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Compositing with blend modes

From: Premiere Pro CS4 Beyond the Basics

Video: Compositing with blend modes

Compositing is one of my favorite topics, and before Version CS4 of Premiere, there wasn't really too much you could do in Premiere in the way of compositing, but CS4 adds the ability to composite using Blend modes, a very quick, easy way to composite. I totally love it. So let's check this out. I have, here, a photo of a house in my neighborhood, a very simple photo, and then also, some footage from detonationfilms.com. If you're looking for stock explosions, sparks, that type of thing, even like blood spatter and dirt that you want to composite, check out detonationfilms.com.

Compositing with blend modes

Compositing is one of my favorite topics, and before Version CS4 of Premiere, there wasn't really too much you could do in Premiere in the way of compositing, but CS4 adds the ability to composite using Blend modes, a very quick, easy way to composite. I totally love it. So let's check this out. I have, here, a photo of a house in my neighborhood, a very simple photo, and then also, some footage from detonationfilms.com. If you're looking for stock explosions, sparks, that type of thing, even like blood spatter and dirt that you want to composite, check out detonationfilms.com.

It's a great resource, a lot of the video that they have like this, free, given away totally for free. The clips they do sell, it's just a few dollars for those clips. It's a very cool site. So what I'm going to do is I'm going to select this clip, click it here in the Program monitor, and I'm going to move it into place on top of this house here. Now, as you can see, there's this white background. It makes it kind of difficult to composite. In days past, what we would do is we go to the Keying area and we'd apply like the Luma Key effect.

The Luma Key is good for getting rid of dark tones or light tones. So we could adjust the Threshold and the Cutoff until we could completely remove the black or white of this. So taking the Threshold to zero can reduce that, then Cutoff can allow us to tweak it, but that's time-consuming and the results aren't all that great. So I'm going to delete that. Here's what we can do now. Open up Opacity, and in Opacity, you will see a dropdown that says Blend mode.

Notice that my tracks are stacked on top of each other. This works when two tracks are stacked on top of each other, so that's a necessary part. Then you go to the Blend mode, and this determines how the clips will interact with each other. These are the same blend modes that you'll find in Adobe Photoshop. You'll also find these in After Effects and several other applications out there. What we want to do is instantly get rid of the white. To do that, I'm going to choose the Multiply Blend mode and watch that. Boom! Amazing! There is no edges.

It looks fantastic. As we play this back, you can see that processes very quickly as well, and our composite looks very realistic with very minimal time. Also, in contrast to some of the keying effects, like the Luma Key effect, which would take a lot of tweaking and fiddling with, the Blend modes are just instant. So there is nothing to adjust. You put in the Multiply Blend mode and there it goes. If you wanted to get rid of the black and the dark tones, you could select something like Screen. So now the hole is where the smoke is, the dark smoke, and we're still having the white here.

Generally speaking, this group of Blend modes will remove white and this group of Blend modes will remove black, and this group of Blend modes will remove 50% gray and brighten the highlights and darken the shadows. These Overlay blend modes are used often for overlaying textures onto objects or often used in motion graphics, as well. Now feel free to experiment with these. You might want to try Overlay for this project. You might want to try a Linear Burn or you might want to try Darken.

For this one, I think, Multiply looks best, but that's totally up to you. Feel free to experiment, explore, and play around with these Blend modes, because knowing them really does bring a lot of power into your video editing arsenal.

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This video is part of

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Premiere Pro CS4 Beyond the Basics

82 video lessons · 20046 viewers

Chad Perkins
Author

 
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  1. 4m 11s
    1. Welcome
      56s
    2. What's new in the dot release
      57s
    3. Using the exercise files
      2m 18s
  2. 18m 54s
    1. Capturing ambient audio
      3m 12s
    2. Getting plenty of coverage
      1m 48s
    3. Telling a story with camera angles
      3m 18s
    4. The 180 degree rule
      2m 13s
    5. Framing shots
      3m 25s
    6. Allowing "emotional space"
      1m 40s
    7. Overcranking and time lapse
      3m 18s
  3. 11m 38s
    1. Why is metadata important?
      1m 40s
    2. Browsing and adding metadata
      6m 4s
    3. Creating metadata with Speech Search
      3m 54s
  4. 33m 12s
    1. When to cut
      7m 38s
    2. Avoiding bad edits
      9m 17s
    3. Using emotional cutaways
      1m 53s
    4. Fixing problems with cutaways
      3m 53s
    5. Pacing edits
      3m 49s
    6. Matching action
      4m 14s
    7. The power of suggestive editing
      2m 28s
  5. 26m 31s
    1. Contrasting targeting and selecting
      3m 17s
    2. Copying and pasting clips
      2m 36s
    3. Replacing clips
      4m 8s
    4. Editing to music
      5m 0s
    5. Using sample rate for precise editing
      5m 34s
    6. Creating J and L cuts
      3m 33s
    7. Working with subclips
      2m 23s
  6. 11m 17s
    1. Ingesting media
      1m 39s
    2. Examining P2 file structure
      1m 31s
    3. Importing P2 files with the Media Browser
      5m 15s
    4. Converting DVCPRO HD to standard 720p
      2m 52s
  7. 38m 11s
    1. Using the Reference Monitor
      3m 0s
    2. Using scopes
      8m 33s
    3. Primary color correction
      10m 11s
    4. Secondary color correction
      8m 28s
    5. Creating a vignette
      2m 28s
    6. Creating a day-for-night shot
      5m 31s
  8. 37m 19s
    1. Censoring video
      5m 30s
    2. Creating a waving flag
      6m 5s
    3. Creating a lens flare
      3m 36s
    4. Creating background textures
      6m 19s
    5. Playing with time
      6m 4s
    6. Using transition effects
      6m 13s
    7. Working with presets
      3m 32s
  9. 15m 30s
    1. Creating a garbage matte
      3m 56s
    2. Removing green screen
      5m 6s
    3. Compositing with blend modes
      3m 32s
    4. Nesting sequences
      2m 56s
  10. 15m 27s
    1. Creating 3D reflections
      5m 0s
    2. Creating growing vines
      5m 52s
    3. Creating a track matte
      2m 39s
    4. Using the History panel
      1m 56s
  11. 42m 25s
    1. Censoring audio using bleeps
      5m 16s
    2. Understanding sample rate
      3m 0s
    3. Normalizing audio across multiple clips
      5m 7s
    4. Recording audio
      2m 24s
    5. Removing audio problems with Soundbooth
      5m 43s
    6. Working with VST plug-in effects
      2m 3s
    7. Mixing audio
      8m 20s
    8. Changing volume over time
      5m 22s
    9. Working with surround sound
      5m 10s
  12. 23m 52s
    1. About this project
      2m 26s
    2. Performing preliminary edits
      2m 35s
    3. Working with multi-camera footage
      7m 27s
    4. Creating a visual "stutter"
      3m 12s
    5. Adjusting color
      8m 12s
  13. 6m 28s
    1. Transferring projects to another machine
      3m 24s
    2. Removing unused footage
      3m 4s
  14. 25m 46s
    1. Choosing a format
      5m 35s
    2. Understanding spatial compression
      2m 5s
    3. Understanding temporal compression
      4m 19s
    4. About HD standards
      5m 46s
    5. Changing footage interpretation
      2m 17s
    6. Getting the film look
      5m 44s
  15. 27m 10s
    1. Working with After Effects
      5m 56s
    2. Creating titles in After Effects
      5m 39s
    3. Working with Photoshop files
      2m 29s
    4. Working with Final Cut Pro
      2m 2s
    5. Working with OnLocation
      3m 12s
    6. Working with Encore
      4m 27s
    7. Introducing Adobe Story for pre-production
      3m 25s
  16. 15s
    1. Goodbye
      15s

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