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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.
I've setup a simple sequence here with a bit of my green screen presentation, in front of some swirling electrical activity in the background. And this is just a simple intro from me, if I just play this for you. > > Hello. How are you doing? We're going to show you some very cool stuff today. > > Well, there it is. We're going to show you some really cool stuff. So, what I'm going to do is see if I can blend this foreground in with the background using the Track Mat key, based on a bit of fog media that I've got here.
So, I've got some cloud media that already has an alpha channel. Or I might have a try with a version without an alpha and see how it compares. So, the first thing I need to do is sort out the key on this shot. And I've already got an effect preset using the Alter key here, that I know works with this media. So, I'm going to put that on, and just straight away we get a nice key. But of course, I've got a problem because of the size of this scene are not keyed at all.
So, I'm going to get the corner pin four point garbage mat. And I'll put that on just before the Alter key. And it doesn't really make a huge difference. Now, I'll just setup these control points, so we'll lose the edges of that set. Next up, we need our Track Map. So, I'm going to go to the Project panel. And let's have a go with the clouds without our first, first of all, I'll put that onto my video 3. The Track Mat Source needs to go above the media. So, I'll just Zoom Out a tiny bit and draw this back, so it's nice and tidy. There we are.
Now, let's find our Track Mat Effect. Here it is. I'm going to put this onto that green screen media. And it's just a question of setting up the Track Mat key to use video 3, to use the clouds. And if we take a look at this, it's okay, but I think it's a little bit dark. > > Hello, how are you doing? We're going to show you some very cool stuff today. And what's happening here is the Track Mat key is giving me so little opacity, that you're easily seeing this lightning effect through me.
And I think that's kind of interesting, but we could do is see me a little bit more clearly. So, I'm going to pull up the Fast Color Corrector, and I'll put that on the end of the effect stack here. Let's pull up this version. And with this, I'm just going to alter the levels. I'll just set my display to 100%, so we can see my face there. And just bring up the levels a little bit.
I don't want to lose the contrast in this clip. So, I'll bring up the shadows a little bit as well. But hopefully, this will help to pull the image out. And let's take a look at that. > > Hello. How are you doing? We're going to show you some very cool stuff today. > > And that kind of works. And you can see that my machine is stuttering a little bit to play this back. Possibly, that's partly because of doing screen capture at the same time. I'd expect this to play just fine usually.
And you can see from the other line at the top of my Timeline that this is all using the CUDA support. So, it should be okay. So, to achieve this, I've set my background up and I've set my foreground up. And on my foreground, I've used a four point garbage mat. I've keyed out the media. I've put a Fast Color Corrector on to brighten up the media and attract mat key. And if we change the order of these it's not making too much difference. Let's see what happens if we try different media for our clouds.
If I take away our clouds with alpha and replace them with clouds without alpha, and then check my Track Mat key, and make sure that it's using the correct track. But I'm going to need to take the Luma, rather than the alpha because as you can see, it's having no effect, whatsoever at the moment because there is no alpha on that clip. If I take the Luma. It looks to me like there's a little bit more visibility.
> > Hello, how are you doing? We're going to show you some very cool stuff today. And I think that works pretty well. If you compare the original with the alpha with the new item that has no alpha, there's just more bright pixels in that clip, I think it will makes for a more compelling finished composition. So, just as with after effects, compositing inside Premiere Pro benefits from the magical combinations of different effects in your Effect control stack.
Put them all together and you get layered nuanced media. And that's compositing video using the Track Mat key effect in Premiere Pro.
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