Many special effects – such as lens flares, stock footage of explosions, and so forth – are shot against a black background. In the following pages, we’ll go in search of that “pop” by setting the enhancement clip’s Opacity back to 100%, and trying out different modes. ![]() Interesting…but note that in most cases, the result lacks contrast and clarity, and is otherwise missing the visual “pop” you might hope for. In each of the figures below, the “enhancement” clip was placed above the original clip, and set to 50% Opacity: Opacity Blend (Normal Mode)įor reference, let’s start by looking at the result of the Normal Opacity blend you may be used to. In order: clips T307-07H, LAB128H, UM243H, and a copy of GU127H1 (with 60 pixels of blur applied to the original 1080p clip), all courtesy of Artbeats. The fourth clip is a blurred version of the original: Applying a treated clip on top of itself using modes can create all sorts of interesting lens and filter effects, with the flexibility of creating them in post rather than in-camera (or on-lens) during the shoot. The third clip was selected to show off how modes treat blacks and whites. Defocused, slow-moving footage with interesting lighting effects or shadows often provide excellent source material for mode tricks the first two clips below are examples of these (full disclosure: the second clip is part of a collection I created for Artbeats), and is a concept to keep in the back of your mind when you’re out shooting B-roll. Next are four different clips we going to explore for providing the desired enhancement. There’s certainly nothing wrong with it – it’s well-shot and nicely composed – but we can tell an even more interesting story with it if we added some mood lighting or filtering to it: 100% minus my opacity value).” Interesting things happen when you use a little more complex math to combine the images.īelow is the clip we wish to enhance. Underneath the hood, when the Blend Mode is set to Normal the algorithm is “take my pixel color values, multiply them by my Opacity value, and add them to the color values of the corresponding pixels underneath multiplied by the opposite of my Opacity (i.e. It defaults to Normal, which provides the typical Opacity blend you see during a crossfade. Click on the arrow to the left of Opacity to twirl open this section, and you will find the Blend Mode popup menu as seen at left. Select the clip you wish to set the mode for (remember: it must be the one in the upper video track), and open its Effect Controls panel. ![]() The first trick to using Blend Modes in Premiere Pro is finding them, as they’re not accessed from the timeline as they are in After Effects or Final Cut Pro. In this article, I will show you how to apply Blend Modes in Premiere Pro CS5, what sort of results are typical for different groups of modes, and give you some application ideas.īlend Modes contain different algorithms to combine the pixels of one clip in hopefully interesting ways with the pixels of one or more clips underneath. ![]() Happily, Adobe Premiere Pro CS4 added support for Blend Modes, allowing editors to enjoy these sexy results without having to set them up first in After Effects. I call it our “secret sauce” to create rich, layered imagery you don’t normally see created in an editing program. Modes provide simple, high-quality ways to drop out the black or white background in a clip, enhance its saturation and contrast, give it a tint, and add lighting effects or a filmic glow in post. As a motion graphics artist, one of our favorite tricks to enhance an uninspiring clip is not to use effects, but instead to combine it with other clips using Blend Modes (also known as Blending, Composite, or Transfer Modes).
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