Learn about the wide array of video effects and transitions available in Premiere Pro, what they do, and how and when to use them.
- Transitions In Adobe Premiere Elements
- Transitions In Adobe Premiere Pro Cc
- Transition In Adobe Premiere Yo
For audio effects and transitions, see Audioeffects and transitions.
Premiere Pro provides many transitions, including dissolves, wipes, slides, and zooms. These transitions are organized in bins by type. Kevin Monahan shows how to create transitions based on effects in an article on the Adobe website: using effects as transitions in Adobe Premiere Pro in this blog post. This transition by Justin Odisho is a basic one that everyone should know. This is possibly one of the most well known and popular Adobe Premiere transitions, and works with anything, from documentaries, to vlogs, and everything in between.
Auto Color, Auto Contrast, andAuto Levels effects
The Auto Color, Auto Contrast, and Auto Levels effectsmake quick global adjustments to a clip. Auto Color adjusts contrastand color by neutralizing the midtones and clipping the white andblack pixels. Auto Contrast adjusts the overall contrast and mixtureof colors, without introducing or removing color casts. Auto Levelsautomatically corrects the highlights and shadows. Because AutoLevels adjusts each color channel individually, it may remove orintroduce color casts.
Each effect has one or more of the following settings:
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.
If this option is selected, frames beyond a scene changeare ignored when the effect analyzes surrounding frames for temporalsmoothing.
Identifies an average nearly neutral color in the frame andthen adjusts the gamma values to make the color neutral.
How much of the shadows and highlights are clipped to thenew extreme shadow and highlight colors in the image. Be carefulof setting the clipping values too large, as doing so reduces detailin the shadows or highlights. A value between 0.0% and 1% is recommended.By default, shadow and highlight pixels are clipped by 0.1%—thatis, the first 0.1% of either extreme is ignored when the darkestand lightest pixels in the image are identified; those pixels arethen mapped to output black and output white. This clipping ensures thatinput black and input white values are based on representative ratherthan extreme pixel values.
Determines the effect’s transparency. The result of the effectis blended with the original image, with the effect result compositedon top. The higher you set this value, the less the effect affectsthe clip. For example, if you set this value to 100%, the effecthas 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 brightnessvalues of each pixel in the clip according to a mathematical operationknown as a convolution. A convolution overlays a matrixof numbers onto a matrix of pixels, multiplies each underlying pixel'svalue by the number that overlays it, and replaces the central pixel's valuewith the sum of all of these multiplications. This is performedfor each pixel in the image.
The Convolution Kernel Settings include a set of controls thatrepresent cells in a 3x3 grid of pixel brightness multipliers. Labelson the controls, which begin with the letter “M,” indicate theirposition in the matrix. The M11 control, for example, affects thecell in the first row and first column of the grid; the M32 controlaffects the cell in the third row and second column. The pixel beingevaluated falls in the center of the grid, at the M22 location.Use this effect for fine control over the properties of variousemboss, blur, and sharpen effects. For a given effect, it is easierto apply one of the Convolution Kernel presets and to modify it,than to create the effect from scratch using the Convolution Kerneleffect itself.
Convolution Kernel pixel grid, showing the position of eachcontrol in the matrix
The Extract effect removes colors from a video clip,creating a grayscale image. Pixels with luminance values less thanthe Black Input Level or greater than the White Input Level aremade black. Everything between those points will appear gray orwhite.
Note:
The controls for this effect are similar to those of the Extracteffect in Adobe After Effects, but the purpose and resultsof the effect are different.
The Levels effect manipulates the brightness and contrastof a clip. It combines the functions of the Color Balance, GammaCorrection, Brightness & Contrast, and Invert effects. Thiseffect functions much the same as the Levels effect in After Effects.
The Levels Settings dialog box displays a histogram of the currentframe (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 amplifierfound 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.
If this option is selected, the Shadow Amount and Highlight Amountvalues are ignored, and automatically determined amounts are used thatare appropriate for lightening and restoring detail to the shadows.Selecting this option also activates the Temporal Smoothing control.
The amount to lighten shadows in the image. This controlis active only if you deselect Auto Amounts.
The amount to darken highlights in the image. This control isactive only if you deselect Auto Amounts.
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.
If this option is selected, frames beyond a scene changeare ignored when surrounding frames are analyzed for temporal smoothing.
The effect’s transparency. The result of the effect is blendedwith 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 visibleresult on the clip; if you set this value to 0%, the original imagedoesn’t show through.
Expand the More Options category toreveal the following controls:
The range of adjustable tones in the shadows and highlights.Lower values restrict the adjustable range to only the darkest andlightest regions, respectively. Higher values expand the adjustablerange. 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 ShadowAmount, you are lightening only the darkest areas of an image. Specifyinga value that is too large for a given image might introduce halosaround strong dark to light edges. The default settings attemptto reduce these artifacts. They can be further reduced by decreasingthese values.
The radius (in pixels) of the area around a pixel that theeffect uses to determine whether the pixel resides in a shadow or ahighlight. Generally, this value should roughly equal the size ofthe subject of interest in your image.
The amount of color correction that the effect applies to the adjusted shadows and highlights. For example, if you increase the Shadow Amount value, you bring out colors that were dark in the original image; you may want these colors to be more vivid. The higher the Color Correction value, the more saturated these colors become. The more significant the correction that you make to the shadows and highlights, the greater the range of color correction available.
Note: If you want to change the color over the whole image, use the Hue/Saturation effect after applying the Shadow/Highlight effect.
The amount of contrast that the effect applies to the midtones.Higher values increase the contrast in the midtones alone, while concurrentlydarkening the shadows and lightening the highlights. A negative valuereduces contrast.
How much of the shadows and highlights are clipped to thenew extreme shadow and highlight colors in the image. Be carefulof setting the clipping values too large, as doing so reduces detailin the shadows or highlights. A value between 0.0% and 1% is recommended.By default, shadow and highlight pixels are clipped by 0.1%—thatis, the first 0.1% of either extreme is ignored when the darkestand lightest pixels in the image are identified. These are thenmapped to output black and output white, ensuring that input black andinput white values are based on representative rather than extremepixel values.
The Camera Blur effect simulates an image leaving thefocal range of the camera, blurring the clip. For example, by settingkeyframes for the blur, you can simulate a subject coming into orgoing out of focus, or the accidental bumping of the camera. Dragthe slider to specify a blur amount for the selected keyframe; higher valuesincrease the blur.
The Channel Blur effect blurs a clip’s red, green, blue,or alpha channels individually. You can specify that the blur ishorizontal, vertical, or both.
Repeat Edge Pixels blurs the pixels beyond the edge of the clipas though they have the same values as the edge pixels. This effectkeeps edges sharp, preventing the edges from darkening and becomingmore transparent—which would result from them being averaged withmany zeroes. Deselect this option to make the blur algorithm operateas if the pixel values beyond the edge of the clip are zero.
The Compound Blur effect blurs pixels based on the luminancevalues of a control clip, also known as a blur layer or blurringmap. By default, bright values in the blur layer correspondto more blurring of the effect clip. Dark values correspond to lessblurring. 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.
Original (left), blur layer (center), and result (right)
The maximum amount, in pixels, that any part of the affected clipcan be blurred.
Stretches the control clip to the dimensions of the clipto which it is applied; otherwise, the control clip is centeredon the effect clip.
The Directional Blur effect gives a clip the illusionof motion.
Original (left), and with effect applied (right)
The direction of the blur. The blur is applied equally oneither side of a pixel’s center. Therefore, a setting of 180° anda setting of 0° look the same.
Fast Blur is a close approximation of Gaussian Blur,but Fast Blur blurs large areas more quickly.
Original (left), and with effect applied (right)
The Gaussian Blur effect blurs and softens the imageand eliminates noise. You can specify that the blur is horizontal,vertical, or both.
The Sharpen effect increases the contrast where colorchanges occur.
The Unsharp Mask effect increases the contrast betweencolors that define an edge.
Original (left), and with effect applied (right)
The distance from the edge at which pixels are adjusted forcontrast. If you specify a low value, only pixels near the edgeare adjusted.
The greatest difference between adjacent pixels for whichcontrast isn’t adjusted. A lower value produces a greater result.A value that is too low causes an adjustment to the contrast ofthe entire image. A low value can also generate noise or cause unexpectedresults.
The Arithmetic effect performs various simple mathematicaloperations on an image’s red, green, and blue channels.
The operation to perform between the value you specify foreach channel and the existing value of that channel for each pixelin the image:
Apply bitwise logical operations.
Apply basic math functions.
Set the pixel’s channel value to the greater of the specifiedvalue and the pixel’s original value.
![Premiere Premiere](/uploads/1/2/4/8/124869944/856436599.jpg)
Set the pixel’s channel value to the lesser of the specifiedvalue and the pixel’s original value.
Set the pixel’s channel value to 0 if the pixel’s originalvalue is greater than the value specified; otherwise, leave theoriginal value.
Set the pixel’s channel value to 0 if the pixel’s originalvalue is less than the value specified; otherwise, leave the originalvalue.
Set the pixel’s channel value to 1.0 if the pixel’s originalvalue is above the specified value; otherwise, set the value to0. In both cases, the values for the other color channels are setto 1.0.
Apply a screen.
Prevents all functions from creating color values that exceed thevalid range. If this option isn’t selected, some color values maywrap around.
The Blend effect blends two clips using one of fivemodes. After you blend clips using this effect, disable the clipyou selected from the Blend With Layer menu. Select the clip andchoose Clip > Enable.
The clip to blend with (the secondary or control layer).
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.
The effect’s transparency. The result of the effect is blendedwith 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 visibleresult on the clip. If you set this value to 0%, the original imagedoes not show through.
Specifies how to position the control layer.
The Calculations effect combines the channels of oneclip with the channels of another clip.
Original images (left and center), and with effect applied(right)
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.
Inverts the clip before the effect extracts the specifiedchannel information.
The video track with which Calculations blends the originalclip.
The channel to be blended with the input channels.
The opacity of the second video track. Set to 0% for the secondvideo track to have no influence on the output.
Inverts the second video track before the effect extracts thespecified channel information.
Stretches the second video track to the dimensions of theoriginal clip before blending. Deselect this option to center the secondvideo track on the original clip.
Ensures that the original layer’s alpha channel isn’t modified.
The Compound Arithmetic effect mathematically combinesthe clip to which it’s applied with a control layer. The CompoundArithmetic effect is intended only to provide compatibility withprojects created in earlier versions of After Effects that use theCompound Arithmetic effect.
Specifies the video track to use with the current clip inthe given operation.
Specifies the operation to perform between the two clips.
Specifies the channels to which the effect is applied.
Specifies how pixel values that exceed the allowed range aretreated:
Indicates that the values are limited to the allowed range.
Indicates that values exceeding the allowed range wrap aroundfrom full on to full off, or from full off to full on.
Indicates that the maximum and minimum values are calculatedand the results are stretched down from that full range to the rangeof allowable values.
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.
The effect’s transparency. The result of the effect is blendedwith 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 visibleresult on the clip. If you set this value to 0%, the original imagedoes not show through.
The Invert (video) effect inverts the color informationof an image.
Which channel or channels to invert. Each group of itemsoperates in a particular color space, inverting either the entireimage in that color space or just a single channel.
RGB inverts all three of the additive color channels. Red, Green, and Blue each invert an individual color channel.
HLS inverts all three of the calculated color channels. Hue, Lightness, and Saturation each invert an individual color channel.
YIQ/Luminance/In Phase Chrominance/Quadrature Chrominance
YIQ inverts all three NTSC luminance and chrominance channels.Y (luminance), I (in-phase chrominance), and Q (quadrature chrominance)each invert an individual channel.
Inverts the alpha channel of the image. The alpha channelisn’t a color channel; it specifies transparency.
The effect’s transparency. The result of the effect is blendedwith 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 visibleresult on the clip; if you set this value to 0%, the original imagedoesn’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.
Note:
The Set Matte effect was originally developed for After Effects.It is included in Premiere Pro only to provide compatibility withprojects created in earlier versions of After Effects that use theSet Matte effect.
Original images (left and center), and with effect applied(right)
To create a traveling matte using the Set Matte effect, set upa sequence with two overlapping clips on different video tracks.Apply the Set Matte effect to one of the clips and specify whichclip provides the replacement matte. Although you can use Set Mattefor a traveling matte, it is easier and faster to create traveling mattesby using the Track Matte Key effect.
The video track to use as the replacement matte. You canspecify any video track in the sequence.
The channel to use for the matte.
Inverts the transparency values of the matte.
Scales the selected clip to match the size of the current clip.If Stretch Matte to Fit is deselected, the clip designated as thematte is centered in the first clip.
Composites the new matte with the current clip, rather thanreplacing it. The resulting matte lets the image show through onlywhere the current matte and the new matte both have some opacity.
Premultiplies the new matte with the current clip.
The Solid Composite effect offers a quick way to createa composite of a solid color behind the original source clip. Youcan control the opacity of the source clip, control the opacityof the solid, and apply blend modes all within the effect’s controls.
The opacity of the source clip.
The color of the solid.
The opacity of the solid.
The blend mode used to combine the clip and the solid color.
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.
Original (left) and with Brightness & Contrast effectapplied (right)
The Change Color effect adjusts the hue, lightness,and saturation of a range of colors.
Corrected Layer shows the results of the Change Color effect.Color Correction Mask shows the areas of the layer that will bechanged. White areas in the color correction mask are changed themost, and dark areas are changed the least.
The amount, in degrees, to adjust hue.
Positive values brighten the matched pixels; negative valuesdarken them.
Positive values increase saturation of matched pixels (movingtoward pure color); negative values decrease saturation of matched pixels(moving toward gray).
The central color in the range to be changed.
How much colors can differ from Color To Match and still bematched.
The amount that unmatched pixels are affected by the effect,in proportion to their similarity to Color To Match.
Determines the color space in which to compare colors to determinesimilarity. RGB compares colors in an RGB color space. Hue compares onthe hues of colors, ignoring saturation and brightness—so brightred and light pink match, for example. Chroma uses the two chrominancecomponents to determine similarity, ignoring luminance (lightness).
Inverts the mask that determines which colors to affect.
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.
Original image (left), with saturation removed in the planet(center), and with light green changed to yellow in the planet (right)
The center of the color range to change.
The color to change matched pixels to.
Tip: Toanimate a color change, set keyframes for the To color.
Which channels are affected.
How to change colors. Setting To Color performs a directchange of affected pixels to the target color. Transforming To Colortransforms affected pixel values towards the target color, usingHLS interpolation; the amount of change for each pixel depends onhow close the pixel’s color is to the From color.
How much colors can differ from the From color and still be matched. Expand this control to reveal separate sliders for Hue, Lightness, and Saturation values.
Note: Use the View Correction Matte option to better identify which pixels are matched and affected.
The amount of feather to use for the edges of the correctionmatte. Higher values create smoother transitions between areas affectedby the color change and those unaffected.
Shows a grayscale matte that indicates the amount to whichthe 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 byusing a mix of the current color channels. Use this effect to makecreative color adjustments not easily done with the other coloradjustment tools: Create high-quality grayscale images by choosingthe percentage contribution from each color channel, create high-qualitysepia-tone or other tinted images, and swap or duplicate channels.
The percentage of the input channel value to add to the output channelvalue. For example, a Red-Green setting of 10 increases the valueof the red channel for each pixel by 10% of the value of the greenchannel for that pixel. A Blue-Green setting of 100 and a Blue-Bluesetting of 0 replaces the blue channel values with the green channelvalues.
Determines whether the Split View images are side by side(Horizontal) or above and below (Vertical).
Determines whether the Split View images are side by side(Horizontal) or above and below (Vertical).
Determines whether the Split View images are side by side(Horizontal) or above and below (Vertical).
Determines whether the Split View images are side by side(Horizontal) or above and below (Vertical).
Determines whether the Split View images are side by side(Horizontal) or above and below (Vertical).
Determines whether the Split View images are side by side(Horizontal) or above and below (Vertical).
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 nextto the option name and drag the slider.
![Adobe Adobe](/uploads/1/2/4/8/124869944/557492411.jpg)
- Clip Level: Specifies the max output value in IRE units. The default is 103 IRE. Corresponding ranges in IRE, 8-bit RGB and Y are as follows:
- 100 = IRE 0 to 100, RGB 0 to 255, Y 16 to 235. SMPTE limited range.
- 103 = IRE -3 to 103, RGB -8 to 263, Y 9 to 242
- 105 = IRE -5 to 105, RGB -13 to 268, Y 5 to 246. EBU R103 'Preferred'.
- 109 = IRE -7 to 109, RGB -17 to 277, Y 1 to 254. SDI limits
- Compression before clipping: Applies a knee starting at 3%, 5%, 10%, or 20% below the clip level, moving colors into range before the hard clip.
- Gamut Warning: When gamut warning is enabled, the colors that are compressed or outside of the color range are shaded or highlighted, respectively. The Gamut warning option is not available in Export Effects settings. A gamut warning enabled on the timeline is also active during export.
- Gamut Warning Color: Specifies the gamut warning color
Determines whether the Split View images are side by side(Horizontal) or above and below (Vertical).
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 nextto the option name and drag the slider.
The difference between the Edge Radius property and the Radius propertyis the thickness of the ring.
Samples the average RGB color values, excluding those oftransparent pixels.
Soccer game score simulator. The number of segments that form the main lightning bolt.Higher values produce more detail but reduce the smoothness of motion.
Specifies that the effect fills the fill point’s RGB andalpha channels with the new color.
Transitions In Adobe Premiere Elements
Transitions In Adobe Premiere Pro Cc
The Radial Wipe effect reveals an underlying clip usinga wipe that circles around a specified point.
The angle at which the transition starts. With a start angleof 0°, the transition starts at the top.
- Additive Dissolve transition
- Cross Dissolve transition
- Dip To Black transition
- Dip To White transition
- Film Dissolve transition
- Non-Additive Dissolve
Transition In Adobe Premiere Yo
- 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.
A transition moves a scene from one shot to the next. Generally, you use a simple cut to move from shot to shot, but sometimes you can also transition between shots by phasing out one and phasing in another. Premiere Pro provides many transitions that you can apply to your sequence. A transition can be a subtle crossfade or a stylized effect, such as a page turn or spinning pinwheel. While you usually place a transition on a cut line between shots, you can also apply a transition to only the beginning or end of a clip.
By default, placing one clip next to another in a Timeline panel results in a cut, where the last frame of one clip is followed by the first frame of the next. When you want to emphasize or add a special effect to a scene change, you can add any of various transitions, such as wipes, zooms, and dissolves. Apply transitions to the timeline using the Effects panel, and edit them using the Timeline and the Effect Controls panel.
Transitions are available in the Video Transitions and the Audio Transitions bins in the Effects panel. Premiere Pro provides many transitions, including dissolves, wipes, slides, and zooms. These transitions are organized in bins by type.
Kevin Monahan shows how to create transitions based on effects in an article on the Adobe website: using effects as transitions in Adobe Premiere Pro in this blog post.
Note:
You can create custom bins to group effects anyway you’d like. (See Workwith bins.)
Learn to apply basic video and audio transitions to your project in Premiere Pro with this video tutorial.
Usually, you don’t want a transition to occur during the essential action in a scene. For this reason, transitions work best with handles—the extra frames beyond the In and Out points set for the clip.
The handle between a clip’s Media Start time and In point is sometimes called head material, and the handle between a clip’s Out point and Media End time is sometimes called tail material.
A. Media Start B. Handle C. In point D. Out point E. Handle F. MediaEnd
Sometimes, the source media does not contain enough frames for clip handles. If you apply a transition, and the handle duration is too short to cover the transition duration, an alert appears to warn you that frames are repeated to cover the duration. If you decide to proceed, the transition appears in the Timeline panel with diagonal warning bars through it.
Note:
For best results with transitions, shoot andcapture source media with sufficient handles beyond the In and Outpoints of the actual clip duration you want to use.
Transitions are typically double-sided—they combine the last video or audio material from the clip before the cut with the first material from the clip right after the cut. You can, however, apply a transition to an individual clip so that it affects only the beginning or end of the clip. A transition applied to a single clip is called single-sided. The clip can be immediately near another clip or sitting by itself on a track. You can apply double-sided transitions only when the clip before the cut has a handle at its tail, and the clip after the cut has a handle at its head. For more information, see Applying transitions.
Using single-sided transitions, you have more control over how clips transition. For example, you can create the effect of one clip departing using the Cube Spin transition, and the next clip fading in using Dither Dissolve.
Single-sided transitions fade to and from a transparent state, not to and from black. Whatever is below the transition in a Timeline panel appears in the transparent portion of the transition (the portion of the effect that would display frames from the adjacent clip in a two-sided transition). If the clip is on Video 1 or has no clips beneath it, the transparent portions display black. If the clip is on a track above another clip, the lower clip is shown through the transition, making it look like a double-sided transition.
Single-sided transition with clip beneath it (left) comparedto single-sided transition with nothing beneath it (right)
Note:
If you want to fade to black between clips, usethe Dip To Black dissolve. Dip To Black doesn’t reveal any underlyingclips; it always fades to black.
In a Timeline panel or the Effect Controls panel, a double-sidedtransition has a dark diagonal line through it, while a single-sidedtransition is split diagonally with one half dark and one half light.
A. Double-sided transition using duplicate frames B. Double-sidedtransition C. Single-sided transition
Note:
If a double-sided transition must repeat frames (rather than use trimmed frames), the transition icon contains extra diagonal lines. The lines span the area where it has used the repeated frames. (See Clip handles and transitions.)
To place a transition between two clips (centered on the cut line), the clips must be on the same track, with no space between them. As you drag the transition to a Timeline panel, you can adjust the alignment interactively. Whether the clips have trimmed frames determines how you can align the transition as you place it between the clips. The pointer changes to indicate the alignment options as you move it over the cut:
- If both clips contain trimmed frames at the cut, you can center the transition over the cut or you can align it on either side of the cut so that it either starts or ends at the cut.
- If neither clip contains trimmed frames, the transition automatically centers over the cut and repeats frames from the first clip, or from the second clip, or from both clips, to fill the transition duration. Diagonal bars appear on transitions that use repeated frames.
- If only the first clip contains trimmed frames, the transition automatically snaps to the In point of the next clip. The transition uses the first clip’s trimmed frames for the transition and does not repeat frames from the second clip.
- If only the second clip contains trimmed frames, then the transition snaps to the Out point of the first clip. The transition uses the second clip’s trimmed frames for the transition and does not repeat frames from the first clip.The default duration of a transition, for either audio or video, is set to 1 second. If a transition contains trimmed frames, but not enough to fill the transition duration, Premiere Pro adjusts the duration to match the frames. You can adjust the duration and alignment of a transition after you place it.
Note:
Transition commands operate on all merged audio track items together. However, timeline targeting must be enabled to apply the default audio transition to multiple audio tracks at one time. The desired audio transition must be the user selected default, and you must use the Apply Audio Transition command. If you drag-and-drop the transition, it gets applied to a single audio track only.
- In the Effects panel, find the transition you want to apply. Expand the Video Transitions bin, and then expand the bin containing the transition you want to use.
- To place a transition between two clips, drag the transitionto the cut line between two clips, and release the mouse when yousee the Center At Cut icon .Note:As you drag over heads or tails of clips in the Timeline panel, you can see the area covered by the transition outlined.
- If a dialog box appears containing transition settings,specify options and click OK.
To preview the transition, play the sequence or dragthe current-time indicator through the transition.
- In the Effects panel, find the transitionyou want to apply. You’ll need to expand the Video Transitions bin,and then expand the bin containing the transition you want to use.
- To place a transition on a single cut, Ctrl-drag (Windows) or Cmd-drag (Mac OS) the transition into a Timeline panel. Release the mouse when you see either the End At Cut or Start At Cut icon.Aligns the end of the transition to the end of the firstclip.Aligns the beginning of the transition to the beginning of the second clip.Note:As you drag over heads or tails of clips in the Timeline panel, you can see the area covered by the transition outlined.Note:To place a transition at the end of a clip that is not next to another clip, drag-and-drop the transition. Don’t Ctrl-drag (Windows) or Cmd-drag (Mac OS). The transition automatically becomes single-sided.
To preview the transition, play the sequence or dragthe current-time indicator through the transition.
You can specify a video transition and an audio transition as default transitions and quickly apply them between clips in a sequence. A red outline marks default transition icon in the Effects panel. Cross Dissolve and Constant Power Crossfade are preset as the video and audio default transitions.
If you use another transition more frequently, you can set it as the default. When you change the default transition setting, you change the default for all projects. Changing the default transition doesn’t affect transitions already applied to sequences.
Note:
If you want to apply the default transition to most or all the clips in a sequence, consider using the Automate To Sequence command. Automate To Sequence places the default video and audio transition between all the clips it adds. See Add clips to a sequence automatically.
- Choose Window > Effects and expandthe Video Transitions or Audio Transitions bin.
- Select the transition that you want to make the default.
- Click the Menu button for the Effects panel, or right-clickthe transition.
- Choose Edit > Preferences > General(Windows), or Premiere Pro > Preferences > General (Mac OS).
- Click the Effects panel menu button. Choose DefaultTransition Duration.
- Change the value for the Video Transition Default Durationor Audio Transition Default Duration, and then click OK.
You can apply the default transition to adjoining pairs of clips on one or more tracks.
- Click one or more track headers to target thetracks where you want to add the transition.
- Position the current-time indicator at the edit pointwhere the pair or pairs of clips meet. To navigate to an edit point,you can click the Go To Next Edit Point and Go To Previous EditPoint buttons in the Program Monitor.
- Choose Sequence > Apply Video Transition or Sequence> Apply Audio Transition, depending on the target tracks.Note:You can add the default video transition between clips in a video track by pressing Ctrl+D (Windows) or Cmd+D (Mac OS). You can add the default audio transition between two clips in an audio track by pressing Ctrl+Shift+D (Windows) or Cmd+Shift+D (Mac OS).
You can apply the default video and audiotransitions to any selection of two or more clips. The default transitionsare applied to every edit point where two selected clips touch.The placement does not depend upon the position of the current-timeindicator or on whether the clips lie on targeted tracks. The default transitionsare not applied where a selected clip touches a non-selected clipor no clip at all.
- In the Timeline, select two or more clips. Shift-clickclips, or draw a marquee over them, to select them.
- Select Sequence > Apply Default Transitions To Selection.
You can copy any transition in a sequence,and paste it to any other cut line on a track of the same type:video transitions to video tracks, and audio transitions to audiotracks.
- Move the current-time indicator to the cut line whereyou want to paste the transition.
- When you paste a double-sided transition toa double-sided location, the transition remains double-sided.
- When you paste a double-sided transition to a single-sidedlocation, the transition becomes single-sided.
- When you paste a single-sided transition to a double-sidedlocation, the transition becomes double-sided.
Copy and paste a transition tomultiple edit points
You can add a transition quickly to severaledit points within your sequence by copying and pasting the transition.This feature is helpful if you've changed a transition's defaultsettings and want to use the modified transition again.
- Select Edit > Copy, or use the keyboard shortcut Ctrl+C(Win) or Cmd+C (Mac).
- Select multiple edit points in the sequence by dragginga marquee around the edit points, or by using the Shift key withany trim tool.
- Select Edit > Paste, or use the keyboard shortcutCtrl+V (Win) or Cmd+V (Mac).
- If you paste a transition without selecting edit points, the transitions are pasted to edit points at or near the playhead, without overriding track targeting.
- If a selected edit point already has a transition, and:
- If the pasted transition is different from the existing one, then the transition type changes but preserves the existing transition's duration and alignment. For example, pasting a Cross Dissolve transition over a Barn Door transition.
- If the pasted transition is the same as the existing transition, then the duration and alignment are changed. For example, both are Cross Dissolve transitions.
- A copied transition's alignment is preserved if it's set to one of the presets, but not if it has a custom setting.
- Drag the new video or audio transitionfrom the Effects panel onto the existing transition in the sequence.When you replace a transition, the alignment and durationare preserved. However, this discards the settings for the old transitionand replaces it with the default settings for the new transition.
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