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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.
It's a pretty common request to put video content inside of titles. And this is something that is very, very easy to do using the track matte effect. I've got a video clip here of some baseball and you can see from the action. You've got this guy hits the ball and then he runs and makes it to first base and it'd be nice if we could embed that inside a moving title, it just so happens that I have a moving title I've got this We like baseball crawl.
I've set this up using the regular Premiere Pro Title tool. And I've just configured it to have a crawl to the left, starting and ending off screen. So, all I need to do is put this title onto my video. There it is and I'm going to crop off the beginning of the video here cause I really want to have this passing by as we've got some movement. So that's just fine, and let's trim that back as well. Next I'm going to go to my Text panel, browse to the. Track matte key.
Drop it onto the video, not to the title. And then in the track matte key effect controls, I'm just going to specify to use the video two track as my Matte. And right away, if I play this full-screen. There's our animated title with our video inside. With this particular title, if I used the luma instead of using the alpha.
We're going to get a slightly different result because this isn't just a clean black and white image. We've got some color inside the text and that's being translated directly here into luma for this video. And although it looks like I'm getting a black background, if I just grab these two and move them up a track, and let me see if I can find a piece of video with some vivid color in it. Maybe if I make this really obvious and choose our intro video. Put this underneath.
(audio playing) And then go to my effect controls and reset the track matte. I have to reset this because I've just moved everything up a layer and video three is no longer the source of the key, and here you can see if I go full-screen exactly what is going on here. We're still getting our foreground video embedded inside of the letters. But depending on the brightness of the original text, we're getting more or less visibility.
It's pretty subtle. You can perhaps see a little bit here where we can see the same guy in fact, in our foreground, where the original text has a white edging, we're getting a lot of the original video. Effectively it's been translated directly into alpha. And where it's darker in the center, we're getting less of it. You can see that over this green. If I want to change that, it's very easy. I can go into my title. I can make sure I have my title selected, go to my Fill color and make it a bright color.
I click OK now, close the title and look back, you can see we've got a lot more visible detail inside this text. So what's happening with my track matte key in this instance, is it's creating a new layer where the visibility is defined by the luminance of whatever layer I've set as the track matte key. In this case, it's my baseball reframed shot. I'm just going to clean up the view a little bit here, so you can see another way of doing this. I'm going to set this back to matt alpha, and if I go full screen again, you can seeSOUND now, because the alpha channel in the original title is solid, I'm getting solid video.
But just to clean it up even further I'm going to move this background video out of the way. And I want to show you a way of combining one track matte key with another. I'm going to do this fairly roughly. So, I'm going to get my titles. I've got a title here that says happy days. And I want to leave that as it is in the corner, so I'm going to duplicate it with Ctrl+C or Cmd+C, and then Ctrl+ V or Cmd+ V. And I'm going to call this happy days re-framed.
And I'm going to lay this on my timeline as well. Right now it's just in a lousy position right in front of my original composition. So I'm going to go into that title by double clicking on it, and, I'm just going to just re-preposition this somewhere down to the middle of the screen, using the center alignment button here. Okay, that's good. Now all I need to do is find a way of duplicating my video. And here's the thing, if I move my video, back to video one, just to clean up the time line just a little bit, then pull down my baseball re-framed and select my video and re-select video two. So I'm getting that embedded inside the alpha and then move down my happy days video or rather my happy days title and position it ready for using as a track matte.
One can be forgiven for thinking that the next step would be to go to my effects to put another track matte key onto my video and to specify in there that I'm going to use, in this case, video three. Because this is where my happy days title is, but you can see right away I've got a problem here and the problem is that the function of the track matte key. Is to define which parts of the video are excluded. And this means that I've got one track Matte key that's telling me to use the, happy days title, and I've got another track matter key that's telling me to use the we love baseball title. But combine them together, and no two parts of my media share areas in the screen so, I've got a blackened area at the top and a blackened area at the bottom.
These two track matte keys are excluding each other, and they're creating a completely invisible video. The solution is to get rid of the second track matte key, move everything up. One layer. I'm going to select my video clip and I'm going to again copy. Ctrl+C or Cmd+ C and paste Ctrl+ V or Cmd+ V. And layer that above the original clip. So if I turn off the track matte key on both of these for now. So you can see what's happening.
There we go. So I've now got my background video with the rack matte button turned off, and my foreground video, with the track matte button turned off. You can see now, I've got the same video lined up. Let me just re-size this, and in fact I might as well get rid of that green screen. And I've got two instances that are sharing the same space. So, for the first instance, I'm going to turn on the track matte and I'm going to tell it to use video three to define the track matte.
The second instance, which is this one right here. Again I'm going to turn on the track matte. And I'm going to tell it to use video four. And now, because the track matte key is defining transparency it's not setting a black area, it's actually setting transparency, I'm going to see both parts at the same time. And if I now just go full screen you can see what I mean.
So, it's not exactly high art, but you should hopefully be able to see how flexible the track matte key is for achieving these complex animated sequences.
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