> > Making adjustments to your Opacity Controls on the Timeline is very straightforward and very similar to applying inside the Effect Controls panel. All you need to do is make sure you're looking at the correct key frames in your clip segments. So here, I've got my introduction and I've got a fade out and I've got some dialog and then fade out again. And that's okay. I think it'd be nice if we had a bit of some kind of dynamic action going on in the background of this shot. So, I'm going to move this clip up one and I'm going to take this balloon shot that I've got and lay it over the top. Now, this shot doesn't have any key on it.
I'm just going to blend between the two I think. So, I'm seeing the sky background and then coming into the clouds. So, what I'm going to do is resize this track a little, make it a little bit taller, so I've got a much better view of the rubber banding. And then, I simply need to make sure I've got the correct key frames displayed. Now, if you don't have opacity listed here in this menu if you don't have any menu at all, it's perhaps because in the show key frames menu that you've got set for your track, you've got it set to just show Opacity Handles.
Now, this is not the default so I'd expect it to be showing you the menu. But quite a few people get confused about what that menu is for and why it's there because it just seems to make it difficult to click on the segment. But like so many display options in Premiere Pro and all (UNKNOWN) editing systems, it's really just down to personal preference and how clean you want the interface, or not. In this case, I can set to have No Key Frames at all or to have Opacity Handles because they're so commonly the adjustments that you're going to want to make on your clips inside of the Timeline.
Or I can set this to Show Key Frames, which will just enable this menu. Now, with the menu enabled, I already have opacity selected because it is the default option, which means that functionally, it makes no difference whatsoever. If I have this set to Show Key Frames or Show Opacity Handles, unless I go into this menu and choose something else, I could perhaps choose to animate the scale controls or pretty much anything that you can animate, you can animate with this menu. So, in any case, whether I'm doing it with the menu or without it, making a change to my Opacity is very, very simple.
I'm just trying to resize this a bit so you can see my results. All I need to do is either use the Pen tool, or use the Ctrl or the Cmd key on a Mac to add a key frame to this rubber band. If I just click on the rubber band without the key frame, well, I'll show you what happens as I drag down here. I'm making a flat level adjustment to my Opacity, and I'm going to start to see the sky through for all of the clip.
There's no animation. This may be exactly what you want to achieve. If I just bring this up a little bit, I'm getting a Blended Effect. And I could even go crazy and use one of the Opacity Blend modes to create something really unique by combining the pixel settings. This can produce some mixed results, of course. You need to play around with the different blend modes to see what works best. But if I set this to Normal and make an adjustment, I can get something of a blended view. You can make some great backgrounds this way.
If I wanted to change over time, if I set this back up to 100%, then it's just a question of holding down the Ctrl key or the Cmd key on a Mac that adds a key frame. And then, Ctrl or Cmd again to add another one. You can see I get a plus cursor that too sure I'm going to add a key frame. And it doesn't really matter when the key frames are because I can drag these in any direction I want temporally but also in terms of the setting. And you can see, as I adjust this, I'm getting a little tool tip that is showing me when, in terms of time code, and what the setting is that I'm putting on.
So, I can put this down to 0, and if I just turn off the audio for a second here so we can concentrate on the visuals. If I drag through, you can see as he fades away, the balloons are fading up and we're getting a different background, which could be the continuation of our program. And let's just have a little look through and see how that comes out. Perhaps, if I put the audio on, so we can hear what he's saying.
Let's put this like this, unfortunately, there's no easy toggle in Premiere Pro to toggle the audio off and on. > > Hi, I'm Hayden and my buddy Connor and I will be showing you some things we like to do when it's summer time. > > Okay, so we've got the sense of a little bit more action going on in the background. And of course, if I move this Cloud shot a little bit earlier, the key frames are going to move with the clip segment. So, it doesn't really matter where the segment is, the key frames are relative to it.
And you can see I've got a bit more action going on in the background there before our speaker disappears. Just like the Effect Controls panel, the Timeline has a Previous and Next Key Frame button and an Add or Remove Key Frame button. This behaves exactly the same way as the similar buttons inside the Effect Controls panel. This can be particularly useful if you want to line up key frames on multiple tracks with multiple clips because it's quite difficult to do that in the Effect Controls panel, you're constantly having to click back to the clip, go back to the Effect Controls panel, and so on. This way, you can line up and then expand out the track that you want to work on and you can just see all of the rubber bands altogether. Although my backgrounds here are both stills, because they were originally quite high resolution stills, it'll be relatively easy for me to zoom in a little bit, scale up this balloon shot, key it a little bit to get rid of the blue sky and have the balloons track across my background. Fairly straightforward to do if you've got high resolution originals because Premiere Pro conforms at the point of playback, so it retains all of the original image resolution.
So, that's adding key frames on the Timeline in Premiere Pro.
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