For audio effects and transitions, see Audio effects and transitions.
The Auto Color, Auto Contrast, and Auto Levels effects make quick global adjustments to a clip. Auto Color adjusts contrast and color by neutralizing the midtones and clipping the white and black pixels. Auto Contrast adjusts the overall contrast and mixture of colors, without introducing or removing color casts. Auto Levels automatically corrects the highlights and shadows. Because Auto Levels adjusts each color channel individually, it may remove or introduce color casts.
Each effect has one or more of the following settings:
Temporal Smoothing
The range of adjacent frames, in seconds, analyzed to determine the amount of correction needed for each frame, relative to its surrounding frames. If Temporal Smoothing is 0, each frame is analyzed independently, without regard for surrounding frames. Temporal Smoothing can result in smoother-looking corrections over time.
Scene Detect
If this option is selected, frames beyond a scene change are ignored when the effect analyzes surrounding frames for temporal smoothing.
Snap Neutral Midtones (Auto Color only)
Identifies an average nearly neutral color in the frame and then adjusts the gamma values to make the color neutral.
Black Clip, White Clip
How much of the shadows and highlights are clipped to the new extreme shadow and highlight colors in the image. Be careful of setting the clipping values too large, as doing so reduces detail in the shadows or highlights. A value between 0.0% and 1% is recommended. By default, shadow and highlight pixels are clipped by 0.1%—that is, the first 0.1% of either extreme is ignored when the darkest and lightest pixels in the image are identified; those pixels are then mapped to output black and output white. This clipping ensures that input black and input white values are based on representative rather than extreme pixel values.
Blend With Original
Determines the effect’s transparency. The result of the effect is blended with the original image, with the effect result composited on top. The higher you set this value, the less the effect affects the clip. For example, if you set this value to 100%, the effect has no visible result on the clip; if you set this value to 0%, the original image doesn’t show through.
The Convolution Kernel effect changes the brightness values of each pixel in the clip according to a mathematical operation known as a convolution. A convolution overlays a matrix of numbers onto a matrix of pixels, multiplies each underlying pixel's value by the number that overlays it, and replaces the central pixel's value with the sum of all of these multiplications. This is performed for each pixel in the image.
The Convolution Kernel Settings include a set of controls that represent cells in a 3x3 grid of pixel brightness multipliers. Labels on the controls, which begin with the letter “M,” indicate their position in the matrix. The M11 control, for example, affects the cell in the first row and first column of the grid; the M32 control affects the cell in the third row and second column. The pixel being evaluated falls in the center of the grid, at the M22 location. Use this effect for fine control over the properties of various emboss, blur, and sharpen effects. For a given effect, it is easier to apply one of the Convolution Kernel presets and to modify it, than to create the effect from scratch using the Convolution Kernel effect itself.
The Extract effect removes colors from a video clip, creating a grayscale image. Pixels with luminance values less than the Black Input Level or greater than the White Input Level are made black. Everything between those points will appear gray or white.
Not:
The controls for this effect are similar to those of the Extract effect in Adobe After Effects, but the purpose and results of the effect are different.
The Levels effect manipulates the brightness and contrast of a clip. It combines the functions of the Color Balance, Gamma Correction, Brightness & Contrast, and Invert effects. This effect functions much the same as the Levels effect in After Effects.
The Levels Settings dialog box displays a histogram of the current frame (Windows only).
The Lighting Effects effect applies lighting effects on a clip with up to five lights to introduce creative lighting. Lighting Effects lets you control lighting properties such as lighting type, direction, intensity, color, lighting center, and lighting spread. There is also a Bump Layer control to use textures or patterns from other footage to produce special lighting effects such as a 3D-like surface effect.
The ProcAmp effect emulates the processing amplifier found on standard video equipment. This effect adjusts the brightness, contrast, hue, saturation, and split percent of a clip's image.
The Shadow/Highlight effect brightens shadowed subjects in an image and reduces the highlights in an image. This effect doesn’t darken or lighten an entire image; it adjusts the shadows and highlights independently, based on the surrounding pixels. You can also adjust the overall contrast of an image. The default settings are for fixing images with backlighting problems.
Auto Amounts
If this option is selected, the Shadow Amount and Highlight Amount values are ignored, and automatically determined amounts are used that are appropriate for lightening and restoring detail to the shadows. Selecting this option also activates the Temporal Smoothing control.
Shadow Amount
The amount to lighten shadows in the image. This control is active only if you deselect Auto Amounts.
Highlight Amount
The amount to darken highlights in the image. This control is active only if you deselect Auto Amounts.
Temporal Smoothing
The range of adjacent frames, in seconds, analyzed to determine the amount of correction needed for each frame, relative to its surrounding frames. If Temporal Smoothing is 0, each frame is analyzed independently, without regard for surrounding frames. Temporal Smoothing can result in smoother-looking corrections over time.
Scene Detect
If this option is selected, frames beyond a scene change are ignored when surrounding frames are analyzed for temporal smoothing.
Blend With Original
The effect’s transparency. The result of the effect is blended with the original image, with the effect result composited on top. The higher you set this value, the less the effect affects the clip. For example, if you set this value to 100%, the effect has no visible result on the clip; if you set this value to 0%, the original image doesn’t show through.
Expand the More Options category to reveal the following controls:
Shadow Tonal Width and Highlight Tonal Width
The range of adjustable tones in the shadows and highlights. Lower values restrict the adjustable range to only the darkest and lightest regions, respectively. Higher values expand the adjustable range. These controls are useful for isolating regions to adjust. For example, to lighten a dark area without affecting the midtones, set a low Shadow Tonal Width value so that when you adjust the Shadow Amount, you are lightening only the darkest areas of an image. 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.
Color Correction
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.
Note: If you want to change the color over the whole image, use the Hue/Saturation effect after applying the Shadow/Highlight effect.
Midtone Contrast
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.
Black Clip, White Clip
How much of the shadows and highlights are clipped to the new extreme shadow and highlight colors in the image. Be careful of setting the clipping values too large, as doing so reduces detail in the shadows or highlights. A value between 0.0% and 1% is recommended. By default, shadow and highlight pixels are clipped by 0.1%—that is, the first 0.1% of either extreme is ignored when the darkest and lightest pixels in the image are identified. 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.
The Channel Blur effect blurs a clip’s red, green, blue, or alpha channels individually. 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.
Stretch Map To Fit
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.
Direction
The direction of the blur. The blur is applied equally on either side of a pixel’s center. Therefore, a setting of 180° and a setting of 0° look the same.
The Gaussian Blur effect blurs and softens the image and eliminates noise. You can specify that the blur is horizontal, vertical, or both.
Radius
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.
Threshold
The greatest difference between adjacent pixels for which contrast isn’t 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 Arithmetic effect performs various simple mathematical operations on an image’s red, green, and blue channels.
Operator
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:
Clip Result Values
Prevents all functions from creating color values that exceed the valid range. If this option isn’t selected, some color values may wrap around.
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. Select the clip and choose Clip > Enable.
Mode
Blend mode:
- Crossfade fades out the original image while the secondary image fades in.
- Color Only colorizes each pixel in the original image based on the color of each corresponding pixel in the secondary image.
- Tint Only is similar to Color Only but tints pixels in the original image only if they are already colored.
- Darken Only darkens each pixel in the original image that is lighter than the corresponding pixel in the secondary image.
- Lighten Only lightens each pixel in the original image that is darker than the corresponding pixel in the secondary image.
Blend With Original
The effect’s transparency. The result of the effect is blended with the original image, with the effect result composited on top. The higher you set this value, the less the effect affects the clip. For example, if you set this value to 100%, the effect has no visible result on the clip. If you set this value to 0%, the original image does not show through.
Input Channel
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.
Second Layer Opacity
The opacity of the second video track. Set to 0% for the second video track to have no influence on the output.
Invert Second Layer
Inverts the second video track before the effect extracts the specified channel information.
Stretch Second Layer To Fit
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 mathematically combines the clip to which it’s applied with a control layer. 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.
Stretch Second Source To Fit
Scales the second clip to match the size (width and height) of the current clip. If this option is deselected, the second clip is placed at its source’s current size, aligned with the upper-left corner of the source clip.
Blend With Original
The effect’s transparency. The result of the effect is blended with the original image, with the effect result composited on top. The higher you set this value, the less the effect affects the clip. For example, if you set this value to 100%, the effect has no visible result on the clip. If you set this value to 0%, the original image does not show through.
Channel
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.
Blend With Original
The effect’s transparency. The result of the effect is blended with the original image, with the effect result composited on top. The higher you set this value, the less the effect affects the clip. For example, if you set this value to 100%, the effect has no visible result on the clip; if you set this value to 0%, the original image doesn’t show through.
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.
Not:
The Set Matte effect was originally developed for After Effects. 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.
Take Matte From Layer
The video track to use as the replacement matte. You can specify any video track in the sequence.
Stretch Matte To Fit
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.
Composite Matte With Original
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. You can control the opacity of the source clip, control the opacity of the solid, and apply blend modes all within the effect’s controls.
The Brightness & Contrast effect adjusts the brightness and contrast of an entire clip. The default value of 0.0 indicates that no change is made. Using the Brightness & Contrast effect is the easiest way to make simple adjustments to the tonal range of the image. It adjusts all pixel values in the image at once—highlights, shadows, and midtones.
View
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.
Saturation Transform
Positive values increase saturation of matched pixels (moving toward pure color); negative values decrease saturation of matched pixels (moving toward gray).
Matching Softness
The amount that unmatched pixels are affected by the effect, in proportion to their similarity to Color To Match.
Match Colors
Determines the color space in which to compare colors to determine similarity. RGB compares colors in an RGB color space. 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.
To
The color to change matched pixels to.
Tip: To animate a color change, set keyframes for the To color.
Change By
How to change colors. Setting To Color performs a direct change of affected pixels to the target color. Transforming To Color transforms affected pixel values towards the target color, using HLS interpolation; the amount of change for each pixel depends on how close the pixel’s color is to the From color.
Tolerance
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.
Softness
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.
View Correction Matte
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.
output channel]-[input channel
The percentage of the input channel value to add to the output channel value. For example, a Red-Green setting of 10 increases the value of the red channel for each pixel by 10% of the value of the green channel for that pixel. A Blue-Green setting of 100 and a Blue-Blue setting of 0 replaces the blue channel values with the green channel values.
output channel]-Const
The constant value (as a percentage) to add to the output channel value. For example, a Red-Const setting of 100 saturates the red channel for every pixel by adding 100% red.
Monochrome
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.
Preserve Luminosity
Preserves the average brightness of the image while changing the color. This control maintains the tonal balance in the image.
Saturation
Adjusts the image’s color saturation. The default value is 0 which doesn’t affect the colors. Negative values decrease saturation, with -100 converting the clip to grayscale. Values greater than 0 produce more saturated colors.
Note: If the Color Balance Saturation control does not give you the results you want, try the Saturation control in the Fast Color Corrector effect.
The Equalize effect alters an image’s pixel values to produce a more consistent brightness or color component distribution. The effect works similarly to the Equalize command in Adobe Photoshop. Pixels with 0 alpha (transparent) values aren’t considered.
Equalize
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.
Amount To Equalize
How much to redistribute the brightness values. At 100%, the pixel values are spread as evenly as possible; lower percentages redistribute fewer pixel values.
The Fast Color Corrector effect adjusts a clip’s color using hue and saturation controls. 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.
Output
Lets you view adjustments in the Program monitor as the final results (Composite) or tonal value adjustments (Luma).
Show Split View
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.
Layout
Determines whether the Split View images are side by side (Horizontal) or above and below (Vertical).
White Balance
Assigns a white balance to an image using the Eyedropper tool to sample a target color in the image or anywhere on your monitor’s desktop. You can also click the color swatch to open the Adobe Color Picker and select a color to define the white balance.
Hue Balance And Angle
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. The small perpendicular line sets the relative coarseness/fineness of the control, which controls the balance gain.
Tip: Adjustments to the Hue Balance And Angle can be viewed in the vectorscope.
Hue Angle
Controls the hue rotation. The default value is 0. Negative values rotate the color wheel to the left and positive values rotate the color wheel to the right.
Balance Magnitude
Controls the amount of color balance correction as determined by the Balance Angle.
Balance Gain
Adjusts brightness values by multiplication so that lighter pixels are affected more than darker pixels.
Saturation
Adjusts the image’s color saturation. The default value is 100, which doesn’t affect the colors. Values less than 100 decrease saturation, with 0 completely removing any color. Values greater than 100 produce more saturated colors.
Auto Black Level
Raises the black levels in a clip so the darkest levels are above 7.5 IRE (NTSC) or 0.3v (PAL). A portion of the shadows is clipped and the intermediate pixel values are redistributed proportionately. As a result, using Auto Black Level lightens the shadows in an image.
Auto Contrast
Applies both the Auto Black Level and Auto White Level simultaneously. Auto Contrast makes the highlights appear darker and shadows appear lighter.
Auto White Level
Lowers the white levels in a clip so the lightest levels do not exceed 100 IRE (NTSC) or 1.0v (PAL). A portion of the highlights is clipped and the intermediate pixel values are redistributed proportionately. As a result, using Auto White Level darkens the highlights in an image.
Black Level, Gray Level, White Level
Sets the levels for darkest shadow, midtone gray, and lightest highlight using the different Eyedropper tools to sample a target color in the image or anywhere on your monitor’s desktop. You can also click the color swatch to open the Adobe Color Picker and select a color to define the black, midtone gray, and white.
Input Levels
The outer two Input Levels sliders map the black point and white point to the settings of the Output sliders. The middle Input slider adjusts the gamma in the image. It moves the midtone and changes the intensity values of the middle range of gray tones without dramatically altering the highlights and shadows.
Output Levels
Map the black point and white point input level sliders to specified values. By default, the Output sliders are at level 0, where the shadows are completely black, and level 255, where the highlights are completely white. So, in the default position for the Output sliders, moving the black input slider maps the shadow value to level 0, and moving the white point slider maps the highlight value to level 255. The remaining levels are redistributed between levels 0 and 255. This redistribution decreases the tonal range of the image, in effect reducing the overall contrast of the image.
Input Black Level, Input Gray Level, Input White Level
Adjust the black point, midtone, and white point input levels for the highlights, midtones, or shadows.
Output Black Level, Output White Level
Adjust the mapped output levels for the input black and input white levels for the highlights, midtones, or shadows.
The Leave Color effect removes all colors from a clip except those similar to the Color To Leave. For example, a shot of a basketball game could be decolored except for the orange of the ball itself.
Amount To Decolor
How much color to remove. 100% causes areas of the image dissimilar to the selected color to appear as shades of gray.
Tolerance
The flexibility of the color-matching operation. 0% decolors all pixels except those that exactly match Color To Leave. 100% causes no color change.
Edge Softness
The softness of the color boundaries. High values smooth the transition from color to gray.
Match Colors
Determines whether colors’ RGB values or hue values are compared. Choose Using RGB to perform more strict matching that usually decolors more of the image. For example, to leave dark blue, light blue, and medium blue, choose Using Hue and choose any shade of blue as Color To Leave.
The Luma Corrector effect lets you adjust the brightness and contrast in the highlights, midtones, and shadows of a clip. You can also specify the color range to be corrected by using the Secondary Color Correction controls.
Output
Lets you view adjustments in the Program Monitor as the final results (Composite) or tonal value adjustments (Luma), or a tritone representation of where the shadows, midtones, and highlights fall (Tonal Range).
Show Split View
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.
Layout
Determines whether the Split View images are side by side (Horizontal) or above and below (Vertical).
Tonal Range Definition
Defines the tonal range of the shadows and highlights using threshold and threshold with falloff (softness) controls. Click the triangle to display the Tonal Range Definition controls. Drag a square slider to adjust the threshold values. Drag a triangle slider to adjust the softness (feathering) value.
Note: Choose Tonal Range from the Output menu to view the different tonal ranges as you adjust the Tonal Range Definition sliders.
Tonal Range
Specifies whether the luminance adjustments are applied to the entire image (Master), the highlights only, midtones only, or shadows only.
Brightness
Adjusts the black level in a clip. Use this control so that the black picture content in your clip appears as black.
Gamma
Adjusts the image’s midtone values without affecting black and white levels. This control causes changes in contrast, much like changing the shape of the curve in the Luma Curve effect. Use this control to adjust images that are too dark or too light, without distorting shadows and highlights.
Pedestal
Adjusts an image by adding a fixed offset to the image’s pixel values. Use this control with the Gain control to increase an image’s overall brightness.
Gain
Affects the overall contrast ratio of an image by adjusting brightness values by multiplication. The lighter pixels are affected more than darker pixels.
Secondary Color Correction
Specifies the color range to be corrected by the effect. You can define the color by hue, saturation, and luminance. Click the triangle to access the controls.
Center
Defines the central color in the range that you’re specifying. Select the Eyedropper tool and click anywhere on your screen to specify a color, which is displayed in the color swatch. Use the + Eyedropper tool to extend the color range, and use the – Eyedropper tool to subtract from the color range. You can also click the swatch to open the Adobe Color Picker and select the center color.
Hue, Saturation, and Luma
Specify the color range to be corrected by hue, saturation, or luminance. Click the triangle next to the option name to access the threshold and softness (feathering) controls to define the hue, saturation, or luminance range.
Soften
Makes boundaries of the specified area more diffuse, blending the correction more with the original image. A higher value increases the softness.
Edge Thinning
Makes the specified area more sharply defined. The correction becomes more pronounced. A higher value increases the edge definition of the specified area.
Invert Limit Color
Corrects all colors except for the color range that you specified with the Secondary Color Correction settings.
The Luma Curve effect adjusts the brightness and contrast of a clip using a curve adjustment. You can also specify the color range to be corrected by using the Secondary Color Correction controls.
Output
Lets you view adjustments in the Program Monitor as the final results (Composite) or tonal value adjustments (Luma)
Show Split View
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.
Layout
Determines whether the Split View images are side by side (Horizontal) or above and below (Vertical).
Luma Waveform
Alters the brightness and contrast of the clip when you change the shape of the curve. Bowing the curve upward lightens the clip and bowing the curve downward darkens the clip. The steeper sections of the curve represent portions of the image with greater contrast. Click to add a point to the curve and drag to manipulate the shape. You can adjust up to a maximum of 16 points on the curve. To delete a point, drag it off the graph.
Secondary Color Correction
Specifies the color range to be corrected by the effect. You can define the color by hue, saturation, and luminance. Click the triangle to access the controls.
Center
Defines the central color in the range that you’re specifying. Select the Eyedropper tool and click anywhere on your screen to specify a color, which is displayed in the color swatch. Use the + Eyedropper tool to extend the color range, and use the - Eyedropper tool to subtract from the color range. You can also click the swatch to open the Adobe Color Picker and select the center color.
Hue, Saturation, and Luma
Specify the color range to be corrected by hue, saturation, or luminance. Click the triangle next to the option name to access the threshold and softness (feathering) controls to define the hue, saturation, or luminance range.
Soften
Makes boundaries of the specified area more diffuse, blending the correction more with the original image. A higher value increases the softness.
Edge Thinning
Makes the specified area more sharply defined. The correction becomes more pronounced. A higher value increases the edge definition of the specified area.
Invert Limit Color
Corrects all colors except for the color range that you specified with the Secondary Color Correction settings.
The RGB Color Corrector effect adjusts the color in a clip by applying adjustments to the tonal ranges that you define for the highlights, midtones, and shadows. The effect lets you make tonal adjustments to each color channel individually. You can also specify the color range to be corrected by using the Secondary Color Correction controls.
Output
Lets you view adjustments in the Program Monitor as the final results (Composite), tonal value adjustments (Luma), or a tritone representation of where the shadows, midtones, and highlights fall (Tonal Range).
Show Split View
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.
Layout
Determines whether the Split View images are side by side (Horizontal) or above and below (Vertical).
Tonal Range Definition
Defines the tonal range of the shadows and highlights using threshold and falloff controls:
Tip: Choose Tonal Range from the Output menu to view the highlights, midtones, and shadows as you adjust the Tonal Range Definition controls.
Tonal Range
Specifies whether the color correction is applied to the entire image (Master), the highlights only, midtones only, or shadows only.
Gamma
Adjusts the image’s midtone values without affecting black and white levels. Use this control to adjust images that are too dark or too light, without distorting shadows and highlights.
Pedestal
Adjusts an image by adding a fixed offset to the image’s pixel values. Use this control with the Gain control to increase an image’s overall brightness.
Gain
Affects the overall contrast ratio of an image by adjusting brightness values by multiplication. The lighter pixels are affected more than darker pixels.
RGB
Lets you adjust the midtone values, contrast, and brightness of each color channel individually. Click the triangle to expand the options for setting the gamma, pedestal, and gain of each channel.
Secondary Color Correction
Specifies the color range to be corrected by the effect. You can define the color by hue, saturation, and luminance. Click the triangle to access the controls.
Note: Choose Mask from the Output menu to view the areas of the image that are selected as you define the color range.
Center
Defines the central color in the range that you’re specifying. Select the Eyedropper tool and click anywhere on your screen to specify a color, which is displayed in the color swatch. Use the + Eyedropper tool to extend the color range, and use the – Eyedropper tool to subtract from the color range. You can also click the swatch to open the Adobe Color Picker and select the center color.
Hue, Saturation, and Luma
Specify the color range to be corrected by hue, saturation, or luminance. Click the triangle next to the option name to access the threshold and softness (feathering) controls to define the hue, saturation, or luminance range.
Soften
Makes boundaries of the specified area more diffuse, blending the correction more with the original image. A higher value increases the softness.
Edge Thinning
Makes the specified area more sharply defined. The correction becomes more pronounced. A higher value increases the edge definition of the specified area.
Invert Limit Color
Corrects all colors except for the color range that you specified with the Secondary Color Correction settings.
The RGB Curves effect adjusts a clip’s color using curve adjustments for each color channel. Each curve lets you adjust up to 16 different points throughout an image’s tonal range. You can also specify the color range to be corrected by using the Secondary Color Correction controls.
Output
Lets you view adjustments in the Program monitor as the final results (Composite) or tonal value adjustments (Luma).
Show Split View
Displays one part of the image as the corrected view and the other part of the image as the uncorrected view.
Layout
Determines whether the Split View images are side by side (Horizontal) or above and below (Vertical).
Master
Alters the brightness and contrast of all channels when you change the shape of the curve. Bowing the curve upward lightens the clip and bowing the curve downward darkens the clip. The steeper sections of the curve represent portions of the image with greater contrast. Click to add a point to the curve and drag to manipulate the shape. You can add a maximum of 16 points to the curve. To delete a point, drag it off the graph.
Red, Green, and Blue
Alters the brightness and contrast of the red, green, or blue channel when you change the shape of the curve. Bowing the curve upward lightens the channel and bowing the curve downward darkens the channel. The steeper sections of the curve represent portions of the channel with greater contrast. Click to add a point to the curve and drag to manipulate the shape. You can adjust up to a maximum of 16 points on the curve. To delete a point, drag it off the graph.
Secondary Color Correction
Specifies the color range to be corrected by the effect. You can define the color by hue, saturation, and luminance. Click the triangle to access the controls.
Note: Choose Mask from the Output menu to view the areas of the image that are selected as you define the color range.
Center
Defines the central color in the range that you’re specifying. Select the Eyedropper tool and click anywhere on your screen to specify a color, which is displayed in the color swatch. Use the + Eyedropper tool to extend the color range, and use the – Eyedropper tool to subtract from the color range. You can also click the swatch to open the Adobe Color Picker and select the center color.
Hue, Saturation, and Luma
Specify the color range to be corrected by hue, saturation, or luminance. Click the triangle next to the option name to access the threshold and softness (feathering) controls to define the hue, saturation, or luminance range.
End Softness
Makes boundaries of the specified area more diffuse, blending the correction more with the original image. A higher value increases the softness.
Edge Thinning
Makes the specified area more sharply defined. The correction becomes more pronounced. A higher value increases the edge definition of the specified area.
Invert Limit Color
Corrects all colors except for the color range that you specified with the Secondary Color Correction settings.
The Three-Way Color Corrector effect lets you make subtle corrections by adjusting a clip’s hue, saturation, and brightness for the shadow, midtones, and highlights. You can further refine your adjustments by specifying the color range to be corrected by using the Secondary Color Correction controls.
Output
Lets you view adjustments in the Program monitor as the final results (Composite), tonal value adjustments (Luma), or a tritone representation of the shadows, midtones, and highlights (Tonal Range).
Show Split View
Displays one part of the image as the corrected view and the other part of the image as the uncorrected view.
Layout
Determines whether the Split View images are side by side (Horizontal) or above and below (Vertical).
Black Balance, Gray Balance, White Balance
Assigns a black, midtone gray, or white balance to a clip. Use the different Eyedropper tools to sample a target color in the image, or choosing a color from the Adobe Color Picker.
Tonal Range Definition
Defines the tonal range of the shadows, midtones, and highlights in a clip. Drag the square sliders to adjust the threshold values. Drag the triangle sliders to adjust the amount of softness (feathering).
Tip: Choose Tonal Range from the Output menu to view the highlights, midtones, and shadows as you adjust the Tonal Range Definition controls.
Shadow Threshold, Shadow Softness, Highlight Threshold, Highlight Softness
Determine the threshold and softness of the shadows, midtones, and highlights in a clip. Enter values or click the triangle next to the option name and drag the slider.
Tonal Range
Chooses the tonal range adjusted by the Hue Angle, Balance Magnitude, Balance Gain, Balance Angle, Saturation, and Levels controls. Highlights is the default. Other options in the menu are Master, Shadows, and Midtones.
Note: You can still adjust all three tonal ranges using the three color wheels even after you choose from the Tonal Range menu.
Three-Way Hue Balance and Angle
Controls hue and saturation adjustments using three color wheels for the shadows (left wheel), midtones (middle wheel), and highlights (right wheel). A single master wheel appears when Master is chosen from the Tonal Range menu. A circular thumb moves about the center of the wheel and controls the hue (UV) translation. A perpendicular handle on the thumb controls the balance magnitude, which affects the relative coarseness or fineness of the control. The outer ring of the wheel controls hue rotation.
Highlights/Midtones/Shadows Hue Angle
Controls the hue rotation in the highlights, midtones, or shadows. The default value is 0. Negative values rotate the color wheel to the left and positive values rotate the color wheel to the right.
Highlights/Midtones/Shadows Balance Magnitude
Controls the amount of color balance correction as determined by the Balance Angle. The adjustment can be applied to highlights, midtones, and shadows.
Highlight/Midtones/Shadows Balance Gain
Adjusts brightness values by multiplication so that lighter pixels are affected more than darker pixels. The adjustment can be applied to highlights, midtones, and shadows.
Highlights/Midtones/Shadows Balance Angle
Controls the hue translation in the highlights, midtones, or shadows.
Highlights/Midtones/Shadows Saturation
Adjusts the color saturation in the highlights, midtones, or shadows. The default value is 100, which doesn’t affect the colors. Values less than 100 decrease saturation, with 0 completely removing any color. Values greater than 100 produce more saturated colors.
Auto Black Level
Raises the black levels in a clip so the darkest levels are above 7.5 IRE. A portion of the shadows is clipped and the intermediate pixel values are redistributed proportionately. As a result, using Auto Black Level lightens the shadows in an image.
Auto Contrast
Applies both the Auto Black Level and Auto White Level simultaneously. This makes the highlights appear darker and shadows appear lighter.
Auto White Level
Lowers the white levels in a clip so the lightest levels do not exceed 100 IRE. A portion of the highlights is clipped and the intermediate pixel values are redistributed proportionately. As a result, using Auto White Level darkens the highlights in an image.
Black Level, Gray Level, White Level
Sets the levels for darkest shadow, midtone gray, and lightest highlight using the different Eyedropper tools to sample a target color in the image or anywhere on your monitor’s desktop. You can also click the color swatch to open the Adobe Color Picker and select a color to define the black, midtone gray, and white.
Input Levels
The outer two Input Levels sliders map the black point and white point to the settings of the Output sliders. The middle Input slider adjusts the gamma in the image. It moves the midtone and changes the intensity values of the middle range of gray tones without dramatically altering the highlights and shadows.
Output Levels
Map the black point and white point input level sliders to specified values. By default, the Output sliders are at level 0, where the shadows are completely black, and level 255, where the highlights are completely white. So, in the default position for the Output sliders, moving the black input slider maps the shadow value to level 0, and moving the white point slider maps the highlight value to level 255. The remaining levels are redistributed between levels 0 and 255. This redistribution increases the tonal range of the image, in effect increasing the overall contrast of the image.
Input Black Level, Input Gray Level, Input White Level
Adjust the black point, midtone, and white point input levels for the highlights, midtones, or shadows.
Output Black Level, Output White Level
Adjust the mapped output levels for the input black and input white levels for the highlights, midtones, or shadows.
Secondary Color Correction
Specifies the color range to be corrected by the effect. You can define the color by hue, saturation, and luminance. Click the triangle to access the controls.
Note: Choose Mask from the Output menu to view the areas of the image that are selected as you define the color range.
Center
Defines the central color in the range that you’re specifying. Select the Eyedropper tool and click anywhere on your screen to specify a color, which is displayed in the color swatch. Use the + Eyedropper tool to extend the color range, and use the – Eyedropper tool to subtract from the color range. You can also click the swatch to open the Adobe Color Picker and select the center color.
Hue, Saturation, and Luma
Specify the color range to be corrected by hue, saturation, or luminance. Click the triangle next to the option name to access the threshold and softness (feathering) controls to define the hue, saturation, or luminance range.
Soften
Makes boundaries of the specified area more diffuse, blending the correction more with the original image. A higher value increases the softness.
Edge Thinning
Makes the specified area more sharply defined. The correction becomes more pronounced. A higher value increases the edge definition of the specified area.
Invert Limit Color
Corrects all colors except for the color range that you specified with the Secondary Color Correction settings.
The Tint effect alters an image’s color information. For each pixel, the luminance value specifies a blend between two colors. Map Black To and Map White To specify to which colors dark and bright pixels are mapped. Intermediate pixels are assigned intermediate values. Amount To Tint specifies the intensity of the effect.
The Video Limiter effect lets you limit the luminance and color in a clip so that they fall within parameters that you define. These parameters are useful for preserving the video as much as possible while making its signal fall within the broadcasting limits.
Show Split View
Displays one part of the image as the corrected view and the other part of the image as the uncorrected view.
Layout
Determines whether the Split View images are side by side (Horizontal) or above and below (Vertical).
Reduction Axis
Lets you set the limits defining the range of luminance (Luma), color (Chroma), both color and luminance (Chroma and Luma), or the overall video signal (Smart Limit). The Min and Max controls available depend on the Reduction Axis option you choose.
Reduction Method
Lets you compress specific tonal ranges to preserve detail in important tonal ranges (Highlights Compression, Midtones Compression, Shadows Compression, or Highlights and Shadows Compression) or compress all tonal ranges (Compress All). Compress All is the default.
Tonal Range Definition
Defines the tonal range of the shadows, midtones, and highlights in a clip. Drag the square sliders to adjust the threshold values. Drag the triangle sliders to adjust the amount of softness (feathering).
Shadow Threshold, Shadow Softness, Highlight Threshold, Highlight Softness
Determine the threshold and softness of the shadows, midtones, and highlights in a clip. Enter values or click the triangle next to the option name and drag the slider.
The Corner Pin effect distorts an image by changing the position of each of its four corners. Use it to stretch, shrink, skew, or twist an image, or to simulate perspective or movement that pivots from the edge of a clip, such as a door opening.
Not:
You can directly manipulate the Corner Pin effect properties in the Program Monitor when you click the Transform icon 
next to Corner Pin in the Effect Controls panel. Drag one of the four corner handles to adjust the properties.
Curvature
Changes the curvature of the lens. Specify a negative value to make the image concave, or a positive value to make the image convex.
Vertical and Horizontal Decentering
Displace the focal point of the lens, making the image bend and smear. At extreme settings, the image wraps in on itself.
Vertical and Horizontal Prism FX
Create a result similar to vertical and horizontal decentering, except that at extreme values the image doesn’t wrap in on itself.
Fill Alpha Channel
Makes the background transparent so that underlying tracks are visible. In the Effect Controls panel, click Setup to access this option.
The Magnify effect enlarges all or part of an image. This effect can act like a magnifying glass placed over an area of the image, or you can use it to scale the entire image far beyond 100% while maintaining resolution.
Link
How the size and edge feathering of the magnified area are affected by the Magnification setting. Setting Link to any value other than None disables the Resize Layer option.
Blending Mode
The blend mode used to combine the magnified area with the original clip. The None option displays transparent pixels around the magnified area.
Resize Layer
If Resize Layer is selected, the magnified area can extend beyond the original clip’s boundaries.
Reflection Angle
The angle of the line about which the reflection occurs. An angle of 0° reflects the left side onto the right. An angle of 90° reflects the top onto the bottom.
Not:
You can directly manipulate the Mirror effect in the Program Monitor. Click the Transform icon and then drag the adjustment handle.
The Offset effect pans the image within a clip. Visual information pushed off one side of the image appears on the opposite side.
Blend With Original
The effect’s transparency. The result of the effect is blended with the original image, with the effect result composited on top. The higher you set this value, the less the effect affects the clip. For example, if you set this value to 100%, the effect has no visible result on the clip; if you set this value to 0%, the original image doesn’t show through.
The Transform effect applies two-dimensional geometric transformations to a clip. Apply the Transform effect instead of using clip Fixed effects if you want to render clip anchor point, position, scale, or opacity settings before other Standard effects are rendered. Anchor Point, Position, Rotation, Scale, and Opacity properties function much the same as the Fixed effects.
Not:
In Adobe After Effects, the Transform effect includes the Shutter Angle control and Use Composition’s Shutter Angle option. Both controls are adjusted only in After Effects.
The Turbulent Displace effect uses fractal noise to create turbulent distortions in an image. For example, use it to create flowing water, funhouse mirrors, and waving flags.
Displacement
The type of turbulence used. Turbulent Smoother, Bulge Smoother, and Twist Smoother each perform the same operations as Turbulent, Bulge, and Twist, except that the Smoother options create smoother warps and take longer to render. Vertical Displacement warps the image vertically only. Horizontal Displacement warps the image horizontally only. Cross Displacement warps the image both vertically and horizontally.
Complexity
Determines the level of detail in the turbulence. Lower values cause smoother distortions.
Evolution
Animating this setting results in changes of the turbulence over time.
Note: Although the Evolution value is set in units called revolutions, it’s important to realize that these revolutions are progressive. The evolution state continues to progress infinitely at each new value. Use the Cycle Evolution option to return the Evolution setting to its original state at each revolution.
Evolution Options
Evolution Options provide controls that render the effect for one short cycle and then loop it for the duration of your clip. Use these controls to pre-render turbulence elements into loops, and thus speed up rendering time.
Cycle (In Revolutions)
The number of revolutions of the Evolution setting that the fractal cycles through before it repeats. The timing of the Evolution cycles is determined by the amount of time between Evolution keyframes.
Note: The Cycle control affects only the state of the fractal, not geometrics or other controls, so you can get different results with different Size or Offset settings.
Random Seed
Specifies a value from which to generate the fractal noise. Animating this property results in flashing from one set of fractal shapes to another within the same fractal type. For smooth transition of the roughness, use the Evolution control.
Note: Create new turbulence animations by reusing previously created Evolution cycles and changing only the Random Seed value. Using a new Random Seed value alters the noise pattern without disturbing the evolution animation.
The Twirl effect distorts an image by rotating a clip around its center. The image is distorted more sharply in its center than at the edges, causing a whirlpool result at extreme settings.
Angle
How far to twirl the image. Positive angles twirl the image clockwise; negative angles twirl it counterclockwise. For a whirlpool result, animate the angle.
Twirl Radius
How far the twirl extends from the twirl center. This value is a percentage of width or height of the clip, whichever is greater. A value of 50, for example, produces a twirl that extends to the edges of the clip.
The Wave Warp effect produces the appearance of a wave traveling across an image. You can produce a variety of different wave shapes, including square, circular, and sine waves. The Wave Warp effect is automatically animated at a constant speed across the time range (without keyframes). To vary speeds, you need to set keyframes.
Direction
The direction the wave travels across the image. For example, a value of 225° makes the waves travel diagonally from upper right to lower left.
Wave Speed
The speed (in cycles per second) at which the waves travel. A negative value reverses the wave direction, and a value of 0 produces no movement. To vary wave speed over time, set this control to 0, and then set keyframes for the Phase property.
Phase
The point along the waveform at which a wave cycle begins. For example, 0° starts the wave at the midpoint of its downward slope, and 90° starts it at the lowest point in the trough.
Antialiasing (Best Quality)
Sets the amount of anti-aliasing, or edge smoothing, to perform on the image. In many cases, lower settings produce satisfactory results; a high setting can significantly increase rendering time.
The 4-Color Gradient effect produces a four-color gradient. You define the gradient by four effect points, the positions, and colors of which can be animated using the Positions & Colors controls. The gradient is composed of four solid-color circles blended together, each with an effect point as its center.
Jitter
The amount of jitter (noise) in the gradient. The jitter, which reduces banding, affects only those areas where banding could occur.
The Cell Pattern effect generates cellular patterns based on cellular noise. Use it to create static or moving background textures and patterns. The patterns can be used in turn as textured mattes, as transition maps, or as a source for displacement maps.
Cell Pattern
The cell pattern to use. HQ denotes high-quality patterns that render with more definition than their unmarked counterparts. Mixed Crystals is available only as a high-quality option.
Note: The Static Plates option is identical in appearance to the Plates option. However, when evolving, the static plates retain a uniform lightness value, whereas the plates shift the lightness of the cell pattern.
Contrast/Sharpness
Specifies the contrast of the cell pattern when you use the Bubbles, Crystals, Pillow, Mixed Crystals, or Tubular cell pattern. The control specifies sharpness for any of the Plate or Crystallize options.
Note: The contrast is affected by the option chosen in the Overflow menu.
Overflow
How the effect remaps values that fall outside the grayscale range of 0-255. Overflow isn’t available if sharpness-based cell patterns are chosen.
Clip
Values above 255 are mapped to 255. Values below 0 are mapped to 0. Contrast amount controls how much of the image falls outside the range 0-255; higher contrast amounts result in a mostly black or white image, with less gray. Therefore, less subtle cellular detail appears at higher contrast settings.
Disperse
How randomly the pattern is drawn. Lower values cause more uniform or grid-like cell patterns.
Tiling Options
Choose Enable Tiling to create a pattern built of repeating tiles. Cells Horizontal and Cells Vertical determine how many cells wide and how many cells high each tile is.
Evolution
Animating this setting results in changes of the pattern over time.
Note: Although the Evolution value is set in units called revolutions, it’s important to realize that these revolutions are progressive. The evolution state continues to progress infinitely at each new value. Use the Cycle Evolution option to return the Evolution setting to its original state at each revolution.
Evolution Options
Provide controls that render the effect for one short cycle and then loop it for the duration of your clip. Use these controls to pre-render the cell pattern elements into loops, and thus speed up rendering time.
Cycle
The number of revolutions of the Evolution setting that the cell pattern cycles through before it repeats. The timing of the Evolution cycles is determined by the amount of time between Evolution keyframes.
Note: The Cycle control affects only the state of the cell pattern, not geometrics or other controls, so you can get different results with different Size or Offset settings.
Random Seed
Specifies a value from which to generate the cell pattern. Animating this property results in flashing from one cell pattern to another within the same cell pattern type. For smooth transition of the cell pattern, use the Evolution control.
Note: Create new cell pattern animations by reusing previously created Evolution cycles and changing only the Random Seed value. Using a new Random Seed value alters the cell pattern without disturbing the evolution animation.
The Checkerboard effect creates a checkerboard pattern of rectangles, half of which are transparent.
Blending Mode
The blend mode to use to composite the checkerboard pattern on top of the original clip. The default None mode renders the checkerboard pattern only.
Edge
None creates a solid disk. The other options all create rings. Each option corresponds to a different set of properties that determine the shape and edge treatment of the ring:
Blending Mode
The blend mode used to combine the shape and the original clip. The default None displays only the shape, without the original clip.
The Eyedropper Fill effect applies a sampled color to the source clip. This effect is useful for quickly picking a solid color from a sample point on the original clip or picking a color value from one clip and using blend modes to apply this color to a second clip.
Maintain Original Alpha
When selected, the effect maintains the original clip’s alpha channel. If you choose Including Alpha from the Average Pixel Color menu, the original alpha is stenciled over the sampled color.
Blend With Original
The effect’s transparency. The result of the effect is blended with the original image, with the effect result composited on top. The higher you set this value, the less the effect affects the clip. For example, if you set this value to 100%, the effect has no visible result on the clip; if you set this value to 0%, the original image doesn’t show through.
Use the Grid effect to create a customizable grid. Render this grid in a color matte or as a mask in the alpha channel of the source clip. This effect is good for generating design elements and mattes within which other effects can be applied.
Border
The thickness of the grid lines. A value of 0 causes the grid to disappear.
Note: The anti-aliasing of the grid borders may cause the visible thickness to vary.
Blending Mode
The blend mode to use to composite the grid on top of the original clip. The default None mode renders the grid only.
The Lens Flare effect simulates the refraction caused by shining a bright light into the camera lens.
The Lightning effect creates lightning bolts, Jacob’s Ladders, and other electrical visuals between two specified points in a clip. The Lightning effect is automatically animated without keyframes across the time range of the clip.
Segments
The number of segments that form the main lightning bolt. Higher values produce more detail but reduce the smoothness of motion.
Detail Level, Detail Amplitude
How much detail is added to the lightning bolt and any branches. For Detail Level, typical values range from 2 through 3. For Detail Amplitude, a typical value is 0.3. Higher values for either control are best for still images but tend to obscure animation.
Branching
The amount of branching (forking) that appears at the ends of bolt segments. A value of 0 produces no branching; a value of 1.0 produces branching at every segment.
Branch Seg. Length
The length of each branch segment as a fraction of the average length of the segments in the lightning bolt.
Branch Segments
The maximum number of segments for each branch. To produce long branches, specify higher values for both Branch Seg. Length and Branch Segments.
Stability
How closely the lightning follows the line defined by the start and end points. Lower values keep the lightning bolt close to the line; higher values create significant bouncing.
Fixed Endpoint
Determines whether the end point of the lightning bolt remains fixed in place. If this control isn’t selected, the end of the bolt undulates around the end point.
Width, Width Variation
The width of the main lightning bolt and how much the width of different segments can vary. Width changes are randomized. A value of 0 produces no width changes; a value of 1 produces the maximum width changes.
Core Width
The width of the inner glow, as specified by the Inside Color value. Core Width is relative to the total width of the lightning bolt.
Outside Color, Inside Color
The colors used for the outer and inner glows of the lightning bolt. Because the Lightning effect adds these colors on top of existing colors in the composition, primary colors often produce the best results. Bright colors often become much lighter, sometimes becoming white, depending on the brightness of colors beneath.
Pull Force, Pull Direction
The strength and direction of a force that pulls the lightning bolt. Use the Pull Force value with the Stability value to create a Jacob’s Ladder appearance.
Random Seed
An input value for the random noise generator that’s the basis of the Lightning effect.
Note: The random movement of the lightning could interfere with another image in the clip. Try different values for Random Seed until you find one that works for the clip.
Rerun At Each Frame
Regenerates the lightning at each frame. To make the lightning behave the same way at the same frame every time you run it, don’t select this option. Selecting this option increases rendering time.
The Paint Bucket effect is a nondestructive paint effect that fills an area with a solid color. It works much like the Paint Bucket tool in Adobe Photoshop. Use Paint Bucket for colorizing cartoon-type outlined drawings or replacing areas of color in an image.
Jeff Sengstack explains how to use the Paint Bucket effect to change the color of an object in this lynda.com video from his tutorial -- Premiere Pro: Color Correction and Enhancement.
Fill Point
The effect fills an area that contains the Fill Point. The area is determined by analyzing pixels that neighbor the Fill Point and expanding the fill area by adding matching pixels. How far the fill color spreads depends upon the Tolerance setting, as well as the option you choose from the Fill Selector menu.
Tolerance
How far a pixel’s color values can be from the Fill Point color values and still match. Higher values expand the range of pixels that the effect fills.
View Threshold
Shows what pixels match—that is, which pixels are within the Tolerance value of the color values of the Fill Point pixel. This option is especially useful in tracking leaks. If there is a small gap, the color can flow over and fill areas not intended to be filled.
Blending Mode
The blend mode to use to composite the result of effect on top of the original clip. Use Fill Only to show only the fill.
Note: If you apply multiple instances of Paint Bucket to a clip, be sure not to set more than one to use the Fill Only blend mode. If you set more than one instance to use this blend mode, only the first application of the effect is shown.
The Ramp effect creates a color gradient. You can create linear or radial ramps and vary the position and colors of the ramp over time. Use the Start Of Ramp and End Of Ramp properties to specify the start and end positions. Use the Ramp Scatter control to disperse the ramp colors and eliminate banding.
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Ramps often don’t broadcast well; serious banding occurs because the broadcast chrominance signal doesn’t contain sufficient resolution to reproduce the ramp smoothly. The Ramp Scatter control dithers the ramp colors, eliminating the banding apparent to the human eye.
The Write-on effect animates strokes on a clip. For example, you can simulate the action of hand-writing of cursive text or signatures.
Stroke Length (Secs)
The duration, in seconds, of each brush mark. If this value is 0, the brush mark has unlimited duration. Use a single, constant, non-zero value to create a snakelike movement of the stroke. Animate this value to make the stroke expand and contract.
Brush Spacing (Secs)
The time interval, in seconds, between brush marks. Smaller values produce smoother paint strokes but take more time to render.
Paint Time Properties and Brush Time Properties
Specifies whether paint properties and brush properties are applied to each brush mark or to the entire stroke. Choose None to apply values at each time to all brush marks in the stroke. Choose a property name for each brush mark to retain the value for that property at the time that the brush mark was drawn. For example, if you choose Color, then each brush mark keeps the color specified by the Color value at the time that the mark was drawn.
The Black & White effect converts any color clip to grayscale; that is, colors appear as shades of gray. You cannot animate this effect with keyframes.
In the Effect Controls panel, click the box to the left of Black & White, if necessary, to turn on the Black & White effect. Click
that
appears in the box to toggle the effect off.
The Color Pass effect converts a clip to grayscale, with the exception of a single specified color. Use the Color Pass effect to highlight a particular area of a clip. For example, in a clip of a basketball game, you could highlight the basketball by selecting and preserving its color, while keeping the rest of the clip displayed in grayscale. Note, however, that with the Color Pass effect, you can isolate only colors, not objects within the clip.
The Color Replace effect replaces all occurrences of a selected color with a new color, preserving any gray levels. Using this effect, you could change the color of an object in an image by selecting it and then adjusting the controls to create a different color.
The Gamma Correction effect lightens or darkens a clip without substantially changing the shadows and highlights. It does this by changing the brightness levels of the midtones (the middle-gray levels), while leaving the dark and light areas unaffected. The default gamma setting is 10. In the effect’s Settings dialog box, you can adjust the gamma from 1 to 28.
Use the Alpha Adjust effect in place of the Opacity effect when you need to change the default render order of Fixed effects. Change the opacity percentage to create levels of transparency.
The following Alpha Adjust effect settings let you interpret the alpha channel in the clip:
The Ultra Key effect is GPU accelerated, for improved playback and rendering performance, in computers with a supported nVIDIA card.
Transparency
Controls the transparency of the source when keyed over a background. Values range from 0 through 100. 100 is fully transparent. 0 is opaque. The default value is 45.
Highlight
Increases the opacity of light areas of the source image. You can use Highlight to extract details like specular highlights on transparent objects. Values range from 0 through 100. The default value is 10. 0 does not affect the image.
Shadow
Increases the opacity of dark areas of the source image. You can use Shadow to correct a dark element that became transparent because of color spill. Values range from 0 through 100. The default value is 50. 0 does not affect the image.
Tolerance
Filters out colors in the foreground image from the background. Increases tolerance to variation from the key color. You can use Tolerance to remove artifacts caused by color shift. You can also use Tolerance to control spill on skin tones and dark areas. Values range from 0 through 100. The default value is 50. 0 does not affect the image.
Pedestal
Filters out noise, often caused by grainy or low light footage, from the alpha channel. Values range from 0 through 100. The default value is 10. 0 does not affect the image. The higher the quality of your source image, the lower you can set Pedestal.
Choke
Shrinks the size of the alpha channel matte. Performs a morphological Erode (fractional kernel size). Choke Level Values range from 0 through 100. 100 represents a 9x9 kernel. 0 does not affect the image. The default value is 0.
Soften
Blurs the edge of the alpha channel matte. Performs a box blur filter (fractional kernel size). Blur Level values range from 0 through 100. 0 does not affect the image. The default value is 0. 1.0 represents a 9x9 kernel.
Contrast
Adjusts the contrast of the alpha channel. Values range from 0 through 100. 0 does not affect the image. The default value is 0.
Mid Point
Chooses the balance point for the contrast value. Values range from 0 through 100. 0 does not affect the image. The default value is 50.
Desaturate
Controls the saturation of the color channel background color. Desaturates colors that are close to being fully transparent. Values range from 0 through 50. 0 does not affect the image, The default value is 25.
Range
Controls the amount of spill that is corrected. Values range from 0 through 100. 0 does not affect the image. The default value is 50.
Spill
Adjusts the amount of spill compensation. Values range from 0 through 100. 0 does not affect the image. The default value is 50.
Luma
Works with the alpha channel to restore the original luminance of the source. Values range from 0 through 100. 0 does not affect the image. The default value is 50.
Saturation
Controls the saturation of the foreground source. Values range from 0 through 200. A setting of zero removes all chroma. The default value is 100.
Luminance
Controls the luminance of the foreground source. Values range from 0 through 200. 0 is black. 100 is 4x. The default value is 100.
The Color Key effect keys out all image pixels that are similar to a specified key color. This effect modifies only the alpha channel of a clip.
When you key out a color value in a clip, that color or range of colors becomes transparent for the entire clip. Control the range of transparent colors by adjusting the tolerance level. You can also feather the edges of the transparent area to create a smooth transition between the transparent and opaque areas.
The Difference Matte effect creates transparency by comparing a source clip with a difference clip, and then keying out pixels in the source image that match both the position and color in the difference image. Typically, it’s used to key out a static background behind a moving object, which is then placed on a different background. Often the difference clip is simply a frame of background footage (before the moving object has entered the scene). For this reason, the Difference Matte effect is best used for scenes that have been shot with a stationary camera and an unmoving background.
A. Original image B. Background image C. Image on second track D. Final composite image
The Difference Matte creates transparency by comparing a specified still image with a specified clip and then eliminating areas in the clip that match those in the image. This key can be used to create special effects. Depending on the clip, it’s possible to use Difference Matte to key out a static background and replace it with another still or moving image.
You can create the matte by saving a frame from a clip that shows the static background before the moving object enters the scene. For best results, neither the camera nor anything in the background should move.
The following Difference Matte settings are adjusted in the Effect Controls panel:
Matching Tolerance
Specifies the degree to which the matte must match the foreground in order to be keyed.
Matching Softness
Specifies the degree of softness at the edges of the matte.
Note: The RGB Difference Key uses color to define transparency much as the Difference Matte uses a still image.
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the settings you adjust.The Image Matte Key effect keys out areas of a clip’s image based on the luminance values of a still image clip, which serves as a matte. The transparent areas reveal the image produced by clips in lower tracks. You can specify any still image clip in the project to serve as the matte; it does not have to be in the sequence. To use a moving image as the matte, use the Track Matte Key effect instead.
The Image Matte Key determines transparent areas based on a matte image’s alpha channel or brightness values. To get the most predictable results, choose a grayscale image for your image matte, unless you want to alter colors in the clip. Any color in the image matte removes the same level of color from the clip you are keying. For example, white areas in the clip that correspond to red areas in the image matte appear blue-green (since white in an RGB image is composed of 100% red, 100% blue, and 100% green); because red also becomes transparent in the clip, only blue and green colors remain at their original values.
Note: You can use the Titler to create shapes and text to use as mattes.
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to the image being used as the matte, and then click Open to select
the image.The Luma Key effect keys out all the regions of a layer with a specified luminance or brightness.
Use this effect if the object from which you want to create a matte has a greatly different luminance value than its background. For example, if you want to create a matte for musical notes on a white background, you can key out the brighter values; the dark musical notes become the only opaque areas.
Threshold
Specifies the range of darker values that are transparent. Higher values increase the range of transparency.
Cutoff
Sets the opacity of nontransparent areas specified by the Threshold slider. Higher values increase transparency.
Tip: You can also use the Luma Key effect to key out light areas by setting Threshold to a low value and Cutoff to a high value.
The Non Red Key effect creates transparency from green or blue backgrounds. This key is similar to the Blue Screen Key effect, but it also lets you blend two clips. In addition, the Non Red Key effect helps reduce fringing around the edges of nontransparent objects. Use the Non Red Key effect to key out green screens when you need to control blending, or when the Blue Screen Key effect doesn’t produce satisfactory results.
The following Non Red Key effect settings are adjusted in the Effect Controls panel:
Threshold
Sets the levels of blue or green that determine transparent areas in the clip. Dragging the Threshold slider to the left increases the amount of transparency. Use the Mask Only option to view the black (transparent) areas as you move the Threshold slider.
Cutoff
Sets the opacity of nontransparent areas specified by the Threshold slider. Higher values increase transparency. Drag to the right until the opaque area reaches a satisfactory level.
Defringing
Removes residual green or blue screen color from the edges of the opaque areas of a clip. Choose None to disable defringing. Choose Green or Blue to remove a residual edge from green-screen or blue-screen footage, respectively.
Smoothing
Specifies the amount of anti-aliasing (softening) that Premiere Pro applies to the boundary between transparent and opaque regions. Choose None to produce sharp edges, with no anti-aliasing. This option is useful when you want to preserve sharp lines, such as those in titles. Choose Low or High to produce different amounts of smoothing.
Mask Only
Displays only the clip’s alpha channel. Black represents transparent areas, white represents opaque areas, and gray represents partially transparent areas.
The Remove Matte effect removes color fringes from clips that are premultiplied with a color. It is useful when combining alpha channels with fill textures from separate files. If you import footage with a premultiplied alpha channel, or if you create alpha channels with After Effects, you may need to remove halos from an image. Halos are caused by a large contrast between the image's color and the background, or matte, color. Removing or changing the color of the matte can remove the halos.
Use Background Color to specify the new background color when you want to change the color of a matte.
If you imported a clip that contains a solid black or white matte that’s premultiplied (merged into the RGB channels instead of stored in the alpha channel), you can remove the black or white background.
The Track Matte Key reveals one clip (background clip) through another (superimposed clip), using a third file as a matte that creates transparent areas in the superimposed clip. This effect requires two clips and a matte, each placed on its own track. White areas in the matte are opaque in the superimposed clip, preventing underlying clips from showing through. Black areas in the matte are transparent, and gray areas are partially transparent.
A matte containing motion is called a traveling matte or moving matte. This matte consists of either motion footage, such as a green-screen silhouette, or a still image matte that has been animated. You can animate a still by applying the Motion effect to the matte. If you animate a still image, consider making the matte frame size larger than the sequence frame size so that the edges of the matte don’t come into view when you animate the matte.
Use the Title panel to create text or shapes (grayscale only), save the title, and then import the file as your matte.
Apply the Chroma, RGB Difference, Difference Matte, Blue Screen, or Non Red Key to any clip and then select the Mask Only option.
Use Adobe Illustrator or Adobe Photoshop to create a grayscale image and import it into Premiere Pro.
The Track Matte Key effect creates transparent areas in a clip that correspond to the luminance levels of another clip. Transparent areas reveal the image produced by clips in lower tracks. Exclude the matte clip from the output by selecting the clip and choosing Clip > Enable.
You can use the Track Matte Key effect to blur and obscure faces, license plate numbers, or other identifying features. Television programs use this effect to protect the identities of their subjects.
The Dust & Scratches effect reduces noise and defects by changing dissimilar pixels within a specified radius to be more like their neighboring pixels. To achieve a balance between sharpness of the image and hiding defects, try various combinations of radius and threshold settings.
Radius
How far the effect searches for differences among pixels. High values make the image blurry. Use the smallest value that eliminates the defects.
Threshold
How different pixels can be from their neighbors without being changed by the effect. Use the highest value that eliminates the defects.
The Median effect replaces each pixel with a pixel that has the median color value of neighboring pixels with the specified Radius. At low Radius values, this effect is useful for reducing some types of noise. At higher Radius values, this effect gives an image a painterly appearance.
Noise Type
Use Color Noise to add random values to the red, green, and blue channels individually. Otherwise, the same random value is added to all channels for each pixel.
Noise
The type of noise. Unique Random creates equal amounts of black and white noise. Squared Random creates high-contrast noise. Uniform Animation creates animated noise, and Squared Animation creates animated high-contrast noise.
Random Seed
An input value to the random number generator for the noise. This control is active only if you choose Uniform Random or Squared Random.
Tip: To produce flashing noise, animate the Random Seed control. To create smoothly animated noise, animate the Noise Phase value.
Noise Phase
Specifies the placement of noise. This control is active only if you choose Uniform Animation or Squared Animation.
Noise Options (Animation)
How noise is animated.
Alter the timing of the Noise Phase keyframes to adjust the speed of the Noise Phase cycles.
The Noise HLS effect generates static noise in clips that use still or moving source footage. The Noise HLS Auto effect automatically creates animated noise. Both effects offer various types of noise that can be added to the hue, saturation, or lightness of a clip. Controls for these effects are the same except for the final control that determines noise animation.
Noise
The type of noise. Unique Random creates equal amounts of black and white noise. Squared Random creates high-contrast noise. Uniform Animation creates animated noise, and Squared Animation creates animated high-contrast noise. Grain produces grain-like noise similar to film grain.
Noise Phase (Noise HLS only)
An input value to the random number generator for the noise. When you set keyframes for Noise Phase, the effect cycles through the phases to create animated noise. Greater value differences between keyframes increase the speed of the noise animation.
Noise Animation Speed (Noise HLS Auto only)
The speed of the noise animation. To accelerate or decelerate the noise animation, animate this property.
The Basic 3D effect manipulates a clip in 3D space. You can rotate an image around horizontal and vertical axes and move it toward or away from you. With Basic 3D, you can also create a specular highlight to give the appearance of light reflecting off a rotated surface. The light source for the specular highlight is always above, behind, and to the left of the viewer. Because the light comes from above, the image must be tilted backward to see this reflection. Specular highlights can enhance the realism of the 3D appearance.
Swivel
Controls horizontal rotation (rotation around a vertical axis). You can rotate past 90° to see the back side of the image, which is the mirror image of the front.
Distance To Image
Specifies the image’s distance from the viewer. As the distance gets larger, the image recedes.
Specular Highlight
Adds a glint of light that reflects off the surface of the rotated image, as though an overhead light were shining on the surface. If Draw Preview Wireframe is selected, the specular highlight is indicated by a red plus sign (+) if it isn’t visible on the clip (the center of the highlight doesn’t intersect the clip) and a green plus sign (+) if the highlight is visible. You must render a preview before the Specular Highlight effect becomes visible in the Program Monitor.
Preview
Draws a wireframe outline of the 3D image. The wireframe outline renders quickly. To see your final results, deselect Draw Preview Wireframe when you finish manipulating the wireframe image.
The Bevel Alpha effect adds a beveled edge and lights to the alpha boundaries of an image, often giving 2D elements a 3D appearance. If the clip has no alpha channel or if the clip is completely opaque, then the effect is applied to the edges of the clip. The edge created by this effect is somewhat softer than that created by the Bevel Edges effect. This effect works well with text containing an alpha channel.
The Bevel Edges effect gives a chiseled and lighted 3D appearance to the edges of an image. Edge locations are determined by the alpha channel of the source image. Unlike Bevel Alpha, the edges created in this effect are always rectangular, so images with non rectangular alpha channels don’t produce the proper appearance. All edges have the same thickness.
The Drop Shadow effect adds a shadow that appears behind the clip. The shape of the Drop Shadow is determined by the clip’s alpha channel.
When you add a drop shadow to a clip, a soft-edged outline of the clip’s alpha channel appears behind it, as if a shadow is cast on the background or underlying objects.
Unlike most other effects, Drop Shadow can create a shadow outside the bounds of the clip (the dimensions of the clip’s source).
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Because Drop Shadow works best when it’s the last effect rendered, apply this effect after applying all other effects. You can create a more realistic-looking shadow on animated clips by applying and animating the Motion or Basic 3D effect prior to applying Drop Shadow instead of animating the Fixed Motion effect because Fixed effects are rendered after Standard effects.
The Radial Shadow effect creates a shadow from a point light source over the clip it’s applied to, rather than from an infinite light source (as with the Drop Shadow effect). The shadow is cast from the alpha channel of the source clip, allowing the color of that clip to influence the color of the shadow as light passes through semitransparent areas.
Shadow Color
The color of the shadow.
Note: The colors of the clip may override the Shadow Color if you choose Glass Edges from the Render control menu. See the Render and Color Influence controls for more information.
Light Source
The location of the point light source.
Tip: Copy and paste position keyframes from another effect (for example, Lens Flare) to quickly create a shadow that matches the other effect’s light source.
Projection Distance
The distance from the clip to the surface on which the shadow falls. The shadow appears larger as this value increases.
Render
The type of shadow:
The more transparent the pixels in the clip are, the closer the shadow color matches the colors of the clip. If the clip contains no semitransparent pixels, Glass Edge has little result.
Note: Anti-aliased edges produce colors in a shadow edge if you choose Glass Edge, even if the clip is fully opaque. The clip’s colors shine through these anti-aliased edges, and the Shadow Color fills the center of the shadow.
Color Influence
The fraction of the clip’s color values that appear in the shadow. At 100%, the shadow takes on the color of any semitransparent pixels in the clip. If the clip contains no semitransparent pixels, Color Influence has little result, and the Shadow Color value determines the shadow’s color. Decreasing the Color Influence value blends the colors of the clip in the shadow with the Shadow Color. Increasing Color Influence reduces the influence of the Shadow Color.
The Alpha Glow effect adds color around the edges of a masked alpha channel. You can have a single color either fade out or change to a second color as it moves away from the edge.
Glow
Controls how far the color extends from the alpha channel edge. Higher settings produce larger glows (and can cause very slow processing before playback or export).
The Brush Strokes effect applies a rough painted look to an image. You can also use this effect to achieve a pointillist style by setting the length of the brush strokes to 0 and increasing the stroke density. Although you specify the direction of strokes, they are scattered randomly by a small amount to give a more natural result. This effect alters the alpha channel, as well as the color channels; if you’ve masked out a portion of the image, the brush strokes paint over the edges of the mask.
Stroke Angle
The direction in which the strokes are made. The image is effectively shifted in this direction, which may cause some clipping at the clip boundaries.
Stroke Randomness
Creates nonuniform strokes. The more randomness, the more the strokes vary from the brush and stroke settings you specify.
Blend With Original
The effect’s transparency. The result of the effect is blended with the original image, with the effect result composited on top. The higher you set this value, the less the effect affects the clip. For example, if you set this value to 100%, the effect has no visible result on the clip; if you set this value to 0%, the original image doesn’t show through.
The Color Emboss effect works like the Emboss effect, without suppressing the image’s original colors.
The Emboss effect sharpens the edges of objects in the image and suppresses colors. The effect also highlights the edges from a specified angle.
Relief
The apparent height of the embossing, in pixels. The Relief setting actually controls the maximum width of highlighted edges.
Blend With Original
The effect’s transparency. The result of the effect is blended with the original image, with the effect result composited on top. The higher you set this value, the less the effect affects the clip. For example, if you set this value to 100%, the effect has no visible result on the clip; if you set this value to 0%, the original image doesn’t show through.
The Find Edges effect identifies the areas of the image that have significant transitions and emphasizes the edges. Edges can appear as dark lines against a white background or colored lines against a black background. If the Find Edges effect is applied, images often look like sketches or photographic negatives of the original.
Invert
Inverts the image after the edges are found. When Invert isn’t selected, edges appear as dark lines on a white background. When Invert is selected, edges appear as bright lines on a black background.
The Mosaic effect fills a clip with solid-color rectangles, pixelating the original image. This effect is useful for simulating low-resolution displays and for obscuring faces. You can also animate it for a transition.
Sharp Colors
Gives each tile the color of the pixel in the center of the corresponding region in the original image. Otherwise, each tile is given the average color of the corresponding region in the original image.
The Posterize effect lets you specify the number of tonal levels (or brightness values) for each channel in an image. The Posterize effect then maps pixels to the closest matching level. For example, choosing two tonal levels in an RGB image gives you two tones for red, two tones for green, and two tones for blue. Values range from 2 to 255.
The Replicate effect divides the screen into tiles and displays the whole image in each tile. Set the number of tiles per column and row by dragging the slider.
The Roughen Edges effect roughs up the edges of a clip’s alpha channel by using calculations. It gives rasterized text or graphics a naturally rough look, like that of eroded metal or typewriter text.
Edge Color
The color to apply to the edge for Rusty Color or Roughen Color, or to the fill for Photocopy Color.
Complexity
Determines the level of detail in the roughness.
Note: Increasing complexity results in longer rendering times. Reduce the Scale value rather than increasing Complexity to achieve similar results.
Evolution
Animating this setting results in changes of the roughness over time.
Note: Although the Evolution value is set in units called revolutions, it’s important to realize that these revolutions are progressive. The evolution state continues to progress infinitely at each new value. Use the Cycle Evolution option to return the Evolution setting to its original state at each revolution.
Evolution Options
Provide controls that render the effect for one short cycle and then loop it for the duration of your clip. Use these controls to prerender the roughen elements into loops, and thus speed up rendering time.
Cycle (In Revolutions)
The number of revolutions of the Evolution setting that the fractal cycles through before it repeats. The timing of the Evolution cycles is determined by the amount of time between Evolution keyframes.
Note: The Cycle control affects only the state of the fractal, not geometrics or other controls, so you can get different results with different Size or Offset settings.
Random Seed
Specifies a value from which to generate the fractal noise. Animating this property results in flashing from one set of fractal shapes to another within the same fractal type. For smooth transition of the fractal noise, use the Evolution control.
Note: Create new roughness animations by reusing previously created Evolution cycles and changing only the Random Seed value. Using a new Random Seed value alters the noise pattern without disturbing the evolution animation.
The Solarize effect creates a blend between a negative and positive image, causing the image to appear to have a halo. This effect is analogous to briefly exposing a print to light during developing.
The Strobe Light effect performs an arithmetic operation on a clip or makes the clip transparent at periodic or random intervals. For example, every five seconds the clip could become completely transparent for one-tenth of a second, or a clip’s colors could invert at random intervals.
Blend With Original
The effect’s transparency. The result of the effect is blended with the original image, with the effect result composited on top. The higher you set this value, the less the effect affects the clip. For example, if you set this value to 100%, the effect has no visible result on the clip; if you set this value to 0%, the original image doesn’t show through.
Strobe
Choose Makes Layer Transparent for each strobe to make the clip transparent. Choose Operates On Color Only to use the operation specified by Strobe Operator.
The Texturize effect gives a clip the appearance of having the texture of another clip. For example, you could make the image of a tree appear as if it had the texture of bricks, and you can control the depth of the texture and the apparent light source.
The Threshold effect converts grayscale or color images to high-contrast, black-and-white images. Specify a luminance level as a threshold; all pixels that are as bright as or brighter than the threshold are converted to white, and all darker pixels are converted to black.
The Echo effect combines frames from different times in a clip. The Echo effect has a variety of uses, from a simple visual echo to streaking and smearing effects. The results of this effect are visible only if the clip contains motion. By default, any previously applied effects are ignored when you apply the Echo effect.
Echo Time (seconds)
The time, in seconds, between echoes. Negative values create echoes from previous frames; positive values create echoes from upcoming frames.
Number of Echoes
The number of echoes. For example, if the value is 2, the result is a combination of three frames: the current time, the current time + Echo Time, and the current time + (2 x Echo Time).
Decay
The ratio of the opacity of an echo to the opacity of the echo preceding it in the echo sequence. For example, if Decay is 0.5, then the opacity of the first echo is half of the Starting Intensity; the second echo is half that, or one quarter of the Starting Intensity.
The Posterize Time effect locks a clip to a specific frame rate. Posterize Time is useful on its own as a special effect, but it also has more subtle uses. For example, 60-field video footage can be locked to 24 fps (and then field rendered at 60 fields per second) to give a filmlike look. This effect is sometimes called Strobe in hardware devices.
Animating the value of the Frame Rate slider can give unpredictable results. For this reason, the only interpolation method allowed for the frame rate is Hold.
The Camera View effect distorts a clip by simulating a camera viewing the clip from different angles. By controlling the location of the camera, you distort the shape of the clip.
Longitude
Moves the camera horizontally. The effect makes the clip appear to be flipping horizontally.
Focal length
Changes the focal length of the camera lens. Shorter lengths provide wider views, whereas longer focal lengths provide narrower but closer views.
Fill Alpha Channel
Makes the background transparent (useful if the clip with the effect is superimposed). In the Effect Controls panel, click Setup to access this option.
The Crop effect trims pixels from the edges of a clip.
The Left, Top, Right, and Bottom properties specify what percentage of the image to remove.
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You can directly manipulate the crop in the Program Monitor. Click the Transform icon next to Crop in the Effect Controls panel. Drag the corner handles in the Program Monitor.
The Edge Feather effect lets you vignette the video in a clip by creating a soft black border on all four sides. The border width is controlled by entering an Amount value.
The Horizontal Flip effect reverses each frame in a clip from left to right; however, the clip still plays in a forward direction.
The Horizontal Hold effect skews the frames to the left or to the right; the effect is similar to the horizontal hold setting on a television set. Drag the slider to control the clip’s slant.
The Vertical Hold effect scrolls the clip upward; the effect is similar to adjusting the vertical hold on a television set. Keyframes cannot be applied to this effect.
Transition effects can be used in place of transitions for added controls. For the appearance of a transition effect, overlap clips on different video tracks, adding the effect to the overlapping clip. Keyframe the Animation Completion parameter to ramp the effect as a transition effect.
The Block Dissolve effect makes a clip disappear in random blocks. The width and height of the blocks, in pixels, can be set independently.
The Gradient Wipe effect causes pixels in the clip to become transparent based on the luminance values of corresponding pixels in another video track, called the gradient layer. Dark pixels in the gradient layer cause the corresponding pixels to become transparent at a lower Transition Completion value. For example, a simple grayscale gradient layer that goes from black on the left to white on the right causes the underlying clip to be revealed from left to right as Transition Completion increases.
For more information about using and creating a Gradient Wipe transition, see this tutorial video by Dennis Radeke.
The gradient layer can be a still image or a moving image. The gradient layer must be in the same sequence as the clip to which you apply Gradient Wipe.
You can create gradient layers in many ways, such as using the Ramp effect or creating them in Photoshop or Illustrator.
Transition Softness
The degree to which the transition is gradual for each pixel. If this value is 0%, pixels in the clip to which the effect is applied are either completely opaque or completely transparent. If this value is greater than 0%, pixels are semitransparent at the intermediate stages of the transition.
Gradient Placement
How the gradient layer’s pixels are mapped to the pixels of the clip to which the effect is applied:
Invert Gradient
Inverts the gradient layer’s influence; lighter pixels in the gradient layer create transparency at a lower Transition Completion value than do darker pixels.
You can use a grayscale image as a gradient wipe. In a gradient wipe, image B fills the black area of the grayscale image and then shows through each level of gray as the transition progresses until the white area becomes transparent.
To preview the transition, drag the current-time indicator through the transition in a Timeline panel.
Wipe Angle
The direction that the wipe travels. For example, at 90° the wipe travels from left to right.
The Radial Wipe effect reveals an underlying clip using a wipe that circles around a specified point.
Start Angle
The angle at which the transition starts. With a start angle of 0°, the transition starts at the top.
Wipe
Specifies whether the transition moves clockwise or counterclockwise, or alternates between the two.
The Venetian Blinds effect reveals an underlying clip using strips of specified direction and width.
The Cineon Converter effect provides a high degree of control over color conversions of Cineon frames. To use the Cineon Converter effect, import a Cineon file and add the clip to a sequence. You can then apply the Cineon Converter effect to the clip and precisely adjust the colors while interactively viewing the results in the Program monitor. Set keyframes to adjust for changes in tone over time—use keyframe interpolation and ease handles to precisely match the most irregular lighting changes, or leave the file in its default state and use the converter.
The 10 bits of data available in each Cineon channel for each pixel make it easier to enhance an important range of tones while preserving overall tonal balance. By carefully specifying the range, you can create a version of the image that faithfully resembles the original.
10 Bit Black Point
The black point (minimum density) for converting a 10-bpc logarithmic Cineon clip.
10 Bit White Point
The white point (maximum density) for converting a 10-bpc logarithmic Cineon clip.
Highlight Rolloff
The rolloff value used to correct bright highlights. If adjusting the brightest areas makes the rest of the image appear too dark, use Highlight Rolloff to adjust these bright highlights. If highlights appear as white blotches, increase Highlight Rolloff until details are visible. An image with high contrast may require a high rolloff value.
To conform HDR media to SDR, choose Effects panel > Video Effects > Video > SDR Conform. SDR conform is also available in the Effects tab of the Export settings.
The Clip Name effect overlays the clip name display on your video to make pinpointing scenes and collaborating with team members and clients easier. Settings in the Clip Name effect let you control the display position, size, and opacity, as well as display and sound track.
Position Adjusts the horizontal and vertical position of the clip name.
Size Specifies the size of text.
Opacity Specifies the opacity of the black box behind the timecode.
Display Specifies whether to display sequence clip name, project clip name, or the clip file name.
Sound Track Specifies which video track name should be displayed.
The Timecode effect overlays a timecode display on your video to make pinpointing scenes and collaborating with team members and clients easier. The timecode display indicates whether the clip is progressive or interlaced. If the clip is interlaced video, the symbol indicated whether the frame is the upper or lower field. Settings in the Timecode effect let you control the display position, size, and opacity, as well as format and source options.
Format
Specifies whether timecode is displayed in the SMPTE format, in frame numbers, or in feet and frames of 35mm or 16mm film.
Time Display
Sets the time base used by the Timecode effect. By default, this option is set to the project time base when the Timecode Source is set to Clip.
Offset
Adds or subtracts frames from the displayed timecode. The offset slider has a limit of plus or minus 50 frames. For higher numbers, click the Offset hot text and type the number of frames.
Label Text
Displays a three character label to the left of the timecode. Choose from None, Automatic, and Camera 1 through Camera 9.
Additive Dissolve adds the color information from clip B to clip A, and then subtracts the color information of clip A from clip B.
Dither Dissolve fades clip A to clip B using a dithering algorithm. You can specify any of the following options:
- Border Width Increases the size o the dithering. The default is zero.
- Border Color Determines the color used for the dithering. The default is black.
- Anti-aliasing Quality The default is Off.
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