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June 8, at AM. June 8, at PM. Shawn says:. Often the difference clip is simply a frame of background footage before the moving object has entered the scene. For this reason, the Difference Matte effect is best used for scenes that have been shot with a stationary camera and an unmoving background. Original image B. Background image C. Image on second track D. Final composite image. The Difference Matte creates transparency by comparing a specified still image with a specified clip and then eliminating areas in the clip that match those in the image.
This key can be used to create special effects. You can create the matte by saving a frame from a clip that shows the static background before the moving object enters the scene. For best results, neither the camera nor anything in the background should move.
Difference Layer. If Layer Sizes Differ. Matching Tolerance. Matching Softness. Blur Before Difference. A new keyframe appears in the Effect Controls timeline when you change the settings. You can also adjust the interpolation between keyframes by editing the keyframe graph. Repeat this step as needed. The transparent areas reveal the image produced by clips in lower tracks.
You can specify any still image clip in the project to serve as the matte; it does not have to be in the sequence. To use a moving image as the matte, use the Track Matte Key effect instead.
To get the most predictable results, choose a grayscale image for your image matte, unless you want to alter colors in the clip. Any color in the image matte removes the same level of color from the clip you are keying. The Non Red Key effect creates transparency from green or blue backgrounds. This key is similar to the Blue Screen Key effect, but it also lets you blend two clips. In addition, the Non Red Key effect helps reduce fringing around the edges of nontransparent objects. Sets the levels of blue or green that determine transparent areas in the clip.
Dragging the Threshold slider to the left increases the amount of transparency. Use the Mask Only option to view the black transparent areas as you move the Threshold slider. Sets the opacity of nontransparent areas specified by the Threshold slider. Higher values increase transparency. Drag to the right until the opaque area reaches a satisfactory level.
Removes residual green or blue screen color from the edges of the opaque areas of a clip. Choose None to disable defringing. Choose Green or Blue to remove a residual edge from green-screen or blue-screen footage, respectively. Specifies the amount of anti-aliasing softening that Premiere Pro applies to the boundary between transparent and opaque regions. Choose None to produce sharp edges, with no anti-aliasing.
This option is useful when you want to preserve sharp lines, such as those in titles. Choose Low or High to produce different amounts of smoothing. Black represents transparent areas, white represents opaque areas, and gray represents partially transparent areas.
The Remove Matte effect removes color fringes from clips that are premultiplied with a color. It is useful when combining alpha channels with fill textures from separate files. If you import footage with a premultiplied alpha channel, or if you create alpha channels with After Effects, you may need to remove halos from an image.
Halos are caused by a large contrast between the image's color and the background, or matte, color. Removing or changing the color of the matte can remove the halos. Use Background Color to specify the new background color when you want to change the color of a matte. A new keyframe appears in the Effect Controls timeline when you move the handles in the Program Monitor or change the settings in the Effect Controls panel. Insert the still image into another sequence, and superimpose the sequence containing the still image over the track containing the background clip.
If you need to add a new track to the sequence, drag the track matte clip to the empty area above the highest video track in a Timeline panel. A new track is created automatically. To retain the original colors in the superimposed clip, use a grayscale image for the matte. Any color in the matte removes the same level of color from the superimposed clip.
Use the Title panel to create text or shapes grayscale only , save the title, and then import the file as your matte. The Track Matte Key effect creates transparent areas in a clip that correspond to the luminance levels of another clip.
Transparent areas reveal the image produced by clips in lower tracks. You can use the Track Matte Key effect to blur and obscure faces, license plate numbers, or other identifying features. Television programs use this effect to protect the identities of their subjects. The Basic 3D effect manipulates a clip in 3D space. You can rotate an image around horizontal and vertical axes and move it toward or away from you. With Basic 3D, you can also create a specular highlight to give the appearance of light reflecting off a rotated surface.
The light source for the specular highlight is always above, behind, and to the left of the viewer. Because the light comes from above, the image must be tilted backward to see this reflection. Specular highlights can enhance the realism of the 3D appearance. The Drop Shadow effect adds a shadow that appears behind the clip. The Alpha Glow effect adds color around the edges of a masked alpha channel. You can have a single color either fade out or change to a second color as it moves away from the edge.
The Brush Strokes effect applies a rough painted look to an image. You can also use this effect to achieve a pointillist style by setting the length of the brush strokes to 0 and increasing the stroke density. Although you specify the direction of strokes, they are scattered randomly by a small amount to give a more natural result.
The Emboss effect sharpens the edges of objects in the image and suppresses colors. The effect also highlights the edges from a specified angle. The Find Edges effect identifies the areas of the image that have significant transitions and emphasizes the edges. Edges can appear as dark lines against a white background or colored lines against a black background.
If the Find Edges effect is applied, images often look like sketches or photographic negatives of the original. The Mosaic effect fills a clip with solid-color rectangles, pixelating the original image. This effect is useful for simulating low-resolution displays and for obscuring faces. You can also animate it for a transition. The Posterize effect lets you specify the number of tonal levels or brightness values for each channel in an image.
The Posterize effect then maps pixels to the closest matching level. For example, choosing two tonal levels in an RGB image gives you two tones for red, two tones for green, and two tones for blue. Values range from 2 to The Replicate effect divides the screen into tiles and displays the whole image in each tile. Set the number of tiles per column and row by dragging the slider. It gives rasterized text or graphics a naturally rough look, like that of eroded metal or typewriter text.
The Strobe Light effect performs an arithmetic operation on a clip or makes the clip transparent at periodic or random intervals.
The Echo effect combines frames from different times in a clip. The Echo effect has a variety of uses, from a simple visual echo to streaking and smearing effects. The results of this effect are visible only if the clip contains motion. By default, any previously applied effects are ignored when you apply the Echo effect. The Posterize Time effect locks a clip to a specific frame rate. Posterize Time is useful on its own as a special effect, but it also has more subtle uses.
For example, field video footage can be locked to 24 fps and then field rendered at 60 fields per second to give a filmlike look. This effect is sometimes called Strobe in hardware devices. Animating the value of the Frame Rate slider can give unpredictable results.
For this reason, the only interpolation method allowed for the frame rate is Hold. The Edge Feather effect lets you vignette the video in a clip by creating a soft black border on all four sides. The border width is controlled by entering an Amount value. The Horizontal Flip effect reverses each frame in a clip from left to right; however, the clip still plays in a forward direction.
The Block Dissolve effect makes a clip disappear in random blocks. The width and height of the blocks, in pixels, can be set independently.
The Gradient Wipe effect causes pixels in the clip to become transparent based on the luminance values of corresponding pixels in another video track, called the gradient layer. Dark pixels in the gradient layer cause the corresponding pixels to become transparent at a lower Transition Completion value. For example, a simple grayscale gradient layer that goes from black on the left to white on the right causes the underlying clip to be revealed from left to right as Transition Completion increases.
The gradient layer can be a still image or a moving image. The gradient layer must be in the same sequence as the clip to which you apply Gradient Wipe. You can create gradient layers in many ways, such as using the Ramp effect or creating them in Photoshop or Illustrator. The Cineon Converter effect provides a high degree of control over color conversions of Cineon frames.
To use the Cineon Converter effect, import a Cineon file and add the clip to a sequence. You can then apply the Cineon Converter effect to the clip and precisely adjust the colors while interactively viewing the results in the Program monitor. Set keyframes to adjust for changes in tone over time—use keyframe interpolation and ease handles to precisely match the most irregular lighting changes, or leave the file in its default state and use the converter.
The 10 bits of data available in each Cineon channel for each pixel make it easier to enhance an important range of tones while preserving overall tonal balance. By carefully specifying the range, you can create a version of the image that faithfully resembles the original. SDR conform is also available in the Effects tab of the Export settings.
Additive Dissolve adds the color information from clip B to clip A, and then subtracts the color information of clip A from clip B. Cross dissolve can also work well at the beginning or end of a clip when you want to fade in or out from black. The cross dissolve transition may work better for this. Dither Dissolve fades clip A to clip B using a dithering algorithm. You can specify any of the following options:.
The Film Dissolve transition blends in a more realistic way; basically, dissolves look the way that they should. Legal Notices Online Privacy Policy. Buy now. Video effects and transitions in Premiere Pro Search. Navigate through the different effects documented on this page using:. Adjust effects. Lighting Effects. Blur and Sharpen effects. Camera Blur effect Windows only. Directional Blur effect.
The Directional Blur effect gives a clip the illusion of motion. Gaussian Blur effect. Reduce Interlace Flicker. Original left , and with effect applied right. Channel effects. Invert video effect. The Invert video effect inverts the color information of an image. Color Correction effects. Distort effects. Corner Pin effect. Lens Distortion effect. The Lens Distortion effect simulates a distorted lens through which the clip is viewed. Magnify effect. Mirror effect. The Mirror effect splits the image along a line and reflects one side onto the other.
Spherize effect. The Spherize effect distorts a layer by wrapping a region of the image onto a sphere. Transform effect. Turbulent Displace effect. Twirl effect. Wave Warp effect. Offset effect. Generate effects. Lens Flare effect. Lightning effect. Ramp effect. Image Control effects. Color Pass effect. Color Replace effect. Gamma Correction effect. Keying effects. Alpha Adjust effect. Color Key effect. Luma Key effect. Track Matte Key effect.
Chromakey with the Ultra Key effect. Apply Ultra Key to a clip or clips. In the Timeline, place the current-time indicator over a frame containing a key color. In the Effect Controls panel, select the desired options from the Output and Setting menus.
Do one of the following:. Click the Color Picker box to open the Color Picker. Then select a key color and click OK. Click the Eye Dropper, and select a key color. Set the other parameters as desired. Ultra Key effect parameters. Matte Generation. Matte Cleanup. Mid Point. Spill Suppression. Color Correction. Controls the hue.
Difference Matte effect. Replace a static background with Difference Matte. The following Difference Matte settings are adjusted in the Effect Controls panel:. Specifies the track to be used as the matte. Specifies whether to center the foreground image or stretch it to fit. Specifies the degree to which the matte must match the foreground in order to be keyed.
Specifies the degree of softness at the edges of the matte. Specifies the degree of blur added to the matte. Find a frame of your foreground clip that consists only of the static background. You will use this frame as a matte. Save this frame as an image file. It will appear in the Project panel. Drag the matte frame from the Project panel to a video track in a Timeline panel. Drag the clip you want to use as the background to a track in a Timeline panel above the matte frame.
Place the video clip you wish to use in the foreground on a track in a Timeline panel above the background clip. Click the Toggle Animation icons for the settings you adjust. In the Effects panel, expand the Video Effects bin and then the Keying bin. Drag the Difference Matte effect onto the foreground video clip.
In the Effect Controls panel, click the triangle next to Difference Matte to expose its controls. From the Difference Layer drop-down menu, select the track that contains the matte frame. Adjust the other settings as needed to achieve the desired effect.
Image Matte Key effect.
