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By now, you should be comfortable with placing multiple effects onto clips in your timeline. But what about if you want the effect to change over time? For instance, I think what would be really nice is, instead of starting off with the pizza out of focus, maybe we'll start with the pizza in focus. And have it slowly get soft, which will really make the title pop. So, I want to be able to change that Gaussian Blur over time. To do that, I want to make sure I load the right clip. I'll click the barbecuepizza.jpg.
Jump over to the effects control tab. And there's my Gausseain Blur, and any time I want to add a keyframe, I simply hit this stop watch. Now, we've learned about keyframes in earlier videos, so it acts pretty much the same. I'm going to go ahead and choose when I want the effect to come in in my timeline. And as I move the play head in either the effects control tab or in the timeline, it updates in the other one. So, we'll go about a second or two of fully in focus. So, what I want to do here is bring my focus.
Now, be careful when you do this because the gamma is on top. So, you want to go down here to your Gaussian Blur and I want to make sure that it's a blurriness of zero. It's perfectly sharp when we start. So, from the beginning of the clip, which is over here, to where our play head is parked, it's going to stay sharp. And at this point, I want to add a keyframe. I'm going to click on the stopwatch, and I'm going to click on the stopwatch next to the parameter that I want to lock into place. And in many of these filters, there may be options for freezing other parameters and in this case, those I just want to stay the same.
So, at this point, it's a blurriness of zero and I'll move it ahead just a few seconds. And go ahead and change the amount of blurriness. Now, I recall that it was about 15 that I liked, so I'll slide it over here, I could type in the number 15. that's close enough, 14.9, we'll round up, and that's a good level of fuzziness or blurriness. Now, I'm going to go back and play this and see how it feels. (MUSIC). Well, that's pretty good.
I really like the feel. It was very slow and subtle. If I needed to change it, there's a couple of parameters I can modify. First of all, I can go ahead and grab the key frame. And move it up and down. Or if I wanted to I could also grab elements here and get a Bezier handle which allows me to get a curve how quickly or how abruptly do I want to change from one type of image to another type of image. You'll notice that as I did this my keyframe changed, and this was the original keyframe, and now that I've modified it, it looks different.
As a matter of fact, if you right-click on that you can choose a variety of types of transitions between keyframes. Whether it's going to be a linear transition or whether there's going to be a Bezier handle or maybe you want to have Premiere. Figure it out for you with an Auto Bezier, or a Continuous Bezier. Or you could even do a hold function where it will jump from sharp to fuzzy at that point. I think we'll go with an Auto Bezier. And I'm pretty happy with how it looks. Let's queue it up and play it again. (MUSIC).
That's pretty smooth and pretty much exactly what I wanted. You'll notice that when I switch to the Auto Bezier, instead of getting the sharp edged icon, I have this nice little circle. And that tells me that I'm in the Auto Bezier. Now, being able to work in the Effects Control tab with such precision is really nice. But there are times that you want to be able to modify a perimeter of a filter in your timeline because other things are happening, and you want to make sure the filter does what it does exactly when you want it to happen.
So, if you go over to the left side and use your scroll wheel you can actually make this taller or shorter. And now, I'm able to see the keyframe elements inside of my timeline. If I go over here, you'll notice there's a button that says FX and, and if there was no filter on the clip this would've been gray. Now, if I hover my mouse over this, I can see that I'm actually looking at the opacity in my timeline. But if I right-click on that, I have a choice of what parameter I want to look at.
So, I'm going to look specifically at the Gaussian Blur and select Blurriness. Now, you'll notice in the timeline, I can actually see the two key frames that I was working with for Blurriness. If I wanted to, I could grab this and make this even higher which gives me a little more latitude to work with. And I could hit the plus key to zoom in. Now, what's nice here is if I wanted to change the timing, if I wanted it to get blurrier faster or take longer to get blurrier, I could move it left or right. Let's take a look if we cut down by about a third, the time it takes to get blurry. I'm going to simply slide this down.
Now, watch. When I let go, look at what happens in the Effects Control tab. It actually moved and changed the timing of this transition. Now, I also did something else. And you need to be careful here. What happened to my pizza? It got very, very blurry. Because of the level of detail here, not only did I move it to the left, but I moved it up. So, when moving key frames in your timeline, be careful that you move them left or right or up and down where you want them.
It's no harm and no foul. I could simply jump back to exactly that key frame which would line it up here, and dial this back down to 15. Or simply select it, type in the number, and hit enter, and we're exactly where we want to be. Modifying keyframes, or modifying effects over time, is easy once you know the secrets.
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