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Adobe Premiere Pro CS5.5 is primarily a nonlinear editing system designed for fast cutting of multiple media types, but it is also an advanced special effects and compositing tool. In this course, master editor Maxim Jago describes the tools and options available to create complex compositions using just Premiere Pro, without involving After Effects or Photoshop. Learn how to adjust opacity, use garbage mattes and track mattes, and create nested sequences, as well as how to work with chroma keys, luma keys, and the Ultra Keyer. Maxim shares all the techniques necessary to layer multiple media elements and produce advanced sequences as compositions.
Making adjustments to the opacity for a clip using the Effect Controls panel is very, very straightforward. I have a clip here that already has a key on it so you can see that this had a green background and I've taken that out using the old trick here. But I'd quite like it to fade up at the beginning, just before this guy starts speaking. So, if I zoom out of it you see what's going on in this clip I'll just play a section of this. > > Hey, I'm Hayden and my (INAUDIBLE) > > Okay, so he's introducing things in the summer and there's a little bit of pause at the beginning I think it would be nice if that faded up from invisibility.
Probably the easiest way to use key frames for this is to start by setting a key frame where you want things to be set where they are already. So if I expand my opacitic controls in the Effect Controls panel here, you can see I've got my a paste set by default and I don't need the blend mood right now. But looking down at the wave form on the timeline if I just zoom in a little bit using the plus and minus keys at the top of my keyboard here. I reckon if we're, if we're fully visible by just the very first part of his speech I think that will do. And we can just set a key frame for this by using the Add or Remove key frame button in the Effect Controls panel.
I'm setting a key frame here first rather than at the beginning of the clip because the settings are already correct. I want things to stay this way as we go forwards into the clip. And all I need to do to set an opening key frame so that this starts invisible and I'll have the clouds visible in the background is to just set my play head at the very beginning of the clip and then add another key frame. In fact, I don't even need to add it, because once you turn key frames on with the Premier Pro key frame engine, all new key frames are added automatically when you make an adjustment.
But still, no harm having it there and I can just click and drag the opacity down to zero. So now if I press the spacebar to play > > Hi, I'm here > > We've got our speaker coming up from absolutely nowhere in front of our clouds. If I expand the opasity controls in the Effect Controls panel here. And I'll just maybe move things over a bit so we can see what's going on a bit better. I can resize the join between the controls and the mini time line here.
And I think I'll do that just a little bit. And we can see there's a nice Indication of totally transparent at the bottom of this opacity control and fully visible at the top. I'm going to use the navigator at the top here to expand this a little bit, so we can see a little more clearly. And there's our rubber banding if you like. It's pretty easy for me to click and drag on the key frames that are here already. And because of the way the Effect Controls panel works, I can't move these temporally.
I can't move them earlier or later. I can only move them up or down by clicking in this way. If I click on the temporal key frame at the top here, I can make an adjustment in time, but I can't change the setting. So by choosing whether you're clicking on this key frame marker at the top here, which is the time key frame, or the one underneath it which is the setting, you can be locked into one or the other. I, I think this is a really big deal. I know it may seem like a minor feature, but when it's two o'clock in the morning and you're in a hurry trying to make an adjustment to an effect.
It can be quite easy to accidentally make adjustments to parts of the settings that you don't want to by locking down the functionality and giving you two different kinds of key frame in the Effect Controls panel. Adobe has made it a little bit easier to avoid those mistakes. And again, you can see I've already made a little bit of a mistake here, because I've moved my key frame earlier in time. And I can't very easily see where it should have been because I only get the wave form display inside the timeline. I'm going to need to line up my play head again and then I can line up the key frame with it. So you don't get such a clear indication inside the Effect Controls panels you get it very clearly on the timeline.
If I want to have this guy fade down again towards the end I can just check where I want that to be. (audio playing) Let's have a look. > > Connor and I'll be showing you some things we like to do when it's summer time. > > Now what I'm thinking is maybe as he says summer time we'll fade out again, just so that we can see a bit more of the sky and maybe we'll introduce an extra element. So again, I'll add a key frame for the end of the section that I want to stay as it is. And then maybe I'll move on a little bit and I'll adjust my opacity down to zero. And so you can see again because the key framing is already turned on for this effect, an extra key frame is added automatically when I change the settings. Didn't want to change the settings for the first key frame I just applied because I wanted it to stay at 100%.
So let's just take a little look at this from the start. > > Hey, I'm Hayden and my brother, Conner, and I will be showing you some things that we like to do when it's summertime. > > Okay, slightly weird transition in terms of timing, but I think you get the point. These velocity controls that you'll find under a lot of the settings inside the Effect Controls panel are to do with, basically are key frame controls. If I select all of these key frames. I'm just going to lassoo over them. And I'm going to right-click or control click and switch them to Bezier.
You can see right away that there's a curve in the velocity of the change that's being made. And if I just expand it this, I'll just make it full screen so you can see nice and clearly. Okay, if I now grab hold of one of these key frames, and take hold of the Bezier handle, and adjust the timing of this. You can see that it's changing the velocity curves that are displayed. I think you can see that reasonably well.
And what's happening here is it's adjusting the acceleration and deceleration into and out of these of key frames. Now I have to say, if you're setting up something like an opacity adjustment, it's going to be pretty tough for the audience to detect what's going on. It might be that you want to create an animation where your bouncing key frames and you want the implication that some other element on the screen is affecting the opacity. Maybe a bouncing ball is causing a light to flick or something like that. But if you are making general adjustments of the kind I've just made, then you may be happy enough with the linear changes anyway.
Although the velocity control is included to give you another visual reference to indicate acceleration and deceleration in and out of these key frames, I find it personally, a little fiddlely compared to simply grabbing the Bezier handles and using the curve that's displayed in the regular key frame Control. But still, there you go. You can adjust it with a velocity control if you want to. These key frames, of course, are mirrored in the key frames that you have inside your clip segment on the timeline.
But whether you work on your opacity in the timeline or in the Effect Controls panel Is really just a question of personal preference.
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