. I’m going to open up Shotcut here on the screen here. And then here.
So now I’m just going to reload here to make sure that it’s correct. So let’s see what it did as I reloaded it.
So I’m going to go frame by frame choosing the right arrow. I don’t think I went low enough, I think is the problem. So we’re going to remedy that.
I’m going to grab the Barcelona text. And I’m just going to drag it a little higher so that it kind of covers that area. So let’s go in here.
And it’s doing something weird right now because we haven’t really finalized what the thing is supposed to do. Okay, so there’s the Barcelona text
and the train is supposed to cover that up. So we need to go to that part. This video clip here on the topmost track here. I’ve already reloaded.
What I want to do, I believe, is I want to first go into subtract. I want it to be subtracted as the train is moving forward like this.
See, it’s already doing what I wanted to do. Okay. Oh, that’s pretty good. So all you need to do after you’ve reloaded it,
let’s click play again and just subtract. And there you go. And that’s the effect. That’s a lot quicker than I thought it was going to be.
So let’s go in here. Go frame by frame. See, this selection here, that was the hard part because I couldn’t tell if that was part of the train
or part of the track. But for the most part, if I play it in real time, I mean, it does what it’s supposed to do.
Okay, so why don’t I take a couple of minutes and render this and then show you what the end result is. And you’re going to see an early preview
of my Barcelona video that should be launching. I’m hoping in a month or two. Also, once I do finish this entire video series or this Barcelona video,
I am going to add that link to the description as well as the end screen. Along with that, I’m also going to add the original tutorial that I made
for either Glaxnimate or both Glaxnimate and the swipe transition just so you know how to execute this. But I mean, everything that you need to know
I’ve actually already done in this particular video. So, okay, so let me just render it real quick. I’m just going to export this. So, let’s go here.
I like exporting at 80%. That’s the highest quality usually that I the highest that I go for YouTube. And then instead of progressive,
I usually go interlaced and then I go lax those best. So, let’s just let’s just export this. And there you go. Here’s the final product.
So, stay tuned as I finish this video and I’m going to add it to this description for this particular tutorial.
And hopefully you get to catch all the effects that I’ve just shown you. I just want to remind you that if you haven’t yet, go visit my channel.
I’m sure you’ll find tons of Shotcut related videos. And don’t forget to subscribe so that you know when I drop a new Shotcut related tutorial.
If you ever wondered what I do with these techniques, I actually implement them on my own videos
in my travel and food review channel called Bentacular. Please stop by and visit and I would love for you to subscribe as well.
Once again, I’ll see you next time.
