Shotcut tutorial · companion page
Export the frame either side of the cut, join the two of them into one picture twice as wide as the project, and slide it across the join with two keyframes. There is no transition object anywhere in this build — the whole effect is a flat image on a moving filter.
Reading in another language? Use the translate picker in the header, or your browser’s own translate command — the Shotcut and Photoshop menu, filter and value names are marked to stay in English so they still match what is on your screen.
A whip pan reads as the camera snapping from one subject to another. Here nothing snaps: a single wide still, made in Photoshop from the two frames either side of the join, slides across the frame in Shotcut fast enough that the eye fills in the movement.
The transition is a single 3840 × 1080 still: the last frame of clip one on the left, the first frame of clip two on the right, blended across the seam. Nothing about it moves — it is a flat image.
Photoshop builds the picture and writes one file. Shotcut consumes it. Nothing else crosses between them, and once the file is saved the photo editor can be closed for good.
No transition object is used. The picture sits on its own video track over the cut, and one filter — Size, Position & Rotate — slides it from Position 0, 0 to Position −1920, 0 across a handful of frames.
Shotcut has no motion blur filter. Trails at 4 frames leaves a short after-image behind the moving picture, which at that speed the eye accepts as blur.
[ I want it faster because I want to trick the eye — I don’t want to show any seams whatsoever ]
Ben Espanto · 17:12
Click any screencap or timestamp to play that chapter from its exact second, right here in the card. Quotes are transcribed from the audio; every number in the captions was read off the picture, never off the words. Seven of these boundaries are YouTube’s own auto-generated chapter marks — the timings are kept, the titles are rewritten. Cards marked DERIVED have no chapter mark behind them and are anchored to the frame the screencap comes from.
“In this tutorial I will show you my version of the whip pan transition using Shotcut.”
No interface on screen yet — just the first of the two clips the transition has to join. The whole effect is one still image that gets slid across the frame between them.
“In this tutorial I’m running the latest version of Shotcut which is Shotcut version 20.09.13.”
The About Shotcut dialog, opened at 1:30, reads Shotcut version 20.09.13. Every panel name and filter name below matches that release. Photoshop’s own version number is never shown on screen at any point in the video, so this page does not name one.
“First step of course, let’s get all our ingredients in the timeline.”
Two clips land on V1 back to back: video.mp4 (00:00:05:10) and Pexels Videos 1123272.mp4 (00:00:05:19), both read off the Playlist. The second one is muted — the transition needs its picture, not its sound.
“I’m not even going to worry about where I’m going to cut it for this example.”
Butted together with no transition the cut just snaps. Where the join falls does not matter to the technique, because the two frames either side of it are what get exported.
“At the very end let’s back up one; you go to file, export frame, and then I’m going to save this one as frame one.”
The menu entry is File → Export Frame... (Ctrl+Shift+E). Park one frame back from the end of clip one, export it as frame1, then park on the first frame of clip two and export frame2. The save dialog’s Save as type reads PNG (*.png) both times.
“Now that we have the two frame captures we need to open them in Photoshop.”
Both stills open as separate documents. From here until 10:07 everything happens in Photoshop — Shotcut is not touched again until the finished picture exists.
“I’m going to show you the size of this, which is 1920 by 1080.”
The Image Size dialog reports Image Size: 5.93M, Dimensions: 1920 px × 1080 px, Fit To: Original Size, Resolution: 96 Pixels/Inch, Resample: Automatic. This number is checked for one reason: the canvas is about to be doubled to twice this width.
“So what we’re going to need to do is go to image, canvas size, change the width to 3840 with respect to the left.”
Read off the panel at 6:10: Current Size: 5.93M at 1920 × 1080 Pixels, New Size: 11.9M with Width set to 3840 Pixels and Height left at 1080 Pixels. Relative is unchecked and the Anchor grid is clicked on the middle-left cell, so the whole 1920 pixels of new canvas open on the right.
“I’m going to choose the second layer, which is consisted of frame 2, and I’m going to drag that over all the way to cover up the gap.”
The transparent chequerboard is the new canvas. Frame 2 was pasted in as its own layer earlier; dragging it right fills the gap and leaves the two stills sitting side by side across a 3840 × 1080 canvas.
“I’m going to go over to the ruler and I’m going to click and drag a guide just to indicate where the halfway point of this image is.”
Two guides get pulled off the ruler: one on the seam at the halfway point, one a little to its left marking the strip of frame 1 that is about to be stretched. Both are reference only — they do not survive into the saved file.
“Frame 1 is actually on layer 0 and frame 2 is on layer 1, but I actually want this one to be on top.”
The Layers panel shows Layer 0 and Layer 1 at Normal blend, Opacity: 100%, Fill: 100%. Layer 0 (frame 1) is dragged to the top so its edge is the one that blends over frame 2 rather than the other way round.
“While that’s highlighted I’m going to go to edit, transform, scale.”
The tool is named on screen by the Edit menu itself, whose first entry reads Undo Rectangular Marquee. A band along frame 1’s right edge is marqueed, then Edit → Transform → Scale drags that band outward. It smears those pixels sideways — the streak that reads as speed.
“While I have frame 1 selected I’m also going to click here to add a layer mask.”
The mask button at the foot of the Layers panel adds a white mask to Layer 0. The document tab confirms it: frame1.png @ 50% (Layer 0, Layer Mask/8). Nothing changes on screen yet — a white mask hides nothing.
“I’m going to go to this selection here, which is the gradient tool, and then I’m going to choose the very edge of this — I’m going to hold shift and then left click all the way to that halfway mark, which creates a gradation.”
Options bar, read left to right: the Black, White preset, Linear Gradient, Mode: Normal, Opacity: 100%, Reverse off, Dither on, Transparency on. Shift held down keeps the drag horizontal. On the mask, black hides and white shows, so frame 1 fades out across the seam instead of ending on a hard edge.
“I’m then going to flatten this image and file, save as, and I’m going to call this one frame combined.”
The dialog is filled in as File name: frame-combined with Save as type: PNG (*.PNG;*.PNS), and the document tab afterwards reads frame-combined.png. The file that turns up in the Shotcut playlist a minute later, however, is frame-combined.jpg — both spellings are on screen in this video, and this page reports what each one shows rather than picking one.
“I took the liberty of dragging the image that we just created on Photoshop, called frame combined, into the playlist.”
The Playlist now holds three items: video.mp4, Pexels Videos 1123272.mp4 and frame-combined.jpg at 00:00:01:20. A second video track is added and the image goes on it, stacked above the footage. The preview shows black bars top and bottom — the canvas is twice as wide but the same height.
“What used to be rotate and scale is now called size, position and rotate.”
Typing rot into the Filters search box returns a single video filter, Size, Position & Rotate. That one filter does the whole pan — no transition object is used anywhere in this build.
“What we need it to do is we need it to scale this to 200 percent.”
The filter panel reads Size 3840 x 1080, Zoom 200.0 %, Size mode: Fill, Horizontal fit: Center, Vertical fit: Middle, Rotation 0.0 °. At 200 % the double-width picture fills the frame vertically, which is what removes the black bars; only half of it is visible at any moment, and that is the point.
“Obviously you notice it snaps to the very end of the previous clip here, but what I’m going to do is actually go back one frame and then snap it to that one.”
The image clip is shortened on V2 and dropped over the join. It has to sit one frame earlier than the default snap: the very last frame of clip one is black, and snapping flush would put that black frame under the pan. The clip length is counted out by eye along the timeline rather than typed into any field, so no duration readout for it appears on screen.
“So what I’m going to need to do is I’m going to need to go and click the keyframe icon here. It’s super tiny, so let’s magnify that right there so you can see it.”
The stopwatch button beside Position switches the parameter to keyframed and lights up blue. With the playhead on the first frame of the image clip, Position is set to 0, 0 — the left half of the picture, which is the tail of clip one.
“We need to zero this out just so it covers that, and then this one is negative 1920.”
Playhead to the last frame, then Position typed as −1920 and 0. A negative X of exactly one frame width slides the picture left by its own half, so the right half — the head of clip two — is what ends up on screen. Size stays 3840 x 1080 and Zoom stays 200.0 % at both keyframes.
“We then move back one frame by clicking the left arrow key and then dragging this one here and then snapping it there.”
The left arrow key steps the playhead back exactly one frame; the clip is then dragged until it snaps to that position. Played back, the picture scrolls left to right across the join and the two shots read as one continuous whip.
“I actually happen to think that this transition is a little too long, so rather than 12 I’d actually want it to go six.”
Cutting the image clip in half and discarding the offcut leaves the two keyframes at their old times, so the pan no longer finishes inside the clip. This is the failure worth knowing about: keyframe positions are absolute, and trimming a clip does not move them.
“Now what we need to do is we need to go back to the keyframes and fix it.”
The Keyframes panel is opened from the tab beside Timeline. It shows the clip with a Size, Position & Rotate row and a Size & Position keyframe track carrying two nodes. The first goes back to 0, 0 and the last to −1920, 0 — same numbers, new times. The pan now runs twice as fast.
“Shotcut doesn’t actually have a motion blur filter, but what it does have is this — this one is called trails.”
The clip now carries two video filters, both ticked: Size, Position & Rotate and Trails, in that order. Trails holds each frame briefly under the next one, which is not motion blur but reads like it at speed.
“I happen to like four frames, and so what it does is it creates kind of an after image that somewhat replicates motion blur.”
The filter has one control. The panel reads Amount 4 frames. Step into the middle of the transition and the ghosted after-image is visible on the still frame; at full speed it just softens the pan.
“File, export video — it’s 1920 by 1080. I usually like to default at 75 when I’m loading something on YouTube.”
Export panel, From: Timeline, Format: mp4. The Video tab reads Resolution 1920 x 1080, Aspect ratio 16 : 9, Frames/sec 23.976024, Scan mode Progressive. The Codec tab opens on Quality 55 % (crf=23) and is raised to 75 % (crf=13) before Export File is pressed.
“And that’s it. So once again, thank you for watching the video all the way to the end.”
Rendered out and played back, the join between the pool clip and the underwater clip is a single sideways smear that lasts a quarter of a second. No interface on screen here — just the result and the channel outro.
Steps one to three and ten to twelve are in Shotcut. Steps four to nine are in Photoshop. Every value below was read off the screen in the video; where a number was never shown, this page says so instead of supplying a plausible one.
Drag both source clips onto V1 and butt them together. In the video these are video.mp4 and Pexels Videos 1123272.mp4, running 00:00:05:10 and 00:00:05:19.
Where the cut falls is not important. What matters is that both clips are on the timeline before you export anything, because the two stills you are about to make come out of the timeline, not out of the source files.
Put the playhead on the very end of clip one, then press the left arrow once. The final frame of a clip is often black; one frame back is the last frame with a picture in it.
File → Export Frame... (Ctrl+Shift+E), name it frame1, leave Save as type on PNG (*.png).
Skipping the one-frame step back is the single most common way to end up with a black flash in the middle of the finished transition.
Move the playhead to the first frame of clip two and repeat exactly the same export, named frame2.
You now have two PNG stills, each 1920 × 1080, that represent the two sides of the cut.
Open both stills in Photoshop. With frame1.png in front, open Image → Image Size.
The dialog reads 5.93M, 1920 px × 1080 px, 96 Pixels/Inch, Resample: Automatic. Note the width — the next step needs double it.
On frame2.png, Select All and copy, then paste onto the frame1.png document. You now have two layers, Layer 0 and Layer 1, stacked on a canvas that is still only one frame wide.
Open Image → Canvas Size. Set Width to 3840 Pixels and leave Height at 1080 Pixels. Leave Relative unchecked. Click the middle-left cell of the Anchor grid, so the new space opens entirely on the right.
Anchoring centre instead of left would split the new space either side of the picture and neither half would line up with the seam.
Select the layer holding frame 2 and drag it right until it fills the transparent half. The two stills now sit side by side across the full 3840 pixels.
Pull a guide off the ruler onto the halfway point, and a second one a little to its left. The first marks the seam; the second marks the strip of frame 1 you are about to stretch.
In the Layers panel, drag frame 1 above frame 2 so its edge is the one doing the blending.
With the Rectangular Marquee tool, select the band between your two guides, then Edit → Transform → Scale and pull the right handle outward. The selected pixels smear sideways — that streak is the speed cue.
Deselect, keep frame 1 selected, and click the Add layer mask button at the foot of the Layers panel. The tab title becomes frame1.png @ 50% (Layer 0, Layer Mask/8).
Take the Gradient Tool with the Black, White preset and Linear Gradient type, Mode: Normal, Opacity: 100%. Hold Shift and drag from the outer edge of the stretched band to the midpoint guide. Black hides, white shows, so frame 1 dissolves into frame 2 rather than butting against it.
Layer → Flatten Image, then File → Save As and name it frame-combined.
On screen the dialog shows Save as type: PNG (*.PNG;*.PNS) and the document tab afterwards reads frame-combined.png. The file later loaded into Shotcut is named frame-combined.jpg. Either format works — Shotcut reads both — but the two spellings do not match each other in the video.
This is the only file that crosses between the two applications. Once it is written you can close Photoshop entirely.
Add the image to the Playlist, add a second video track, and drop the image onto V2 so it sits above the footage.
The preview will show black bars top and bottom. That is correct at this stage — the canvas is twice as wide as the project but the same height, so it letterboxes itself.
Select the image clip, open Filters, search rot and add Size, Position & Rotate. Set Zoom to 200.0 %; Size reads 3840 x 1080, with Size mode: Fill, Horizontal fit: Center, Vertical fit: Middle, Rotation 0.0 °. The bars disappear.
Trim the clip short and snap it one frame before the end of clip one. Then click the stopwatch beside Position to turn keyframes on. On the first frame set Position to 0, 0; on the last frame set it to −1920, 0. That is the entire pan.
If you shorten the clip afterwards the keyframes stay where they were and the pan stops finishing on time. Re-open the Keyframes panel and set both positions again on the new clip length.
Shotcut has no motion blur filter. Add Trails to the same clip, after Size, Position & Rotate, and set Amount to 4 frames. It leaves a short after-image behind the moving picture, which at speed reads as blur.
File → Export Video with From: Timeline and Format: mp4. The Video tab carries the project settings — 1920 x 1080, 16 : 9, 23.976024 fps, Progressive. On the Codec tab, libx264 with Quality-based VBR; raise Quality from the default 55 % (crf=23) to 75 % (crf=13) for YouTube.
Read directly off the frames of the video. The two applications are kept in separate tables so it is always obvious which one a value belongs to.
| Setting | Value | Where it lives |
|---|---|---|
| Shotcut version | 20.09.13 | Help → About Shotcut |
| Source clip 1 | video.mp4 · 00:00:05:10 | Playlist |
| Source clip 2 | Pexels Videos 1123272.mp4 · 00:00:05:19 | Playlist |
| Exported still 1 | frame1 · PNG (*.png) | File → Export Frame... |
| Exported still 2 | frame2 · PNG (*.png) | File → Export Frame... |
| Transition image in Shotcut | frame-combined.jpg · 00:00:01:20 | Playlist |
| Track stack | V2 image / V1 both source clips | Timeline |
| Filter 1 | Size, Position & Rotate | Image clip on V2 |
| Size | 3840 x 1080 | Size, Position & Rotate |
| Zoom | 200.0 % | Size, Position & Rotate |
| Size mode | Fill | Size, Position & Rotate |
| Horizontal fit / Vertical fit | Center / Middle | Size, Position & Rotate |
| Rotation | 0.0 ° | Size, Position & Rotate |
| Filter 2 | Trails | Same clip, stacked after the first |
| Amount | 4 frames | Trails |
| Playhead | Position | Size | Zoom |
|---|---|---|---|
| First frame of the image clip | 0, 0 | 3840 x 1080 | 200.0 % |
| Last frame of the image clip | −1920, 0 | 3840 x 1080 | 200.0 % |
Both keyframes live on the one Size, Position & Rotate filter. Trimming the clip afterwards leaves them where they were, which is exactly the fault shown at 16:00 and repaired at 16:40.
| Setting | Value | Where it lives |
|---|---|---|
| Image Size | 1920 px × 1080 px · 5.93M | Image → Image Size |
| Resolution | 96 Pixels/Inch | Image → Image Size |
| Resample | Automatic | Image → Image Size |
| Canvas Size Width | 3840 Pixels | Image → Canvas Size |
| Canvas Size Height | 1080 Pixels | Image → Canvas Size |
| Relative | Unchecked | Image → Canvas Size |
| Anchor | Middle-left cell | Image → Canvas Size |
| New file size | 5.93M → 11.9M | Image → Canvas Size |
| Layers | Layer 0 (frame 1, on top) / Layer 1 (frame 2) | Layers panel |
| Blend / Opacity / Fill | Normal / 100% / 100% | Layers panel |
| Selection tool | Rectangular Marquee | Named by Edit → Undo Rectangular Marquee |
| Stretch command | Edit → Transform → Scale | Edit menu |
| Mask | Layer mask on Layer 0 | Tab reads frame1.png @ 50% (Layer 0, Layer Mask/8) |
| Gradient Tool preset | Black, White | Options bar |
| Gradient type | Linear Gradient | Options bar |
| Mode / Opacity | Normal / 100% | Options bar |
| Reverse / Dither / Transparency | Off / On / On | Options bar |
| Saved file | frame-combined · PNG (*.PNG;*.PNS) | File → Save As |
| Photoshop version | Never shown on screen | — |
Two file names appear for the same picture. Photoshop writes frame-combined.png — the Save As dialog reads PNG (*.PNG;*.PNS) and the document tab afterwards reads frame-combined.png. The item that appears in the Shotcut playlist is frame-combined.jpg. Both are on screen in the video and this page reports each as shown rather than reconciling them.
| Setting | Value | Where it lives |
|---|---|---|
| From | Timeline | Export panel |
| Format | mp4 | Export panel |
| Resolution | 1920 x 1080 | Export → Video |
| Aspect ratio | 16 : 9 | Export → Video |
| Frames/sec | 23.976024 | Export → Video |
| Scan mode | Progressive | Export → Video |
| Deinterlacer | YADIF - temporal + spatial | Export → Video |
| Interpolation | Bilinear (good) | Export → Video |
| Codec | libx264 | Export → Codec |
| Rate control | Quality-based VBR | Export → Codec |
| Quality, default | 55 % (crf=23) | Export → Codec |
| Quality, used | 75 % (crf=13) | Export → Codec |
| GOP | 120 frames | Export → Codec |
| B frames | 3 | Export → Codec |
| Codec threads | 0 (0 = auto) | Export → Codec |
The transition length is the one number this page cannot give you off a panel. It is counted out by eye along the timeline — twelve frames first, then halved — and no duration field for the trimmed clip is ever on screen. The project runs at 23.976024 fps, so “half of twenty-four” is a round number rather than an exact one.
Machine transcribed from the video audio. Spoken phrasing is left as-is; only the product names the transcriber mangled have been corrected. Every timestamp plays the video in the hero from that second.
Welcome back to my channel. In this tutorial I will show you my version of the
whip pan transition using Shotcut. 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. Right off the bat I want to let you
know that I will be using an external photo editing program which is Photoshop
but even if you don’t have Photoshop you should be able to execute the
same technique using other free photo editing programs like GIMP. There’s also
another version of the whip pan transition without the need of a graphics
editor done by a fellow Shotcut forum member by the name of John Ray. I will
include the link to his version in the comment section of this video.
Finally don’t forget to hit the subscribe button for more tutorials and
answers to your Shotcut questions so now that we got that out of the way
let’s begin the tutorial. In this tutorial I’m running the latest version of
Shotcut which is Shotcut version 20.09.13. Okay so in order to
accomplish this whip pan transition I’m going to need two videos so I’m going
to start from one video whip pan transition to another video. So the
first video is going to be this one
and then I’m going to whip pan transition into the second one. Okay so first
step of course let’s get all our ingredients in the timeline so here’s
the first video I’m dragging it into the timeline I’m also going to drag the
second video into timeline kind of separate it a little bit I’m going to
mute it because we don’t really need that. Really it’s this one and then it’s
going to go right into this one. I’m not even going to worry about where I’m
going to cut it for this example doesn’t really matter so I’m just going
to keep them together like this and without a transition it just looks
like that.
Right and so what we want it to look like is it’s kind of transporting from one
video to the other using some sort of kind of panning panning and motion blur
type imagery. So for this example let me magnify it a little bit here I’m going
to go to the very end let me separate this a little bit I’m going to go to the
very end of this first clip you’re not seeing anything on the screen right now
but what I’m going to do is I’m going to go to that piece right there so what
I’m going to do is go to the very end of the first clip here let’s back
that up by one frame and what I’m going to do is I’m going to screenshot this
image here so that I can export it into my photo editing program which is Photoshop
and then I’m going to go into this the beginning of the second clip and I’m
also going to screenshot this one here so here’s how you do it so at the
very end let’s back up one you go to file export frame and then I’m going to save
this one as frame one and then I’m going to go into the second one here and I’m
going to go file export frame and save this one as frame two and that’s it so the
next part of this is going to be a tutorial a quick tutorial on Photoshop on
how to then merge these two images so that we can use it as a transition
okay now that we have the two frame captures we need to open them in
Photoshop so let’s first open the first frame that we that we captured and I’m
going to show you the size of this which is 1920 by 1080 and what we’re going to
need to do is we’re going to need to open the second one frame two which is
this one but what I’m going to do is I’m going to select it all and copy it
and I’m going to paste it over this first one right so the reason why I looked at the
image size is because we’re going to need to double 1920 so 1920 times 2 is 3840 so
what we’re gonna need to do is go to image canvas size change the width to 3840 with
respect to the left because I want I want the gaps to show on the right side and I’m
going to show you why okay so now we have a canvas of 3840 and I’m going to choose the
second layer which is consisted of frame 2 and I’m going to drag that over all the
way to cover up the gap and so now we have frame 1 and frame 2
laid on the canvas side by side now I’m going to go over to the ruler and I’m
going to click and drag a guide just to indicate where the halfway point of this
image is I’m also going to drag another guide and kind of highlight maybe this
area here and we’ll show you why so this area here what I’m going to do is I’m going
to stretch this into the second image I’m actually going to drag if you can see
here frame 1 is actually on layer 0 and frame 2 is on layer 1 and but I
actually want this one to be on top so I want frame 1 to be on top so I’m
going to drag it over so now frame 1 is on top again I’m going to go into the
selection tool here click that and then I’m going to highlight this area here
while that’s highlighted I’m going to go to edit transform scale and I’m going
to grab this handle over here I’m going to shrink this so you can see maybe up to
there and so pretty much all it did is stretch the pixels okay not that I have
that unselected I remember that this guideline here is my midpoint so while
I have frame 1 selected I’m also going to click here to add a layer mask and then
I’m going to go to this selection here which is the gradient tool and then I’m
going to choose the very edge of this see here I’m going to hold shift and
then left click all the way to that halfway mark which creates a gradation
and that’s it I’m then going to flatten this image and file save as and I’m
going to call this one frame combined save
until that thing saves and that’s basically the extent of all you need to do
on Photoshop so let’s go back to Shotcut okay so now we’re back to Shotcut
and I took the liberty of dragging the image that we just created on Photoshop
called frame combine dot jpeg into the playlist and so what I’m going to do is
I’m going to add a new video track just so we can stack it on top of the
course you see the little black bars above and below that’s because we doubled
the width but we kept the same height so what we would need to do is we would
need to go to the filters select filter what we’re looking for is what used to
be rotate and scale is now called size position and rotate okay and what we
need it to do is we need it to scale this to 200 percent
on the bottom should be 60 but what we need to do is we need to drag this all the
way to to the very left edge here right there and so this should actually be 0
and 0 and we unselect it so you see and let’s resize this because right now
it’s at the default length so just for this example what I’m going to do is
I want it to last half a second which if you’re recording at 24 frames per second
half of 24 is 12 so what we’re going to do is count 1 2 3 4 5 6 7 8 9 10 11 12
all right and I’m going to shorten that
just like so
let me zoom into this so you see what I’m doing so
obviously you notice it snaps to the very end of the previous clip here but what
I’m going to do is actually go back one frame and then snap it to that one and
this is why because as you remember if we go to the very end it’s black so we
want the last frame to show up and so we’re going to drag it and snap it there
so at this point if we play this video this is what this thing looks like
that’s it it’ll just pause right at that at that frame see move to the next frame that’s it
that’s all it’s going to do
what I want this to do is I want it to scroll
from this all the way to the right edge and so thankfully you execute this using the
same existing filter that we already have loaded which is size position and rotate
so what I’m going to need to do is I’m going to need to go and click the key frame icon here
it’s super tiny so let’s magnify that right there so you can see it
so right now it’s key frame to the to the left edge and what we need to do is as it makes it
all the way to the very end
we then need to move it all the way
to the right edge
we need to zero this out just so it covers that and then this one is negative 1920
and so what that does is this
so it then slowly moves the image from left to right
and that’s where the pan occurs right and then once it gets to the very end
we then move back one frame by clicking the left arrow key and then dragging this one here
and then snapping it there and so essentially this is what the transition looks like
so right now it’s pretty seamless
and so if you remember this is 12 frames long and if you want it to transition even faster what you
can do is you can cut it even shorter and so I actually happen to think that this transition
is a little too long so rather than 12 I’d actually want it to go six so I want to
cut that in half so I’m going to go one two three four five six
cut that in half and then discard this other part and then I go back one frame grab this one
and snap but now because I cut it in half it kind of threw the key frames out of whack so now
what we need to do is we need to go back to the key frames and fix it and so I’m going to go
into the key frame tab here just like how it was before the beginning position is zero and zero
but at the very end position let’s go to the end here we need to then move it over
to the very end like that let’s zero this thing out there and then this
needs to be negative 1920 so that it’s right at the very edge and so now this is going to be
twice as fast and this is what the transition is going to look like much faster
and so I want it faster because I want to trick the eye I don’t I don’t want to show any seams
whatsoever and I want the transition to show as little as possible because this really isn’t
a main part of this video I want them to focus on clip one and clip two the transition’s just
a way to transition from one clip to the other so right off the bat this is this looks good
it’s pretty seamless but along with this I also want to add that pizzazz that motion blur look
and so as you may already know
Shotcut doesn’t actually have a motion blur filter but what it does have is this
so you go into filters and this one is called trails
and I happen to like four frames and so what it does is it creates kind of a
an after image that somewhat replicates motion blur
so you don’t you don’t see it here but when you go into this frame here you notice
there’s somewhat of an after image
look at that out of the way there after image and it tricks the eye making it think that
it’s a motion blur and so let’s look at the transition now so it’s very subtle but
it’s just one more layer of sophistication that makes this thing a little more professional looking
and so really that is your whip pan transition and that’s how I do it and so
so let’s export this
file export video it’s 1920 by 1080
I usually like to default at 75 when I’m loading something on YouTube so let’s export the file
all done and so here is your whip pan transition
and that’s it so once again thank you for watching the video all the way to the end
and once again if you could do me a favor please subscribe it helps me out a lot I’m actually halfway
to the 1,000 subscribers I’m nearly at 500 subscribers so as you may already know I’m trying
to hit the 1,000 just so I can monetize this channel so by subscribing you’re really helping me out so
if you can do so if you haven’t yet I will totally appreciate it so thank you
