Join Richard Harrington for an in-depth discussion in this video Creating a vignette, part of Premiere Pro Guru: Blending Mode Secrets.
I've shown you vignettes a few times already, but I wanted to take a little more time to explore their creation. A good vignette can go a long way, and let's see how we can fix the vignette in an image, both adding one and subtracting. Here's the base footage, and what I'd like to do is really bring things out a bit. I've done this by darkening down the edges and bringing out my subject. When you make a new title, you've got a lot of controls. I'll choose Default Still, and click OK.
When parked over the video frame, you can actually see your footage. Using the pen tool, it's very simple to draw a rough shape. In this case, I'm just putting the focus, or really the lighting effect of the vignette, on the eagle itself. And as I click and drag, I can control the curve points there. And when I come back to the beginning and click, you'll note that a small circle appears on the pen tool. This means that when I click, it becomes a closed shape. However, under the graphic type, you have to switch from Closed Bezier to Filled Bezier.
That makes it very easy to get this filled with a shape. If you take a look at that overall property now, you'll see that we've got a basic graphic. A Filled Bezier. I can distort it here as I see fit, but what I'd like to do is add a shadow. In this case though, I'd like the shadow to be white. I can increase the size and take the opacity all the way up. And essentially, by tweaking these properties with things like spread. And distance and size you can create a soft Bézier shape.
I have essentially identified the eagle here. Now that it's done, I'll take the rectangle tool and draw a basic rectangle. You'll notice that the previous properties are automatically applied. Instead of filling with a solid though. I'll use a radial gradient, going from white, to black. When you click OK, you can refine the position of these using the sliders. As you move them, you'll see the gradient takes on a different shape. Grabbing the handles makes it pretty simple to reposition that gradient as you see fit.
And you could stretch that into place. When satisfied, I'll simply send that to the back. With a right-click, I could choose Arrange > Send to Back. And you'll see that two shapes have been combined. I've got my traditional radial gradient with a harder shape for my strong foreground subject. Many times a vignette is used over the entire image to really draw the eye in. However, sometimes you don't want the vignette to apply to everything.
This two-part process here, using a separate shape layer in conjunction with the radial gradient, gives you that control. This is purely optional, but I wanted to show you the types of control you can take when building out a vignette. I'm going to select this foreground shape, and just lower its overall opacity a bit. So, it blends in with the layer behind. And when satisfied, I can click to close that. Now in your project, you'll find the new title that you made. And you could simply layer that on top of your video.
If you didn't make one, you can also just use the one that I have here at the end already. With that title selected, adjust its opacity and blending. Typically, the Multiply mode works very well. This allows you to take the area and drop things down. Using the opacity, you could refine that. But it doesn't have to stop there. You can use this title as a track map for an adjustment layer with another effect. For example, let's add an adjustment layer. And toss that into the sequence.
On this adjustment layer, I will apply, a blur. Let's use a Gaussian blur. And tell it to repeat the edge pixel, and bring that up quite heavily. Now, I'll alt + drag a copy of that title on top. In this case, setting the title back to the normal blending mode and full opacity. For the adjustment layer down below, you could take advantage of a matte key.
In this case the track matte key. Applying that allows you to specify a layer. For example, I could say use video track four and track based on the luma value. In this case, the wrong part is blurred, so clicking the reverse button switches it out. Now it's very easy. Using the Opacity controls for the layer, you could adjust the intensity of the blur. I can take that up or down, or select my overall adjustment layer and simply blend it a bit.
By reducing the opacity for the layer I could back off that blur effect. But I get the best of both worlds. If you look at the footage here, what's happened is this: first, I created a vignette; then I managed to blur the edges so they weren't as high detailed. This makes an image that's very attractive. If we compare that to the original, you'll see that the focus is more clearly directed towards our subject. And I both slightly defocused and darkened down areas of the image that aren't as important.
Remember, all of this has complete control. So using the opacity for your adjustment layers, you can refine both the vignette and dial in results to give you either a stylized effect or a very natural looking vignette.
- Identifying blend modes
- Using blend modes in files from After Effects and Photoshop
- Color correcting with blend modes
- Softening skin
- Hiding noise and grain
- Creating high-contrast or cartoon looks
- Relighting a shot with blend modes