The Effect Controls Panel
In the last chapter, you learned the power of the Effect Controls panel for adjusting transitions. That panel takes on a different look and feel, however, when you adjust and manipulate clip effects. To start customizing your effect parameters, choose Window > Effect Controls. When you select a clip in the timeline, the left side of the Effect Controls panel lists the clip's Fixed and Standard effects and their parameters. The effects' associated keyframes appear on the right of the panel in a timeline view. Only when a clip is selected can you make adjustments to the effect parameters in the Effect Controls panel.
Depending on your preference, you can dock the Effect Controls panel in the Project panel frame, the Source Monitor frame, or you can leave it to float free as its own panel. To move from one frame to the other, click and drag the Effect Controls panel by its tab.
Each effect listing has a twirl down triangle that enables you to expand the listing to reveal the effect's parameters or collapse it to view only the effect's name, on/off toggle, Reset button, and Direct Manipulation icon (Figures 8.11a and b).
Figures 8.11a and b. Twirling down the name of the effect reveals its effect parameters (Scale in the top image). Twirling down a parameter reveals, in most cases, an adjustment slider. To turn on keyframing for an individual parameter, click on the keyframe stopwatch for the parameter you want to adjust. Once you turn on keyframing, the effect listing expands further to show two keyframe graphs (Scale in the bottom image): The Value graph shows the effect value, and the Velocity graph shows the keyframe velocity between value keyframes
The effect on/off toggle is at the far left of each listing. When the F is visible, the settings assigned within the effect will be applied to the selected clip. Click the F to turn off the effect for the selected clip. Turning an effect off deactivates it, but does not delete its parameters. This is useful when you're trying out multiple effects on the same clip. Disabling an effect also can improve real-time playback.
On the opposite edge of the effect listing you'll find the Reset button. Click it to return the effect's parameters to their original state. Unfortunately, you cannot reset individual parameters, only the entire listing. Use Reset with caution on effects with multiple parameters: You can lose a lot of work very quickly. The Undo command may be a better choice.
Some effects, such as Motion, have the Direct Manipulation icon (a square with a mouse pointer next to it) before their names (Figure 8.12). Click on the effect name and the Program Monitor will display visible handles for you to grab and adjust. These handles directly manipulate a few specific parameters of the selected effect.
Figure 8.12. With direct manipulation turned on, you can click and drag from one of the corner handles to scale the selected clip. All your adjustments are dynamically updated into the settings area of the Effect Controls panel. In this figure I am adjusting the scale of the clip by dragging one of its corners inward
To access an effect's parameters from the Effect Controls panel, twirl down the effect's listing. To the left of each parameter name is the Toggle Animation icon (a little stopwatch). Click it to enable or disable keyframe adjustments (see Figures 8.13a, b, and c). When the stopwatch is empty, keyframe adjustment is disabled. When the stopwatch has a box around it, you can adjust keyframes. Once you set keyframes, clicking the stopwatch off deletes all assigned keyframes for the parameter. In some cases, such as the Color Corrector, this deletes the effect. Premiere Pro displays a warning dialog asking you to confirm your action before deleting the keyframes.
Figures 8.13a, b, and c. If you have keyframes assigned (a) and you toggle the keyframing off, Premiere displays a warning (b), then deletes all keyframes (c). Notice that because the Edit Line was on top of the 10% scale keyframe when the keyframes were deleted, that became the static scale value
You adjust the parameter using the hot text field to the right of its name. Scrub the field left or right to change its value. Holding down Ctrl while scrubbing adjusts the value at lower increments. Holding the Shift key and scrubbing adjusts the value at higher increments. Click in the hot text to manually enter the value you desire. If you prefer a more visual adjustment, click the twirl down triangle next to the parameter's name to access the slider control to change the parameter.
Docking the Effect Controls panel in the Project panel gives you a much wider panel, meaning you have more screen real estate devoted to viewing and adjusting keyframes. If you're less concerned with keyframes and need to view all the effect listings and their parameters in one glance, resize the Effect Controls panel to be very tall instead.
Timeline Viewing Area
The Effect Controls panel timeline viewing area displays the effect keyframes associated with the selected clip. To check the accuracy of the effect and keyframe placements, you can zoom and navigate through the clip using the panel's time ruler and viewing area bar. Scrubbing in the Effect Controls panel reveals the frames in the Program Monitor.
By default, the boundaries of the Effect Controls panel timeline viewing area are defined by the boundaries of the clip. Although this is the best view for most cases, you can extend the boundaries by toggling off Pin to Clip in the Effect Controls panel wing menu. If you turn off Pin to Clip, you can adjust the viewing area bar so that you can see beyond the edges of the clip in the Effect Controls panel timeline (Figures 8.14a and b). This view is not recommended unless subtle or advanced keyframing is required that starts beyond the boundary of the clip.
Figures 8.14a and b. With Pin to Clip turned on (a) the boundaries of the Effect Controls panel Keyframe Navigation area are pinned to the edge of the clip's timeline instance. If you turn Pin to Clip off, you can see beyond the edge of the clip instance (dark blue area) to assign additional keyframes in this area
Turn Pin to Clip off to place an effect keyframe outside the boundary of your clip. With this "extra" keyframe in place, you later can adjust the duration or extend the edge of your clip toward that keyframe without reapplying the effect.
How to Use Effects in Adobe Premiere Pro
Effects in Premiere Pro come in a million different varieties. Some are silly. Others are absolutely indispensable. Knowing the basics will help you find exactly what your project needs and to utilize the relevant effects to the fullest extent possible.
What Are Effects in Premiere Pro?
Effects are any of a diverse group of modifiers that you can apply on top of any of the media that you've brought into the project. Even if you're just starting out, you're probably already using them. Any time you change any of the basic parameters of a clip, you're putting effects to work in your project.
One thing that you may not yet realize, however: effects fall into one of two major categories. These two categories are called Fixed effects and Standard effects.
Fixed Effects in Premiere
Fixed effects are clip-based and ride along with all of your media in Premiere by default. To access them, double-click on a clip or any other piece of media.
The Effect Controls panel should be grouped in the same window as the Source Monitor. Click into it to check them all out.
This space is reserved for the effects that are applicable to any type of visual media. You'll find things like position, scale, and opacity here—everything can be adjusted and keyframed. You are also able to reset any of these effects back to their default values with each of their respective Reset Parameter buttons.
How to Use Fixed Effects in Premiere
Fixed effects cover most of your generic, everyday needs when editing. If you wanted to adjust the scale of a clip, to name one example, this would be the place to do it.
Click and drag the scale parameter until you've found the value that you want. You'll be able to see the difference at play in the Program Monitor panel.
To animate the effect so that it changes over time, hit the clock icon to create your first keyframe.
Now, move the playhead further along and adjust the scale again. This creates your second keyframe automatically. The image will grow or shrink as you move from one keyframe to the other.
You can keyframe any effect in Premiere—Fixed or Standard. The process will be exactly the same. Right-clicking a keyframe brings up a context menu with all of your Bezier curve and Ease-In/Ease-Out options. These allow you to transition between values at rates that may feel gentler or more natural, simulating motion or change more realistically.
Standard Effects in Premiere
Standard effects address more specific needs; they go beyond generic clip modifiers, like rotation. You will recognize Standard effects as all of the options available under the Effects panel.
There are a plethora of effect categories to sift through. Most of these categories are self-explanatory.
Keying effects, for example, are used when green-screening or carrying out a sky replacement. Adjust effects, Color Correction effects, and Image Control effects offer tools that adjust different aspects of the luminance and chrominance values of the image selectively. Generate effects add elements to the shot, like lens flares or lightning bolts. Some of them transform the entire frame into things like ramp gradients or a grid.
The list goes on. To try one out, select a clip. From the Effects panel, you can either double-click on the one that you want or you can drag it over into the frame or Effect Controls panel directly.
Stylize effects add a unique and global effect to the clip. In this case, we're going to audition the Mosaic effect. It sort of pixelates the image, which could be used to simulate a weird, glitchy vibe. You can tailor the effect to your liking through any of the options that come along with it.
Some effects like this might feel less-than-useful at first. Many can actually be really interesting when customized, keyframed, and used alongside others, however. All that it takes is a little bit of imagination and tinkering.
How to Use Standard Effects Together: Where Things Get Interesting
The Distort effect called Twirl, static and on its own, is sort of boring. When keyframed and set into motion, however, you've suddenly got the maw of a cool vortex opening up on-screen.
There is no reason to stop here, but, before continuing, there is one more thing to remember when combining effects in Premiere.
When you've got a couple of effects modifying the same clip, the order of the stack in the Effect Control panel may have some impact on how the effects compound and build off of one another.
To illustrate the point, we're going to hide the Twirl effect for one minute, just to show what our second effect, the Offset effect, does on its own. You can do the same by hitting the FX toggle right next to it. As you can see, Offset shifts the center of the frame up or down, or to one side or the other.
When applied after Twirl, the Twirl effect will also be Offset, just as though it were part of the original source footage.
When you move Offset up over Twirl, you'll see the opposite happen. Now, the Offset perimeter of the shot is also being Twirled along with the rest of the frame.
Because Twirl is taken into consideration afterward, everything that comes before gets baked into the clip, for all intents and purposes. Keeping this in mind may inspire new ways of combining simple effects to create something new.
Then, what are the best effects in Premiere that are applicable to pretty much any type of project, even on their own? Warp Stabilizer, Sharpen and Gaussian Blur, Chroma Key and Luma Key, Premiere's Timecode generator, and, of course, Lumetri Color are all worthy contenders. All of them can be applied to your footage through the same Effects workflow described here.
Copying and Pasting Effects in Premiere
It's totally possible to simply navigate into the Effect Controls of a clip and copy the effect that you want for another clip directly. It's faster to grab them from the timeline by simply copying the clip itself. This is one efficient way to work when you would like to apply a Lumetri color grade to many clips without disturbing any of the other effects that they already have going on.
To begin, select the clip with the effect that you want and hit Ctrl + C, plain and simple.
Once you've done so, find the receiving clip or clips. Right-click and select Paste Attributes. The Remove Attributes option just below lets you remove effects in exactly the same way.
The prompted window that results lets you choose which effects you would like to copy over.
In the receiving clip's Effect Controls, you should find the same effect with the same parameters copied over.
Related: The Most Useful Tools In Premiere
Putting Effects in Premiere to Work, Just Like the Pros
The best effects in Premiere Pro to use? Well, that's going to depend a lot on what you need to get done. Organizing your favorites is as easy as right-clicking in the Effects panel, creating a Custom Bin, and dragging over the ones that you love for easy access later.
Give each one a shot. Once you've seen what they all have to offer, plenty of new ideas will start rolling in.
Motion graphics are a part of nearly every video project. Luckily, the Essential Graphics panel makes it easy to add and adjust motion graphics.
Read NextAbout The Author
Emma Garofalo is a writer currently based in Pittsburgh, Pennsylvania. When not toiling away at her desk in want of a better tomorrow, she can usually be found behind the camera or in the kitchen. Critically-acclaimed. Universally-despised.
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You can use effects to correct color and brightness; however, they can also be used to add animation, produce overlays, and create greenscreen effects.
In this article, we will learn about:
Applying effects to clips
Animating effects with keyframes
Copying and pasting effects
The Effects Workspace
When you want to edit effects, you go to the Effects workspace, which is made up of the Effect Controls panel, the Program Monitor, and the Effects panel.
To reach the Effects panel, go to Window> >Effects.
You can see the Effects panel in the snapshot below.
The Effects panel is where you find all effects. The Effect Controls panel is where you will configure the effects. Finally, the Program Monitor is where you can preview the effects that you add.
Adding an Effect to a Clip
To add an effect to a clip, drag the effect from the Effects panel onto the clip on the Timeline.
As an example, we are going to drag the Edge Feather effect to our clip.
You can also select a clip in the Timeline, then double click on the effect in the Effects panel.
Customizing an Effect
Once you have added an effect to a clip, you can go to the Effect Controls panel to customize it.
We added the Twirl In effect to a clip.
By going to the Effect Controls panel, we can adjust the effect by changing the values and parameters.
You can also toggle the effect on and off to see the impact of the effect on your clip.
Toggle an Effect On or Off
To toggle an effect off, click the fx icon that appears to the left of the effect name.
When you do this, the effect is disabled.
To turn the effect back on, click the fx icon again.
Changing the Order of Effects
The order that effects will appear on your clip is shown in the Effect Controls panel.
To change the order of effects on the clip, drag an effect up or down in the Effect Controls panel.
You will see a horizontal bar to let you know where the effect will be placed when you release the mouse.
Just remember that you cannot drag standard effects above fixed effects. You also cannot drag fixed effects below standard effects.
Removing an Effect
To remove an effect in the Effect Controls panel, select the effect.
Next, either press the Backspace or Delete key on your keyboard.
You can also right click on an effect, then choose Clear.
To remove an effect in the Timeline, select the clip or clips, then right click on the clip and select Remove Effects.
You will then see the Remove Effects dialogue box.
Check the effects that you want to remove.
NOTE : Intrinsic effects are fixed effects.
Click OK to remove the effects.
Animating Effects with Keyframes
Now we are going to use keyframes to animate effects that we have applied to clips in the Timeline.
Adding Motion to Effects
To add motion to effects using keyframes, start out by adding the ProcAmp effect to a clip in the Timeline.
Next, move the playhead in the Timeline to the start of the clip.
Go to the Effect Controls panel. Click the triangle to the left of the effect to see the configuration options, as pictured below.
Click the Toggle Animation button to the left of the effect that you want to configure so that keyframes are enabled.
We are going to click the Toggle Animation button to the left of Saturation.
Now adjust the value for Saturation. We are going to adjust ours to 0.
Now, move the playhead to the second location so you can set the keyframe for the second effect.
We are going to move our playhead toward the end of the frame and restore Saturation to 100.
With the keyframes added, our clip starts out as black and white and turns to color.
Applying Effects to Multiple Clips Using Keyframes
Needless to say, you can spend a good bit of time selecting the right effect for a clip, then perfecting it using keyframes. Wouldn't it be nice if you had a way to copy that effect and keyframes so you could apply it to other clips in your current and future projects?
The good news is you can by creating a preset that you can drag onto a clip in the current project – or even a future one. We are going to show you how to do that.
Copying Effects and Keyframes
As our example, we are going to copy the effect and keyframes from the last section when we had our clip go from black and white to color.
To copy the effects and keyframes from a clip, go to that clip in the Timeline.
Next, go to the Effect Controls panel.
Select the effect that you want to copy, then right click and select Copy.
Now, go back to the Timeline and select the clip you want to paste the effect onto.
Go to the Effect Controls panel.
Click anywhere in the panel, right click, then click Paste.
Creating an Effect Preset
You can also create an effect preset to that the effect you created can be used in future projects.
To do this, click the clip that contains the effects in the Timeline.
Go to the Effect Controls panel.
Select the effects that you want in the preset, then right click and select Save Preset.
You will then see the Save Preset dialogue box.
Type in a name for the preset, then choose a type:
Scale will scale the keyframes proportionately over the length of the frame when you apply the preset. It deletes existing keyframes.
Anchor to In Point applies original keyframes to the beginning of the clip. It does not adjust for any differences in duration as with Scale.
Anchor to Out Point applies original keyframes to the end of the clip without adjusting for duration.
Click OK to save the preset.
You will be able to find the preset in the Presets folder in the Effects panel.
Keying and Compositing
Compositing is defined as combining two images in a scene and making it appear as if they were shot together.
Keying is also known as greenscreening or chromakeying. It involves replacing a color in an image with parts from a background image. Typically, the color green is replaced with a background image. Greenscreening is used for network news during weather forecasts.
The Ultra Key effect in Premiere Pro makes keying really easy. However, here are some things you can do to make it even easier for you:
1. Use a camera that has a raster sensor.
2. Use a camera that does not interpolate to attain HD resolution. HDV cameras do this.
3. Use a camera with a high ISO starting value.
4. Use the camera with no gain.
5. When you record your footage, record in progressive instead of interlaced format.
6. Record at the highest bitrate.
7. Make sure the background is evenly lit.
8. If you are filming one subject, such as a person, use a tripod L bracket and mount the camera vertically for higher resolution and higher pixel density around the subject.
For keying, you will record your subject with a certain color background, usually green. You will want to make sure the subject does not wear any green so parts of the wardrobe are not cut out.
Using the Ultra Key Effect
Create a sequence using your greenscreen footage that you shot with your camera by dragging it to the New Item button in the Project panel.
When you do this, you will be able to see the footage in the Program Monitor.
At this point, you can rename the sequence if you want and even organize it in a bin.
Next, go to the Effects tab. Find the Ultra Key effect by typing "ultra" in the search box (in the Effects panel).
Now drag the Ultra Key effect to the clip in the sequence.
Keying Out a Color
To key out a color (green for greenscreening), go to the Effect Controls tab.
You will see the Ultra Key effect.
Hover your mouse over the eyedropper tool. The mouse pointer will then change to an eyedropper tool.
Use the eyedropper pointer to select the background color in your clip showing in the Program Monitor.
When you do this, the background color changes to black. If you had a green background, it would now be black.
Next, go to the Effect Controls panel again.
Select Alpha Channel in the Output menu.
Now your video clip is a black and white clip.
Select a Setting Preset.
We are selecting Aggressive. You can try each preset to find one that works best for you.
Next, click the triangle to the left of Matte Generation. You will then see Transparency, Highlight, Shadow, Tolerance, and Pedestal.
These will adjust how the matte is interpreted.
Repeat this step for Matte Cleanup, Spill Suppression, and Color Correction.
Drag the sliders to the right to increase the effect of the adjustment or to the left to decrease the effect.
Once you are finished with all the adjustments, select Composite from the Output menu.
You will then see the key in the Program monitor.
Next, move the keyed clip to Track V2 if it is not already showing there.
Drag the background to V1. Your background should always be on a lower track.
Right click on the background. Select Scale to Frame Size.
When that is finished, select the video clip in the Timeline.
Go to the Effect Controls panel.
Click the triangle to the right of Motion Controls. Now you can adjust Position, Scale, and Rotation.
Cleaning Up the Edges around a Key
You can remove unwanted edges around a greenscreen key by using a garbage matte.
To use a garbage matte, go to the Effects panel. The garbage matte effect is found in the same folder as the Ultra Key effect.
Drag and drop one of the garbage mattes onto the keyed footage.
Drag the effect onto the foreground clip.
Next, go to the Effect Controls panel.
Go to the Garbage Matte effect.
We chose an Eight Point Garbage Matte, so we see eight handles appear around the footage.
Grab a handle and bring them in (one handle at a time) until it is like you need it to be.
When you are finished, click an empty space in the Timeline.
Neat Video & Premiere Pro: Order of Effects Matters
The goal of this blog post is to tell you more about Neat Video and best practices of using it, different ways of applying effects in Premiere Pro, and emphasize the importance of the order in which effects are actually processed. Knowing that can improve the overall performance of Premiere Pro, especially when using such heavy effects as Neat Video. Let us get started.
The best practice when you edit a clip in a host application such as Premiere Pro would be to make sure Premiere processes (renders) Neat Video first, before any other effect. First of all, that allows getting the best possible noise reduction. Second, processing certain effects before Neat Video or before other temporal effects can make Premiere Pro extremely slow or even cause it to crash. In particular, Lumetri Color and Warp Stabilizer are those guys which, if processed before temporal effects, can cause significant slowdowns and sometimes crash Premiere Pro altogether. So the order in which Premiere processes effects is important.
Now let’s check the order in which Premiere Pro processes effects depending on their placement in the components of your project. Generally, effects can be added to such components of a project as:
- A regular clip in a sequence in the timeline
- A nested sequence
- A clip inside a nested sequence
- A master clip
- An adjustment layer
Each of these components can have its own set of applied effects and those are listed in the ’Effect Controls’ panel shown when you select the corresponding component in Premiere Pro.
Now let's see what effects Premiere Pro puts into the render pipeline first. In the examples below, you will see different scenarios of using effects. In each scenario, the numbers added by us to the effects in the screenshots indicate the order in which Premiere Pro actually processes those effects. The goal is to make Premiere process Neat Video (Reduce Noise v5) before Lumetri Color and Warp Stabilizer. When this order of effects is ensured, Reduce Noise v5 has a smaller number standing next to it than Lumetri Color and Warp Stabilizer have.
Effects Applied to the Clip in the Timeline
In the simplest case scenario when effects are added directly to a clip in the timeline (and so the effects are placed in the Effect Control panel of the clip), Premiere Pro processes those effects from top to bottom. In the example below, Motion is processed first, then goes Opacity, Time Remapping (if enabled), Reduce Noise v5 (Neat Video), Lumetri Color, and finally Warp Stabilizer. In this particular case, Reduce Noise v5 is processed in step 4, so before Lumetri Color (step 5) and Warp Stabilizer (step 6), which is the right order that will prevent unnecessary slowdown of Premiere’s render process.
Effects Applied to the Clip and Nested Sequence
What is going to happen when you nest a clip and then apply some effects to the clip inside the nested sequence and other effects to the nested sequence itself? The effects applied to the clip inside the nested sequence (see the box A in the picture below) are going into the render pipeline first. Then follow the effects applied to the nested sequence itself (B). In each Effect Control panel, the effects are processed from top to bottom.
In the picture below, Neat Video (Reduce Noise v5) is applied to the clip inside the nested sequence and Lumetri Color is applied to the nested sequence itself. So the noise reduction is going to be rendered in step 4, which is before Lumetri Color (step 9). This order will ensure better render and export speeds.
Effects Applied to the Clip and Master Clip
The benefit of applying effects to a master clip is that effects applied this way will stick to every instance of the clip throughout your project. It is not always needed, but can be handy at times. Effects applied to a master clip are always the first effects Premiere Pro renders. Within a master clip’s Effect Controls panel, the effects are also processed going from top to bottom.
When done with the effects applied to a master clip, Premiere Pro processes the effects applied directly to the clip in the sequence in the timeline. When you select the clip in the timeline, you see its Effect Controls panel showing those effects. And again, render goes in the top to bottom order in that Effect Controls panel. If you apply Neat Video to the master clip and Lumetri or Warp Stabilizer are placed in the clip’s Effect Controls panel, then the denoiser is going to be rendered in the master clip first (step 1) as it supposed to, and Lumetri will be rendered later (step 5).
Effects Applied to the Clip, Nested Sequence and Adjustment Layer
Things get more interesting when your timeline becomes multi-leveled and multi-colored. For example, in the screenshot below the timeline has a nested sequence and an adjustment layer. Several effects are applied to both the nested sequence and adjustment layer, but also to the clip inside of that nested sequence.
When you have a similar structure, Premiere Pro is going to process the effects from the clip inside the nested sequence (A) first, then it turns to the effects applied to the nested sequence (B) itself, and the last effects sent to render queue are the ones applied to the adjustment layer (C). As usual, Premiere Pro processes effects within each Effect Controls panel going from top to bottom.
Effects Applied to Multiple Adjustment Layers
Stacking one adjustment layer on top of another is also a very common thing editors do. How are effects processed in this case? Premiere Pro starts by rendering all effects applied to the lower adjustment layer first and then moves up one layer at a time. As usual, Premiere Pro processes the effects within each adjustment layer going from top to bottom in the corresponding Effect Controls panel.
All Components Gathered Together
Let’s gather all components together and summarize what we have learned above.
If several effects applied to different components of a project including::
- A master clip
- A clip inside a nested sequence
- The nested sequence in the timeline, or a regular clip in the timeline
- An adjustment layer right on top of the timeline
- Another adjustment layer on top of the first one
- Yet another adjustment layer above the first two, etc.
then Premiere renders the applied effects in the above order, going from 1 to 6.
If some of the components are not used in your project or effects are not applied to them, then Premiere simply goes to the next component in the above list.
Multiple effects applied to each individual component are rendered in the order they appear in the Effect Controls panel of that component, from top to bottom.
There are few important things to keep in mind when using Neat Video with Premiere Pro.
The first one is that the order in which Premiere Pro processes effects depends on where they are placed. Use the summary above as quick guidance. This is generally useful to know because you may want to make Premiere process your effects in a specific order for a particular artistic or technical purpose.
The other important thing to remember is that it is best to make Premiere process Neat Video before other effects, especially before Lumetri and Warp Stabilizer (because of limitations of those specific effects). Knowing the processing order used by Premiere you can easily adjust the placement of effects in the components of your project to ensure the right render order and in this way avoid unnecessary slowdowns.
Try these ideas out for yourself and let us know if that has helped you.
If you have more ideas or tricks you use in your work to help Neat Video and Premiere Pro (or other host applications) work better together, please share those with us.
Controls premiere effect pro panel
Adobe Premiere Effect Controls Window
By default, the Effect Controls window is found next to the preview monitor in the monitor window. You can view it by clicking the Effect Controls tab or selecting Window > Effect Controls from the main menu. Like the Effects window, you can create a new window for effect controls by dragging the tab to an empty space in the workspace.
The Effect Controls window shows the effects for the currently selected clip in the timeline. As you select different timeline clips, the Effect Controls window changes to show the applicable range of effects.
Fixed Effects are effects which are applied automatically to every clip. Fixed effects for video clips are Motion and Opacity. The fixed effect for audio is Volume.
Other effects are known as Standard Effects and will appear below the fixed effects when applied to a clip.
Note: Effects can be the same throughout the clip or they can be set to change over time. To learn how to change an effect over time, see Premiere Keyframes.
To make changes to an effect, click the triangular button to expand it. You will see various controls which look something like this example:
- Effect Button: Toggles the effect on and off (without adjusting any of the values).
- Toggle Animation Button: Turns keyframes on and off. Any existing keyframes will be deleted.
- Expand: Expand/collapse controls for this effect.
- Effect Name: The name of this effect.
- Reset Effect Button: Resets the effect to it's default value at the Current Time Indicator (CTI). If the effect has keyframes and the CTI is not on a keyframe, a new keyframe will be created.
- Keyframe Navigation: The arrows jump between keyframes. The middle button creates (or removes) keyframes at the CTI.
- Effect Value: The value(s) of the effect. Some effects will have multiple values. Adjust the values by dragging the slider, dragging the numerical value, or entering a numerical value.
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