Effects Adobe Premiere Pro

How To Remove Audio Effects Adobe Premiere Pro
Download After Effects Adobe Premiere Pro

Next up are the guys from CoreMelt.com with this killer free Premiere Pro free effects set. Coremelt Free. This free set of Premiere Pro effects, plugins and presets is incredibly generous with a whopping 43 free Premiere Pro effects including light effects, filmic transitions, instant montage presets and 10 text presets. Light leaks are really cool effects that you can create in Premiere Pro to help provide ambiance. They create a certain stylistic look for your video to highlight certain aspects of your visuals, set the mood, or layout a specific tone. Light Leaks by Motion Array. Search for effects. Within each bin, Premiere Pro lists effects by type in nested bins. For example, the Blur and Sharpen bin contains effects that defocus an image, such as Gaussian Blur and Directional Blur. Find audio effects in bins named for the type of audio clips they support: mono, stereo, or 5.1. Adobe After Effects After Effects is a digital motion graphics, visual effects and compositing software. For titles, shapes, 2D animations, adding special effects, After Effects is your tool. While you can create motion in text, images, and any other layer in Adobe Premiere Pro – it is a lot easier to do in After Effects. The default effects in Premiere Pro and After Effects are the root of most plugins (paid or free) once they are combined, “built” and applied to footage. Custom GUIs, how an editor interacts with them and the architecture of the plugin engine are how they differ from one another.

Explore the variety of audio and video effects that Premiere Pro offers. Also learn how to find and organize effects in the Effects panel.

Premiere Pro includes various audio and video effects that you can apply to clips in your video program. An effect can add a special visual or audio characteristic or provide an unusual feature attribute. For example, an effect can alter the exposure or color of footage, manipulate sound, distort images, or add artistic effects. You can also use effects to rotate and animate a clip or adjust its size and position within the frame. You control the intensity of an effect by the values that you set for it. You can also animate the controls for most effects using keyframes in the Effect Controls panel or in a Timeline panel.

You can create and apply presets for all effects. You can animate effects using keyframes and view information about individual keyframes directly in a Timeline panel.

Premiere Pro has many in-built effects. Some are fixed effects (effects that are pre-applied or built-in). Some are standard effects that you apply to a clip. Effects can also be clip-based (applied to a clip), or track-based (applied to a track). You can also use effects created by external manufacturers that you can use as a plug-in in Premiere Pro.

Effects in Premiere Pro are also grouped into the following categories for better searchability. Three buttons appear under the search field toward the upper left of the Effects panel. These buttons act as filters for three types of effects:

When you toggle one of these buttons on, only effects and transitions of its type are shown in the list of effects below. You can toggle one or more of these buttons to filter the list of effects for any combination of attributes.

Read on for more information on all the different types of effects.

Every clip you add to a Timeline panel has Fixed effects pre-applied, or built in. Fixed effects control the inherent properties of a clip and appear in the Effect Controls panel whenever the clip is selected. You can adjust all of the Fixed effects in the Effect Controls panel. However, the Program Monitor, Timeline panel, and Audio Mixer also provide controls that are often easier to use. The Fixed effects include the following:

Motion

Includes properties that allow you to animate, rotate, and scale your clips, adjust their anti-flicker property, or composite them with other clips. (To adjust the Motion effect in the Program Monitor, see Adjust position, scale, and rotation and Animate motion in the Program Monitor.)

Opacity

Lets you reduce the opacity of a clip for use in such effects as overlays, fades, and dissolves.

Time Remapping

Lets you slow down, speed up, or reverse playback, or freeze a frame, for any part of a clip. Provides fine control for the acceleration or deceleration of these changes.

Volume

Controls the volume for any clip that contains audio. (For information about adjusting the Volume effect, see Adjust volume with keyframes, Adjust volume in Effect Controls, Set track volume in the Audio Mixer, Adjusting gain and volume, Normalize one or more clips, and Normalize the Master track.)

Because Fixed effects are already built in to each clip, you need only adjust their properties to activate them.

Premiere Pro renders Fixed effects after any Standard effects that are applied to the clip. Standard effects are rendered in the order in which they appear, from the top down. You can change the order of Standard effects by dragging them to a new position in the Effect Controls panel, but you can’t reorder Fixed effects.

Note:

If you want to change the render order of Fixedeffects, use Standard effects instead. Use the Transform effectin place of the Motion effect. Use the Alpha Adjust effect in placeof the Opacity effect, and the Volume effect in place of the fixedVolume effect. While these effects are not identical to the Fixedeffects, their properties are equivalent.

Standard effects are additional effects that you mustfirst apply to a clip to create a desired result. You can applyany number or combination of Standard effects to any clip in a sequence.Use Standard effects to add special characteristics or to edit yourvideo, such as adjusting tone or trimming pixels. Premiere Pro includes manyvideo and audio effects, which are located in the Effects panel.Standard effects must be applied to a clip and then adjusted inthe Effect Controls panel. Certain video effects allow direct manipulationusing handles in the Program Monitor. All Standard effect propertiescan be animated over time using keyframing and changing the shapeof the graphs in the Effect Controls panel. The smoothness or speedof the effect animation can be fine-tuned by adjusting the shapeof Bezier curves in the Effect Controls panel.

Note:

The effects listed in the Effects panel depend on the actualeffect files in the language subfolder of the Premiere Pro Plug-insfolder. You can expand the repertoire of effects by adding compatibleAdobe plug-in files or plug-in packages available through otherthird-party developers.

All video effects—both Fixed and Standard effects—are clip-based.They alter individual clips. You can apply a clip-based effect tomore than one clip at a time by creating a nested sequence.

Audio effects can be applied to either clips or to tracks. Toapply track-based effects, use the Audio Mixer. Ifyou add keyframes to the effect, you can then adjust the effecteither in the Audio Mixer or a Timeline panel.

In addition to the dozens of effects included with PremierePro, many effects are available in the form of plug-ins. You canpurchase plug-ins from Adobe or third-party vendors, or acquirefrom other compatible applications. For example, many Adobe AfterEffects plug-ins and VST plug-ins can be used in Premiere Pro. However,Adobe officially supports only plug-ins that are installed withthe application.

Any effect is available to Premiere Pro when its plug-in fileis present in the common Plug-ins folder:

(Windows) Program FilesAdobeCommonPlug-ins<version>MediaCore
(Mac OS) /Library/Application Support/Adobe/Common/Plug-ins/<version>/MediaCore

Using the installer for a plug-in is the best way to make sure the plug-in and its related files are installed in the right place.

When you open a project with references to missing effects, Premiere Pro does the following:

tells you which effects are missing
marks the effects as offline
performs any rendering without the effects

For a current list of third-party plug-ins, see the Adobe website.

Note:

To edit a project containing add-on plug-ins on more thanone computer, install the plug-ins on all the computers.

Some effects can take advantage of the processing power of a certified graphics card to accelerate rendering. This acceleration of effects using CUDA technology is a component of the high-performance Mercury playback engine in Premiere Pro.

For Premiere Pro system requirements, including a list of graphics cards that are certified as providing CUDA acceleration of effects in Premiere Pro, see the Adobe website.

Note:

On Mac OS, CUDA acceleration features require Mac OS X v10.6.3or later.

Note:

Acceleration is available for an accelerated effect only when a supported video card is installed. If a supported video card is not installed, the Accelerated Effects filter button still functions. The Accelerated Effects badge is shown in a disabled state to indicate that acceleration is not available.

In the Video Rendering And Playback section, select the appropriaterenderer: Mercury Playback Engine GPU Acceleration or Mercury PlaybackEngine Software Only.

Note:

This option is available to select only if your computer supports it.

Premiere Pro includes some video effects and transitions that support high-bit-depth processing. When applied to high-bit-depth assets, such as v210-format video and 16-bit-per-channel (bpc) Photoshop files, these effects can be rendered with 32bpc pixels. The result is better color resolution and smoother color gradients with these assets than would be possible with the earlier standard 8 bit per channel pixels. A 32-bpc badge appears to the right of the effect name in the Effects panel for each high-bit-depth effect.

To enable high-bit-depth rendering for these effects, select the Maximum Bit Depth video rendering option in the New Sequence dialog box.

Note:

32-bpc effects render at 32 bits per channel only whenevery effect in the render pipeline is a 32-bpc effect. If you placean 8-bpc effect into a sequence that contains a 32-bpc effect, PremierePro renders all the effects in the sequence at 8 bits.

Effects in Premiere Pro that have the YUV logo do the processing directly on the YUV values without converting them to RGB first. The pixel values are never converted to RGB, and there is no unwanted color shifting.

These effects make it easy for you to adjust contrast and exposure without shifting color.

Standard effects are listed in the Effects panel and are organized into two main bins, Video Effects and Audio Effects. Within each bin, Premiere Pro lists effects by type in nested bins. For example, the Blur and Sharpen bin contains effects that defocus an image, such as Gaussian Blur and Directional Blur.

Find audio effects in bins named for the type of audio clips they support: mono, stereo, or 5.1.

You can also locate an effect by typing the effect name in the Contains box.

To open the Effects panel, choose Window > Effects, or click the Effects tab.

You can also use the filters in the Effects panel to sort filters based on whether they are Accelerated, 32-bit Color, or YUV effects. When you toggle one of these buttons on, only effects and transitions of its type are shown in the list of effects below. You can toggle one or more of these buttons to filter the list of effects for any combination of attributes.

You can group your favorite effects by placing them together in customized bins.

In the Effects panel, click the NewCustom Bin button , orchoose New Custom Bin from the Effects panel menu. A new Custombin appears in the Effects panel. You can rename it.

Drag effects to the Custom bin. A copy of the effect is listed in the Custom bin. You can create more Custom bins, which are numbered.

To rename the custom bin, click the existing name toselect the folder, click it again to select the name field, andtype the new name.

In the Effects panel, select a Custombin and do one of the following:

Click the Delete Custom Items button .
Choose Delete Custom Items from the Effects panelmenu.
Press Delete.
Press Backspace.

Note:

You can remove Custom bins only from the Effects panel.

List of Accelerated, 32-bit, and YUV effects in Premiere Pro

Use the following filters to quickly check whether an effect is accelerated, 32-bit, or a YUV effect.

Here is a list of the effects and transitions that canbe accelerated by CUDA in Adobe Premiere Pro.

Alpha Adjust
Basic 3D
Black & White
Brightness & Contrast
Color Balance (RGB)
Color Pass (Windows only)
Color Replace
Crop
Drop Shadow
Edge Feather
Eight-Point Garbage Matte
Extract
Fast Color Corrector
Four-Point Garbage Matte
Gamma Correction
Garbage Matte (4, 8, 16)
Gaussian Blur
Horizontal Flip
Levels
Luma Corrector
Luma Curve
Noise
Proc Amp
RGB Curves
RGB Color Corrector
Sharpen
Sixteen-Point Garbage Matte
Three-way Color Corrector
Timecode
Tint
Track Matte Key
Ultra Keyer
Video Limiter
Vertical Flip
Directional Blur
Fast Blur
Invert
Additive Dissolve
Film Dissolve
Warp Stabilizer

Cross Dissolve
Dip to Black
Dip to White
Film Dissolve
Band Wipe
Barn Doors
Checker Wipe
CheckerBoard
Clock Wipe
Gradient Wipe
Inset
Pinwheel
Radial Wipe
Random Blocks
Random Wipe
Spiral Boxes
Venetian Blinds
Wedge Wipe
Zig-Zag Blocks

ProcAmp
Gaussian Blur
Lumetri Color
Video Limiter
Black & White
Alpha Adjust
Luma Key
Track Matte Key
Fast Color Corrector
Luma Corrector
Luma Curve
RGB Color Corrector
RGB Curves
Three-Way Color Corrector
Video Limiter (Legacy)
Crop
Edge Feather
Horizontal Flip
Clip Name
Simple Text
Timecode
Cross Dissolve
Dip to Black
Dip to White
Film Dissolve
Iris Box
Iris Cross
Iris Diamond
Iris Round
Band Slide
Band Wipe
Barn Doors
Checker Wipe
CheckerBoard
Clock Wipe
Gradient Wipe
Inset
Pinwheel
Radial Wipe
Random Blocks
Random Wipe
Spiral Boxes
Venetian Blinds
Wedge Wipe
Wipe
Zig-Zag Blocks

More like this

Twitter™ and Facebook posts are not covered under the terms of Creative Commons.

Legal Notices | Online Privacy Policy

Learn about the wide array of video effects and transitions available in Premiere Pro, what they do, and how and when to use them.

For audio effects and transitions, see Audioeffects and transitions.

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.

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.

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 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.

The constant value (as a percentage) to add to the outputchannel value. For example, a Red-Const setting of 100 saturatesthe red channel for every pixel by adding 100% red.

Uses the value of the red output channel for the red, green,and blue output channels, creating a grayscale image.

Removing all Red input from the Red channel, and adding 50%of the Green channel and 50% of the Blue channel to the Red channel

The Color Balance effect changes the amount of red,green, and blue in the shadows, midtones, and highlights of an image.

Preserves the average brightness of the image while changingthe color. This control maintains the tonal balance in the image.

The Color Balance (HLS) effect alters an image’s levelsof hue, luminance, and saturation.

Specifies the color scheme of the image.

Specifies the brightness of the image.

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.

RGB equalizes the image based on red, green, and blue components. Brightnessequalizes the image based on the brightness of each pixel. Photoshop Styleequalizes by redistributing the brightness values of the pixelsin an image so that they more evenly represent the entire rangeof brightness levels.

How much to redistribute the brightness values. At 100%, thepixel values are spread as evenly as possible; lower percentagesredistribute 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.

Lets you view adjustments in the Program monitor as the final results (Composite) or tonal value adjustments (Luma).

Displays the left or upper part of the image as the corrected viewand the right or lower part of the image as the uncorrected view.

Determines whether the Split View images are side by side(Horizontal) or above and below (Vertical).

Adjusts the size of the corrected view. The default is 50%.

Assigns a white balance to an image using the Eyedroppertool to sample a target color in the image or anywhere on your monitor’sdesktop. You can also click the color swatch to open the Adobe ColorPicker and select a color to define the white balance.

Controls hue balance and hue angle using a color wheel. Thesmall circle moves about the center of the wheel and controls thehue (UV) translation. This changes the balance magnitude and balanceangle. The small perpendicular line sets the relative coarseness/finenessof the control, which controls the balance gain.

Tip: Adjustmentsto the Hue Balance And Angle can be viewed in the vectorscope.

Controls the hue rotation. The default value is 0. Negativevalues rotate the color wheel to the left and positive values rotatethe color wheel to the right.

Controls the amount of color balance correction as determinedby the Balance Angle.

Adjusts brightness values by multiplication so that lighterpixels are affected more than darker pixels.

Controls the selection of desired hue value.

Adjusts the image’s color saturation. The default value is100, which doesn’t affect the colors. Values less than 100 decreasesaturation, with 0 completely removing any color. Values greaterthan 100 produce more saturated colors.

Raises the black levels in a clip so the darkest levels areabove 7.5 IRE (NTSC) or 0.3v (PAL). A portion of the shadows isclipped and the intermediate pixel values are redistributed proportionately.As a result, using Auto Black Level lightens the shadows in an image.

Applies both the Auto Black Level and Auto White Level simultaneously.Auto Contrast makes the highlights appear darker and shadows appear lighter.

Lowers the white levels in a clip so the lightest levelsdo not exceed 100 IRE (NTSC) or 1.0v (PAL). A portion of the highlightsis clipped and the intermediate pixel values are redistributed proportionately.As a result, using Auto White Level darkens the highlights in animage.

Sets the levels for darkest shadow, midtone gray, and lightesthighlight using the different Eyedropper tools to sample a targetcolor in the image or anywhere on your monitor’s desktop. You canalso click the color swatch to open the Adobe Color Picker and selecta color to define the black, midtone gray, and white.

The outer two Input Levels sliders map the black point andwhite point to the settings of the Output sliders. The middle Inputslider adjusts the gamma in the image. It moves the midtone andchanges the intensity values of the middle range of gray tones withoutdramatically altering the highlights and shadows.

Map the black point and white point input level sliders to specifiedvalues. By default, the Output sliders are at level 0, where theshadows are completely black, and level 255, where the highlightsare completely white. So, in the default position for the Outputsliders, moving the black input slider maps the shadow value tolevel 0, and moving the white point slider maps the highlight valueto level 255. The remaining levels are redistributed between levels0 and 255. This redistribution decreases the tonal range of theimage, 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 levelsfor the highlights, midtones, or shadows.

Adjust the mapped output levels for the input black and inputwhite 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.

How much color to remove. 100% causes areas of the imagedissimilar to the selected color to appear as shades of gray.

Use the eyedropper or Color Picker to determine which colorto leave.

The flexibility of the color-matching operation. 0% decolorsall pixels except those that exactly match Color To Leave. 100%causes no color change.

The softness of the color boundaries. High values smooththe transition from color to gray.

Determines whether colors’ RGB values or hue values are compared.Choose Using RGB to perform more strict matching that usually decolorsmore of the image. For example, to leave dark blue, light blue,and medium blue, choose Using Hue and choose any shade of blue asColor To Leave.

The Luma Corrector effect lets you adjust the brightnessand contrast in the highlights, midtones, and shadows of a clip.You can also specify the color range to be corrected by using theSecondary Color Correction controls.

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).

Displays the left or upper part of the image as the corrected viewand the right or lower part of the image as the uncorrected view.

Determines whether the Split View images are side by side(Horizontal) or above and below (Vertical).

Adjusts the size of the corrected view. The default is 50%.

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.

Specifies whether the luminance adjustments are applied tothe entire image (Master), the highlights only, midtones only, orshadows only.

Adjusts the black level in a clip. Use this control so thatthe black picture content in your clip appears as black.

Affects the image’s contrast by adjusting the gain from theclip’s original contrast value.

Sets the clip’s original contrast value.

Adjusts the image’s midtone values without affecting blackand white levels. This control causes changes in contrast, muchlike changing the shape of the curve in the Luma Curve effect. Usethis control to adjust images that are too dark or too light, withoutdistorting shadows and highlights.

Adjusts an image by adding a fixed offset to the image’spixel values. Use this control with the Gain control to increasean image’s overall brightness.

Affects the overall contrast ratio of an image by adjustingbrightness values by multiplication. The lighter pixels are affectedmore than darker pixels.

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.

Defines the central color in the range that you’re specifying.Select the Eyedropper tool and click anywhere on your screen tospecify a color, which is displayed in the color swatch. Use the+ Eyedropper tool to extend the color range, and use the – Eyedroppertool to subtract from the color range. You can also click the swatchto open the Adobe Color Picker and select the center color.

Specify the color range to be corrected by hue, saturation,or luminance. Click the triangle next to the option name to accessthe threshold and softness (feathering) controls to define the hue,saturation, or luminance range.

Makes boundaries of the specified area more diffuse, blendingthe correction more with the original image. A higher value increasesthe softness.

Makes the specified area more sharply defined. The correction becomesmore pronounced. A higher value increases the edge definition ofthe specified area.

Corrects all colors except for the color range that you specifiedwith the Secondary Color Correction settings.

The Luma Curve effect adjusts the brightness and contrastof a clip using a curve adjustment. You can also specify the colorrange to be corrected by using the Secondary Color Correction controls.

Lets you view adjustments in the Program Monitor as the final results (Composite) or tonal value adjustments (Luma)

Displays the left or upper part of the image as the corrected viewand the right or lower part of the image as the uncorrected view.

Determines whether the Split View images are side by side(Horizontal) or above and below (Vertical).

Adjusts the size of the corrected view. The default is 50%.

Alters the brightness and contrast of the clip when you changethe shape of the curve. Bowing the curve upward lightens the clipand bowing the curve downward darkens the clip. The steeper sectionsof 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 deletea point, drag it off the graph.

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.

Defines the central color in the range that you’re specifying.Select the Eyedropper tool and click anywhere on your screen tospecify a color, which is displayed in the color swatch. Use the+ Eyedropper tool to extend the color range, and use the - Eyedroppertool to subtract from the color range. You can also click the swatchto open the Adobe Color Picker and select the center color.

Makes boundaries of the specified area more diffuse, blendingthe correction more with the original image. A higher value increasesthe softness.

Makes the specified area more sharply defined. The correction becomesmore pronounced. A higher value increases the edge definition ofthe specified area.

Corrects all colors except for the color range that you specifiedwith the Secondary Color Correction settings.

Applies the specified Secondary Color Correction settings to the unmasked areas.

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.

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).

Displays the left or upper part of the image as the corrected viewand the right or lower part of the image as the uncorrected view.

Determines whether the Split View images are side by side(Horizontal) or above and below (Vertical).

Adjusts the size of the corrected view. The default is 50%.

Defines the tonal range of the shadows and highlights usingthreshold and falloff controls:

Tip: Choose Tonal Range from the Output menu to viewthe highlights, midtones, and shadows as you adjust the Tonal RangeDefinition controls.

Determines the shadow’s tonal range.

Determines the shadow’s tonal range with falloff.

Determines the highlight’s tonal range.

Determines the highlight’s tonal range with falloff.

Specifies whether the color correction is applied to theentire image (Master), the highlights only, midtones only, or shadowsonly.

Adjusts the image’s midtone values without affecting blackand white levels. Use this control to adjust images that are toodark or too light, without distorting shadows and highlights.

Adjusts an image by adding a fixed offset to the image’spixel values. Use this control with the Gain control to increasean image’s overall brightness.

Affects the overall contrast ratio of an image by adjustingbrightness values by multiplication. The lighter pixels are affectedmore than darker pixels.

Lets you adjust the midtone values, contrast, and brightnessof each color channel individually. Click the triangle to expandthe options for setting the gamma, pedestal, and gain of each channel.

Adjusts the red, green, or blue channel’s midtone valueswithout affecting black and white levels.

Adjusts the tonal values in the red, green, or blue channelby adding a fixed offset to the channel’s pixel values. Use thiscontrol with the Gain control to increase the channel’s overallbrightness.

Adjusts the red, green, or blue channel’s brightness valuesby multiplication so that lighter pixels are affected more than darkerpixels.

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.

Makes boundaries of the specified area more diffuse, blendingthe correction more with the original image. A higher value increasesthe softness.

Makes the specified area more sharply defined. The correction becomesmore pronounced. A higher value increases the edge definition ofthe specified area.

Corrects all colors except for the color range that you specifiedwith 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.

Lets you view adjustments in the Program monitor as the final results (Composite) or tonal value adjustments (Luma).

Displays one part of the image as the corrected view andthe other part of the image as the uncorrected view.

Determines whether the Split View images are side by side(Horizontal) or above and below (Vertical).

Adjusts the size of the corrected view. The default is 50%.

Alters the brightness and contrast of all channels when youchange the shape of the curve. Bowing the curve upward lightensthe clip and bowing the curve downward darkens the clip. The steepersections of the curve represent portions of the image with greatercontrast. Click to add a point to the curve and drag to manipulatethe shape. You can add a maximum of 16 points to the curve. To deletea point, drag it off the graph.

Alters the brightness and contrast of the red, green, or bluechannel when you change the shape of the curve. Bowing the curveupward lightens the channel and bowing the curve downward darkensthe channel. The steeper sections of the curve represent portionsof the channel with greater contrast. Click to add a point to thecurve and drag to manipulate the shape. You can adjust up to a maximumof 16 points on the curve. To delete a point, drag it off the graph.

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.

Makes boundaries of the specified area more diffuse, blending thecorrection more with the original image. A higher value increasesthe softness.

Makes the specified area more sharply defined. The correction becomesmore pronounced. A higher value increases the edge definition ofthe specified area.

Corrects all colors except for the color range that you specifiedwith 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.

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).

Displays one part of the image as the corrected view andthe other part of the image as the uncorrected view.

Determines whether the Split View images are side by side(Horizontal) or above and below (Vertical).

Adjusts the size of the corrected view. The default is 50%.

Assigns a black, midtone gray, or white balance to a clip.Use the different Eyedropper tools to sample a target color in theimage, or choosing a color from the Adobe Color Picker.

Defines the tonal range of the shadows, midtones, and highlightsin 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 viewthe highlights, midtones, and shadows as you adjust the Tonal RangeDefinition 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 nextto the option name and drag the slider.

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.

Controls hue and saturation adjustments using three colorwheels for the shadows (left wheel), midtones (middle wheel), andhighlights (right wheel). A single master wheel appears when Masteris chosen from the Tonal Range menu. A circular thumb moves aboutthe center of the wheel and controls the hue (UV) translation. Aperpendicular 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.

Controls the hue rotation in the highlights, midtones, orshadows. The default value is 0. Negative values rotate the colorwheel to the left and positive values rotate the color wheel tothe right.

Controls the amount of color balance correction as determinedby the Balance Angle. The adjustment can be applied to highlights,midtones, and shadows.

Adjusts brightness values by multiplication so that lighterpixels are affected more than darker pixels. The adjustment canbe applied to highlights, midtones, and shadows.

Controls the hue translation in the highlights, midtones,or shadows.

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 anycolor. Values greater than 100 produce more saturated colors.

Raises the black levels in a clip so the darkest levels areabove 7.5 IRE. A portion of the shadows is clipped and the intermediatepixel values are redistributed proportionately. As a result, usingAuto Black Level lightens the shadows in an image.

Applies both the Auto Black Level and Auto White Level simultaneously.This makes the highlights appear darker and shadows appear lighter.

Lowers the white levels in a clip so the lightest levelsdo not exceed 100 IRE. A portion of the highlights is clipped andthe intermediate pixel values are redistributed proportionately.As a result, using Auto White Level darkens the highlights in animage.

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.

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 levelsfor the highlights, midtones, or shadows.

Adjust the mapped output levels for the input black and inputwhite levels for the highlights, midtones, or shadows.

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.

Makes boundaries of the specified area more diffuse, blendingthe correction more with the original image. A higher value increasesthe softness.

Makes the specified area more sharply defined. The correction becomesmore pronounced. A higher value increases the edge definition ofthe specified area.

Corrects all colors except for the color range that you specifiedwith the Secondary Color Correction settings.

The Tint effect alters an image’s color information.For each pixel, the luminance value specifies a blend between twocolors. Map Black To and Map White To specify to which colors darkand bright pixels are mapped. Intermediate pixels are assigned intermediatevalues. Amount To Tint specifies the intensity of the effect.

Use the new Video Limiter effect to limit RGB values to meet HDTV digital broadcast specifications. You can use it as a per shot effect or add as an output effect to limit the entire sequence upon export. The Video Limiter enabled on the timeline is applied both during editing and at export. The Video Limiter does not include the additional Chrominance limiting needed for legacy Analog NTSC transmissions.

The Video Limiter effect has the following options:

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

The Video Limiter effect lets you limit the luminanceand color in a clip so that they fall within parameters that youdefine. These parameters are useful for preserving the video asmuch as possible while making its signal fall within the broadcastinglimits.

Displays one part of the image as the corrected view andthe other part of the image as the uncorrected view.

Determines whether the Split View images are side by side(Horizontal) or above and below (Vertical).

Adjusts the size of the corrected view. The default is 50%.

Lets you set the limits defining the range of luminance (Luma), color(Chroma), both color and luminance (Chroma and Luma), or the overall videosignal (Smart Limit). The Min and Max controls available dependon the Reduction Axis option you choose.

Specifies the darkest level in an image.

Specifies the brightest level in an image.

Specifies the lowest saturation for the colors in an image.

Specifies the maximum saturation for the colors in an image.

Specifies the minimum video signal including both brightnessand saturation.

Specifies the maximum video signal including both brightnessand saturation.

Lets you compress specific tonal ranges to preserve detail inimportant tonal ranges (Highlights Compression, Midtones Compression, ShadowsCompression, or Highlights and Shadows Compression) or compressall tonal ranges (Compress All). Compress All is the default.

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 Corner Pin effect distorts an image by changingthe position of each of its four corners. Use it to stretch, shrink,skew, or twist an image, or to simulate perspective or movementthat pivots from the edge of a clip, such as a door opening.

Note:

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.

Original image (left), corner moved (center), and final image(right)

The Lens Distortion effect simulates a distorted lensthrough which the clip is viewed.

Changes the curvature of the lens. Specify a negative valueto make the image concave, or a positive value to make the imageconvex.

Displace the focal point of the lens, making the image bendand smear. At extreme settings, the image wraps in on itself.

Create a result similar to vertical and horizontal decentering,except that at extreme values the image doesn’t wrap in on itself.

Specifies the background color.

Makes the background transparent so that underlying tracksare visible. In the Effect Controls panel, click Setup to accessthis option.

The Magnify effect enlarges all or part of an image.This effect can act like a magnifying glass placed over an areaof the image, or you can use it to scale the entire image far beyond100% while maintaining resolution.

Original image (left), and with variations of effect applied(center and right)