Use our products to create professional quality video for TV, ads, music videos, travel videos, short film, and much more. Products are designed to create a quick and easy way for you to add visual effects and sounds to your videos. Slice Impacts Transformers. Here, I select the white color to make a white flash transition, but you can always choose the color based on your needs. If needed, you can also add some keyframings to the transition panel. Just click the free download button to try the FilmoraPro video editing tools today.
Before you start creating any of the variations of the white flash transition, make sure that the footage is properly placed on the timeline. Here is a quick way to create white flash transition between clips with the Color Matte in Premiere Pro. Confirm the changes by clicking on the OK button, and insert the name for the new matte. Drag the color matte you just created from the Project Panel and place it directly above the cut between two clip. Specifying a value that is too large for a given image might introduce halos around strong dark to light edges.
The default settings attempt to reduce these artifacts. They can be further reduced by decreasing these values. Shadow Radius and Highlight Radius. The radius in pixels of the area around a pixel that the effect uses to determine whether the pixel resides in a shadow or a highlight. Generally, this value should roughly equal the size of the subject of interest in your image. The amount of color correction that the effect applies to the adjusted shadows and highlights.
For example, if you increase the Shadow Amount value, you bring out colors that were dark in the original image; you may want these colors to be more vivid.
The higher the Color Correction value, the more saturated these colors become. The more significant the correction that you make to the shadows and highlights, the greater the range of color correction available.
The amount of contrast that the effect applies to the midtones. Higher values increase the contrast in the midtones alone, while concurrently darkening the shadows and lightening the highlights. A negative value reduces contrast. These are then mapped to output black and output white, ensuring that input black and input white values are based on representative rather than extreme pixel values.
The Camera Blur effect simulates an image leaving the focal range of the camera, blurring the clip. For example, by setting keyframes for the blur, you can simulate a subject coming into or going out of focus, or the accidental bumping of the camera.
Drag the slider to specify a blur amount for the selected keyframe; higher values increase the blur. You can specify that the blur is horizontal, vertical, or both. Repeat Edge Pixels blurs the pixels beyond the edge of the clip as though they have the same values as the edge pixels. This effect keeps edges sharp, preventing the edges from darkening and becoming more transparent—which would result from them being averaged with many zeroes.
Deselect this option to make the blur algorithm operate as if the pixel values beyond the edge of the clip are zero. The Compound Blur effect blurs pixels based on the luminance values of a control clip, also known as a blur layer or blurring map. By default, bright values in the blur layer correspond to more blurring of the effect clip. Dark values correspond to less blurring.
Select Invert Blur for light values to correspond to less blurring. This effect is useful for simulating smudges and fingerprints. Also, it can simulate changes in visibility caused by smoke or heat, especially when used with animated blur layers.
The maximum amount, in pixels, that any part of the affected clip can be blurred. Stretches the control clip to the dimensions of the clip to which it is applied; otherwise, the control clip is centered on the effect clip. The direction of the blur. The Gaussian Blur effect blurs and softens the image and eliminates noise. The distance from the edge at which pixels are adjusted for contrast.
If you specify a low value, only pixels near the edge are adjusted. A lower value produces a greater result. A value that is too low causes an adjustment to the contrast of the entire image. A low value can also generate noise or cause unexpected results. The operation to perform between the value you specify for each channel and the existing value of that channel for each pixel in the image:. Add, Subtract, Multiply, and Difference. In both cases, the values for the other color channels are set to 1.
Prevents all functions from creating color values that exceed the valid range. The Blend effect blends two clips using one of five modes. After you blend clips using this effect, disable the clip you selected from the Blend With Layer menu. The channel to extract and use as input to the blending operation.
RGBA displays all channels normally. Gray converts all color channel values for a pixel to the luminance value of the original pixel. Red, Green, or Blue converts all color channel values for a pixel to the value of the selected color channel for the original pixel.
Alpha converts all channels to the value of the alpha channel for the original pixel. The opacity of the second video track. Inverts the second video track before the effect extracts the specified channel information.
Stretches the second video track to the dimensions of the original clip before blending. Deselect this option to center the second video track on the original clip. The Compound Arithmetic effect is intended only to provide compatibility with projects created in earlier versions of After Effects that use the Compound Arithmetic effect. Indicates that values exceeding the allowed range wrap around from full on to full off, or from full off to full on.
Indicates that the maximum and minimum values are calculated and the results are stretched down from that full range to the range of allowable values. Scales the second clip to match the size width and height of the current clip. Which channel or channels to invert.
Each group of items operates in a particular color space, inverting either the entire image in that color space or just a single channel. RGB inverts all three of the additive color channels.
Red, Green, and Blue each invert an individual color channel. HLS inverts all three of the calculated color channels. Hue, Lightness, and Saturation each invert an individual color channel. Y luminance , I in-phase chrominance , and Q quadrature chrominance each invert an individual channel.
Inverts the alpha channel of the image. The Set Matte effect replaces the alpha channel matte of a clip with a channel from a clip in a different video track. This creates traveling matte results. It is included in Premiere Pro only to provide compatibility with projects created in earlier versions of After Effects that use the Set Matte effect. To create a traveling matte using the Set Matte effect, set up a sequence with two overlapping clips on different video tracks.
Apply the Set Matte effect to one of the clips and specify which clip provides the replacement matte. Although you can use Set Matte for a traveling matte, it is easier and faster to create traveling mattes by using the Track Matte Key effect.
The video track to use as the replacement matte. You can specify any video track in the sequence. Scales the selected clip to match the size of the current clip.
If Stretch Matte to Fit is deselected, the clip designated as the matte is centered in the first clip. Composites the new matte with the current clip, rather than replacing it.
The resulting matte lets the image show through only where the current matte and the new matte both have some opacity.
The Solid Composite effect offers a quick way to create a composite of a solid color behind the original source clip. The default value of 0. It adjusts all pixel values in the image at once—highlights, shadows, and midtones.
Corrected Layer shows the results of the Change Color effect. Color Correction Mask shows the areas of the layer that will be changed.
White areas in the color correction mask are changed the most, and dark areas are changed the least. Positive values increase saturation of matched pixels moving toward pure color ; negative values decrease saturation of matched pixels moving toward gray. The amount that unmatched pixels are affected by the effect, in proportion to their similarity to Color To Match. Determines the color space in which to compare colors to determine similarity. Hue compares on the hues of colors, ignoring saturation and brightness—so bright red and light pink match, for example.
Chroma uses the two chrominance components to determine similarity, ignoring luminance lightness. The Change To Color effect changes a color you select in an image to another color using hue, lightness, and saturation HLS values, leaving other colors unaffected. Change To Color offers flexibility and options unavailable in the Change Color effect.
These options include tolerance sliders for hue, lightness, and saturation for exact color matching, and the ability to select the exact RGB values of the target color that you wish to change to.
The color to change matched pixels to. How to change colors. Setting To Color performs a direct change of affected pixels to the target color.
How much colors can differ from the From color and still be matched. Expand this control to reveal separate sliders for Hue, Lightness, and Saturation values. Note : Use the View Correction Matte option to better identify which pixels are matched and affected. The amount of feather to use for the edges of the correction matte. Higher values create smoother transitions between areas affected by the color change and those unaffected. Shows a grayscale matte that indicates the amount to which the effect affects each pixel.
White areas are changed the most, and dark areas are changed the least. The Channel Mixer effect modifies a color channel by using a mix of the current color channels. Use this effect to make creative color adjustments not easily done with the other color adjustment tools: Create high-quality grayscale images by choosing the percentage contribution from each color channel, create high-quality sepia-tone or other tinted images, and swap or duplicate channels.
The percentage of the input channel value to add to the output channel value. A Blue-Green setting of and a Blue-Blue setting of 0 replaces the blue channel values with the green channel values. The constant value as a percentage to add to the output channel value. Uses the value of the red output channel for the red, green, and blue output channels, creating a grayscale image.
The Color Balance effect changes the amount of red, green, and blue in the shadows, midtones, and highlights of an image. Preserves the average brightness of the image while changing the color. This control maintains the tonal balance in the image. Negative values decrease saturation, with converting the clip to grayscale.
Values greater than 0 produce more saturated colors. The effect works similarly to the Equalize command in Adobe Photoshop. RGB equalizes the image based on red, green, and blue components. Brightness equalizes the image based on the brightness of each pixel. Photoshop Style equalizes by redistributing the brightness values of the pixels in an image so that they more evenly represent the entire range of brightness levels.
How much to redistribute the brightness values. This effect also has levels controls for adjusting intensity levels of image shadows, midtones, and highlights. This effect is recommended for making simple color corrections that preview quickly in the Program monitor.
Lets you view adjustments in the Program monitor as the final results Composite or tonal value adjustments Luma.
Displays the left or upper part of the image as the corrected view and the right or lower part of the image as the uncorrected view. Determines whether the Split View images are side by side Horizontal or above and below Vertical.
You can also click the color swatch to open the Adobe Color Picker and select a color to define the white balance. Controls hue balance and hue angle using a color wheel. The small circle moves about the center of the wheel and controls the hue UV translation.
This changes the balance magnitude and balance angle. Controls the hue rotation. Your email address will not be published. This site uses Akismet to reduce spam.
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