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Download Premiere Elements 11 for Windows. Get a popular video editing software for your Windows PC with Adobe Premiere Elements. Adobe Premiere Elements is a paid software by Adobe Systems which lets you do video editing like no other. Adobe Premiere Elements can handle unlimited video and audio tracks which also supports many third party plug-ins. 3D Six-Pack for Premiere 1.0.2. The 3D Six-Pack transitions plugin for Premiere or Vegas is an affordable, easy-to-use video transitions plugin that adds 250+ terrific 3D transitions to Adobe Premiere (Windows) and Sony Vegas.

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You can correct, improve, and otherwise modify your clips with the effects provided in Adobe Premiere Elements. All effects are preset with default values for settings, so when you apply an effect, it alters your clip. You can adjust and animate values as desired.

This reference contains descriptions of all audio and video effects included as part of Adobe Premiere Elements. It defines only those effect properties and tools that may not be self-explanatory. It doesn’t include descriptions of effects installed with capture cards or third-party plug-ins.

Thesamples below illustrate just some of the video effects includedwith Adobe Premiere Elements. To preview an effect not in this gallery,apply it and preview it in the Monitor panel. (See Applyand preview effects.)

Use Auto Color, Auto Contrast, and Auto Levelsto make quick global adjustments to a clip. Auto Color adjusts thecontrast and color of a clip by neutralizing the midtones and placinga limit on the range of the white and black pixels. Auto Contrastadjusts the overall contrast and mixture of colors without introducingor removing color casts. Auto Levels automatically corrects thehighlights and shadows. Because Auto Levels adjusts each color channelindividually, it may remove or introduce color casts, which aretints to a clip. Each effect has one or more of the following properties:

Specifies the range of adjacent frames used to determine theamount of correction needed for each frame, relative to surroundingframes. For example, if you set Temporal Smoothing to 1 second, Premiere Elements analyzes the frames 1 secondbefore the displayed frame to determine the appropriate adjustments.If you set Temporal Smoothing to 0, Premiere Elements analyzeseach frame independently without regard for surrounding frames. Temporalsmoothing can result in smoother‑looking corrections over time.

Specifies that Premiere Elements ignoresscene changes when you have enabled Temporal Smoothing.

Specifies how much the effect constrains the shadows andhighlights within the new extreme shadow (level 0) and highlight (level255) colors in the clip. Larger values produce greater contrast.

(Available for Auto Color only) Specifies that Premiere Elements finds an average nearly neutral(gray) color in a clip and adjusts the gamma values of that colorto make it neutral.

Specifies the percentage of the effect to apply to the clip.

The Brightness & Contrast effectadjusts the brightness and contrast of the entire clip. The value0.0 indicates that no change is made.

Using the Brightness& Contrast effect is the easiest way to make simple adjustmentsto the tonal range of the clip. It adjusts all pixel values in theclip at once—highlights, shadows, and midtones. Brightness &Contrast does not work on individual color channels.

Every clip in Premiere Elements iscomposed from three color channels: red, green, and blue. Each channelcontains the luminance values for its respective color. Using theChannel Mixer effect, you can add the values from any of these channelsto any of the other channels, for example, adding the luminancevalues from the green channel into the red channel. Use this effectto make creative color adjustments not easily achieved with theother color adjustment tools. Create high‑quality grayscale clipsby choosing the percentage of the grayscale contributed by eachcolor channel, create high‑quality sepia‑tone or other tinted clips,and swap or duplicate channels. You could use this effect, for example,to entirely replace a noisy blue channel with values taken from,say, a clean green channel.

Each of the properties for the Channel Mixer is labeled witha pair of color names. The word to the left of each hyphen namesthe property’s output channel; the word to the right names its inputchannel. For example, the Red-Green property has the red channelas its output and the green channel as its input. You can use itto add the luminance values of the green channel to the red channel.

The value to the right of each property name sets the percentageof the output channel contributed by the specified input channel.This number is a percentage ranging from -200% to 200%.

The Constant (Const) properties for each output channel allowyou to specify a base value to add to that output. For example,a Red-Const value of 50 will add 50% of full luminance (50% of 255,or about 127) to every pixel in the red output channel.

The Monochrome option creates a grayscale clip from the outputchannel values. Monochrome is useful for clips that you plan toconvert to grayscale. If you select this option, adjust the channelvalues, and then deselect this option, you can modify the blendof each channel separately, creating a hand‑tinted appearance.

Apply the Channel Mixer effect, andthen click the Applied Effects button. Expand the Channel Mixereffect and drag any channel’s value to the left to decrease thechannel’s contribution to the output channel. Drag the value to theright to increase the channel’s contribution to the output channel.Alternatively, click an underlined value, type a value between ‑200and +200 in the value box, and press Enter. Using a negative valueinverts the source channel before adding it to the output channel.
(Optional) Drag or type a value for the channel’s constantvalue. This value adds a base amount of a channel to the outputchannel.
(Optional) Select Monochrome to apply the same settingsto all the output channels, creating a clip that contains only grayvalues.

The Extract effect removes colors from avideo clip or still image, creating a textured grayscale appearance.Control the clip’s appearance by specifying the range of gray levelsto convert to white or black.

Click the Applied Effects button, and then click theSetup button to the right of the effect name.
In the Extract Settings dialog box, drag the two trianglesunderneath the histogram (a diagram showing the number of pixelsat each brightness level in the current keyframe) to specify therange of pixels converted to white or black. Pixels between thetriangles are converted to white. All other pixels are convertedto black.
Drag the softness slider to introduce levels of grayinto the pixels that have been converted to white. Higher softnessvalues produce more gray.
(Optional) Select Invert to reverse the range that isconverted to white and black, and click OK.

TheImage Control effect emulates the controls of a video processingamplifier. This effect adjusts the brightness, contrast, hue, andsaturation of a clip.

The Lighting Effects effect applies creativelighting effects on a clip with up to five lights. You can controllighting properties such as lighting type, direction, intensity,color, lighting center, and lighting spread. Use the Bump Layercontrol to use textures or patterns from other clips to producespecial lighting effects, such as a 3D-like surface effect.

ThePosterize effect specifies the number of tonal levels (or brightnessvalues) for each channel in a clip and maps pixels to the closestmatching level. For example, if you choose two tonal levels in anRGB clip, you get two tones for red, two tones for green, and twotones for blue. Values range from 2 to 255. Although the resultsof this effect are most evident when you reduce the number of graylevels in a grayscale clip, Posterize also produces interestingeffects in color clips.

Use Level to adjust the number oftonal levels for each channel to which Posterize will map existingcolors.

Usethe Shadow/Highlight effect to brighten shadowed subjects in a clipor to reduce the highlights. This effect does not apply a globaldarkening or lightening of a clip, but rather it adjusts the shadowsand highlights independently, based on the surrounding pixels. Youcan also adjust the overall contrast of a clip. The default settingsare optimized to fix clips with backlighting problems.

Specifies that Adobe Premiere Elements automatically analyzes andcorrects highlight and shadow problems stemming from backlighting issues.This option is selected by default. Deselect it to activate manualcontrols for shadow and highlight correction.

Lightens the shadows in the clip. This control is activeonly if you deselect Auto Amounts.

Darkens the highlights in the clip. This control is activeonly if you deselect Auto Amounts.

Specifies the range of adjacent frames that Adobe PremiereElements analyzes in order to determine the amount of correction neededfor each frame, relative to its surrounding frames. For example,if you set Temporal Smoothing to 1 second, the frames are analyzed1 second before the displayed frame to determine appropriate shadowand highlight adjustments. If you set Temporal Smoothing to 0, eachframe is analyzed independently, without regard for surroundingframes. Temporal Smoothing can result in smoother‑looking correctionsover time. This control is active only if you select Auto Amounts.

Specifies that scene changes are ignored when you have enabled TemporalSmoothing.

Specifies the percentage of the effect to apply to the clip.

Expandthe More Options category to reveal the following controls:

Specify the range of adjustable tones in the shadows andhighlights. Lower values restrict the adjustable range to only thedarkest and lightest regions, respectively. Higher values expandthe adjustable range. These controls are useful for isolating regionsto adjust. For example, to lighten a dark area without affectingthe midtones, set a low Shadow Tonal Width value so that when youadjust the Shadow Amount, you are lightening only the darkest areasof a clip.

Specify the size (in pixels) of the area around a pixel thatthe effect uses to determine whether the pixel resides in a shadowor a highlight. Generally, this value should roughly equal the sizeof the subject of interest in your footage.

Specifies the degree of color correction that the effectapplies to the adjusted shadows and highlights. The higher the value,the more saturated the colors become. The more significant the correctionthat you make to the shadows and highlights, the greater the rangeof color correction available.

Tip: If you wantto change the color over the whole clip, use the Hue/Saturationeffect after applying the Shadow/Highlight effect.

Specifies the degree of contrast that the effect appliesto the midtones. Higher values increase the contrast in the midtonesalone, while concurrently darkening the shadows and lightening thehighlights.

Specify how much the effect clips the shadows and highlightsto the new extreme shadow (level 0) and highlight (level 255) colorsin the clip. Larger values produce greater contrast.

TheAntialias effect blends the edges between areas of highly contrastingcolors. When blended, colors create intermediate shades that maketransitions between dark and light areas appear more gradual.

note: Youcannot apply keyframes to the Antialias effect.

Usethe Fast Blur effect to specify how much to blur a clip. You canspecify that the blur is horizontal, vertical, or both. Fast Blurblurs areas more quickly than Gaussian Blur.

TheGaussian Blur effect blurs and softens the clip and eliminates noise.You can specify that the blur is horizontal, vertical, or both.(Gaussian refers to the bell‑shaped curve that is generated by mappingthe color values of the affected pixels.)

TheGhosting effect overlays transparencies of the immediately preceding frameson the current frame. This effect can be useful, for example, whenyou want to show the motion path of a moving object, such as a bouncingball. Keyframes cannot be applied to this effect.

TheSharpen effect increases the contrast where color changes occur.

TheInvert (video) effect inverts the color information of a clip.

Specifies which channel or channels to invert. Each group of items operates in a particular color space, inverting either the entire clip in that color space or just a single channel. RGB consists of three additive color channels: red, green, and blue. HLS consists of three calculated color channels: hue, lightness, and saturation. YIQ is the NTSC luminance and chrominance color space, where Y is the luminance signal, and I and Q are the in‑phase and quadrature chrominance signals. Alpha, not a color space, provides a way to invert the alpha channel of the clip.

Combines the inverted clip with the original. You can apply a fade to the inverted clip.

The AutoTone effect uses automatic Adobe Premiere Elementssettings for exposure, brightness, contrast, blacks, and whites.You can choose to use the default settings or edit the parametersafter applying the effect to a clip.

Note:

While AutoTone parameters are applied automatically to eachframe, set the Vibrance value manually.

Vibrance prevents over saturation of colors as full saturationvalues are reached. For example, you can use vibrance to preventover saturation of skin tones. The saturation levels of lower-saturatedcolors are affected more than the higher-saturated colors.

The Three-Way Color Corrector effect lets you make subtle correctionsby adjusting a clip’s hue, saturation, and brightness for the shadows,midtones, and highlights. Specify the color range for correctionusing the secondary color correction controls to further refineyour adjustments.

When you preview an image using Tonal Range, the black areas (shadows),gray areas (mid tones), and the white areas (highlights) in an image aredisplayed.

The areas in the image to which the changes are applied isdisplayed. For example, if you are correcting mid tones, the grayareas in your image that are affected is displayed.

Assigns a black, midtone gray, or white balance to a clip.For example, for White Balance, you target a color that is purewhite. The three-way color corrector shifts colors in the imageso that the targeted color appears white. Use the different Eyedroppertools to sample a target color in the image, or choose a color fromthe Adobe Color Picker.

Rotates the color toward a target color. The default valueis 0. Negative values rotate the outer circumference of the colorwheel to the left and positive values rotate the color wheel tothe right.

Controls the intensity of the color introduced into the video.Moving the circle out from the center increases the magnitude (intensity).The intensity can be fine-tuned by moving the Balance Gain handle.

Affects the relative coarseness or fineness of the BalanceMagnitude and Balance Angle adjustment. For fine (subtle) adjustments,keep the perpendicular handle of this control close to the centerof the wheel. For coarse adjustments, move the handle toward theouter ring.

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.

Shifts the video color toward a target color. Moving theBalance Magnitude circle toward a specific hue shifts the coloraccordingly. The combined adjustment of the Balance Magnitude andBalance Gain controls the intensity of the shift.

You can adjust the hue, saturation, and luminance of specific colors in your image or video using the HSL tuner effect. Use the slider controls in the Applied Effects panel to adjust the hue, luminance, or saturation for the following colors in your image:

• Red
• Orange
• Yellow
• Green
• Aqua
• Blue
• Purple
• Magenta

The HSL tuner effects enables you to provide a movie-type look to your video.

Use the color balance adjustment to tone the shadows and highlights of your image in two different colors.

Use the Split toning effect to tint the highlights in your image with a particular color and the shadows with a different color. You can achieve best results, if the highlights and shadows in your image are of opposite colors.Use the Hue and Saturation control sliders to adjust the hue and saturation for both highlights and shadows

Note:

All the Distort options are available only on Windows.

TheBend effect distorts a clip by producing the appearance of a wavetraveling both vertically and horizontally through it. You can producea number of different wave shapes at various sizes and rates. Tochange the following effect properties for the horizontal dimension,the vertical dimension, or both, select the clip with the effectin the Expert view timeline. Click the Applied Effects button, andthen click the Setup button to the right of the effect name in the AppliedEffects panel.

Specifies the direction of the wave. The In settingspecifies that waves move toward the center of the clip. The Out settingspecifies that waves start in the center and move to the edge ofthe clip.

Specifies the shape of the wave. Choose from a sine wave,circle, triangle, or square.

Specifies the height of the wave.

Specifies the frequency of the wave. To produce a wave onlyvertically or horizontally, move the Rate slider allthe way to the left for the direction you do not want.

Specifies the wave width.

The Corner Pin effect distorts a clipby changing the position of any of its four corners. Use it to stretch,shrink, skew, or twist a clip, or to simulate perspective or movementthat pivots from the edge of a layer, such as a door opening.

TheLens Distortion effect simulates a distorted lens through whichthe clip is viewed.

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

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

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

Specifies the background color.

When selected, makes the background transparent so that underlyingtracks are visible. To access this option from the Applied Effectspanel, click the Setup button to the right of the effect name.

The Mirror effect creates a mirror imageof the clip and places the center of its side at a pivot point youspecify. You can make both the location of the pivot point and thereflection angle change over time.

Setting the first value determines the horizontal locationof the pivot point. Setting the second determines its vertical location.

Setting this value determines the angle at which the mirror imagepivots at the pivot point.

The Ripple effect produces an undulating patternon a clip, like ripples on the surface of a pond. The shape, severity,and direction of the ripple pattern are adjustable, as well as thebackground color.

TheSpherize effect wraps the clip around a sphere, giving objects andtext a three-dimensional appearance. To set the size of the sphere,enter a Radius value from 0.1 to 2,500. To position the effect,enter horizontal or vertical values for Center Of Sphere.

The Transform effect appliestwo-dimensional geometric transformations to a clip. Use the Transformeffect to skew a clip along any axis. Apply the Transform effectinstead of using a clip’s fixed effects if you want to render anchorpoint, position, scale, or opacity settings before other Standardeffects are rendered.

Specifies the point, in an x,y coordinate, aroundwhich the clip will be scaled or skewed.

Specifies the location, in an x,y coordinate,of the center (anchor point) of the clip.

Scales height up or down as a percentage of the source clip height.

Scales width up or down as a percentage of the source clipwidth.

Scales height and width proportionately.

Specifies skew amount.

The axis on which the skew is based. Changing the axis hasno effect if Skew is 0.

Specifies the number of complete rotations and degree thatthe clip rotates.

Specifies the degree of transparency of the clip, in percentages.

note: Transformis an Adobe After Effects effect that includes the Shutter Angle controland the Use Composition option; both of which apply only in AdobeAfter Effects.

TheTwirl effect rotates a clip around its center. The clip is rotatedmore sharply in its center than at the edges.

TheWave Warp effect distorts a clip to make it wave-shaped.

Options from a pop-up menu specify the shape of the wave.

Specifies the height of the wave.

Specifies the distance from one wave crest to the next.

Specifies the direction of the wave, in degrees.

Specifies the rate at which the wave pulses during playback.

Options from a pop-up menu set the orientation of the wave.

Sets the starting point, in degrees, at which the wave cyclebegins.

Options from a pop-up menu control the amount of blurringused to smooth the edges of the waves.

Use the Lens Flare effect to simulate the refractioncaused by shining a bright light into the camera lens.

Specifies a location for the center of the flare.

Specifies the percentage of brightness. Values can rangefrom 0% to 300%.

Selects the type of lens to simulate.

Specifies the degree to which the effect will be blended withthe source clip.

Creates the effect of text being hand-written on the screen. The key to this effect is animating the position of the Write-on effect, by creating keyframes in the Effect Controls panel. It is recommended that you use this effect for videos only. You may experience severe performance degradation if this effect is used on still images or synthetic clips.

1. Select the Write-on effect from the Effects panel and apply it to a video clip on the timeline.
   
2. Select the clip on the timeline and expand the effect (Write-on) in the Applied Effects panel.
   
3. Position the edit line at the beginning of the clip.
   
4. Drag the small circle with an + in the center, on the Monitor window, to where you want to begin writing.
   
5. To animated the Brush Position, open the keyframe control and toggle the key next to the Brush Position parameter.
   
6. Increase the brush size from 2 to a higher value (say 10)
   
7. Move the CTI a few frames on the timeline to move the Write-on point to a new location. Repeat this several times as required and preview the effect.
   Note: You can also tweak and animate the other parameters such as Brush Hardness, Brush Opacity, etc.

TheBlack & White effect converts any color clip to grayscale. Thatis, colors appear as shades of gray. You cannot apply keyframesto this effect.

TheColor Balance (HLS) effect alters a clip’s levels of hue, lightness,and saturation.

Specifies the color scheme of the clip.

Specifies the brightness of the clip.

Specifies the intensity of the colors in the clip.

note: Settingthe Saturation to ‑100 converts a movie to grayscale.

The Color Balance effect changescolors in the clip by adjusting its RGB levels. Drag the Red, Green,and Blue sliders to adjust the level of each color.

The Color Pass effect converts a clipto grayscale, with the exception of specified colors. Use the ColorPass effect to highlight a particular area of a clip. For example,in a clip of a basketball game, you could highlight the basketballby selecting and preserving its color, while keeping the rest ofthe clip displayed in grayscale. Note, however, that with the ColorPass effect, you can isolate only colors, not objects within theclip.

In the Project Assets panel, select the clip with the effectand click the Applied Effects button. Then click the Setup buttonto the right of the effect name in the Applied Effects panel.

In the Color Pass Settings dialog box, select the color youwant to preserve by clicking a color in the Clip Sample area onthe left (the pointer becomes an eyedropper), or by clicking theColor swatch and selecting a color in the Color Picker dialog box.

Drag the Similarity slider to increase or decrease the rangeof the specified color.

To reverse the effect, so that all colors except the specifiedcolor are preserved, select Reverse and click OK.

The Color Replace effect replacesall occurrences of a selected color with a new color, preservingany gray levels. Using this effect, you could change the color of anobject in a clip by selecting it, and then adjusting the controlsto create a different color.

In the Project Assets panel, select the effect and clickthe Applied Effects button. Then click the Setup button to the rightof the effect name Applied Effects panel.

In the Color Replace dialog box, select the color you wantto replace by clicking a color in the Clip Sample area on the left(the pointer becomes an eyedropper), or by clicking the Target Colorswatch and selecting a color in the Color Picker dialog box.

Choose the replacement color by clicking the Replace Colorswatch.

Broaden or reduce the range of the color you’re replacingby dragging the Similarity slider.

Select the Solid Colors property to replace the specifiedcolor without preserving any gray levels, and click OK.

TheGamma Correction effect lightens or darkens a clip without substantially changingthe shadows and highlights. It does this by changing the brightness levelsof the midtones (the middle‑gray levels), while leaving the darkand light areas unaffected. The default gamma setting is 7. Youcan adjust the gamma from 1 to 28.

The Tint effect alters a clip’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.

For information on using keying effects to create transparency,see Superimposingand transparency.

Use the Alpha Adjust effect in place of theOpacity effect when you need to change the default render orderof fixed effects. Change the opacity percentage to create levelsof transparency. The following controls allow you to interpret the alphachannel in the clip.

Note:

This effect ignores or inverts thealpha channel of only a single instance of a clip. To adjust thealpha channel of every instance of the clip, you need to use the InterpretFootage command.

Ignores the alpha channel of the clip.

Reverses the transparency and opaque areas of the clip.

Displays only the alpha channel.

TheBlue Screen Key effect and the Green Screen Key effect create akeyhole of all clip pixels that are similar to a standard blue screenor green screen, so that they become transparent. This effect istypically used to replace a blue or green background with anotherclip, as in replacing a blue screen behind a TV weatherman witha weather map.

Effective use of the Blue Screen Key or theGreen Screen Key requires footage where the background is a bright,evenly-lit standard blue or green screen. Make sure that personsor objects you place in front of the backdrop don’t match the colorof the backdrop (unless they have areas that you also want to maketransparent). For footage with a single-color background that doesn’tmatch these requirements, try Chroma Key or the Videomerge effect.

Youcan adjust the following settings in the Applied Effects panel:

Sets the level of blue or green that determines transparentareas in the clip. Dragging the Threshold slider to the left increasesthe amount of transparency. Use the Mask Only option to view theblack (transparent) areas as you move the Threshold slider.

Sets the opacity of the nontransparent areas that the Thresholdsetting specifies. Dragging the Cutoff value to the right increasesthe opacity. Select the Mask Only option to view the white (opaque)areas as you drag the Cutoff value.

Specifies the amount of anti-aliasing (softening) appliedto the boundary between transparent and opaque regions. Choose Noneto produce sharp edges, with no anti-aliasing. This option is usefulwhen you want to preserve sharp lines, such as those in titles.Choose Low or High to produce different amounts of smoothing.

Displays only the clip’s alpha channel. Black representstransparent areas, white represents opaque areas, and gray representspartially transparent areas.

TheChroma Key effect creates transparency from a color or range ofcolors. You can use this key for a scene shot against a screen thatcontains a range of one color, such as a shadowy blue screen. Selecta key color by clicking the Color swatch or by clicking the Eyedroppertool and selecting a color in the Monitor panel. Control the rangeof transparent colors by adjusting the tolerance level. You canalso feather the edges of the transparent area to create a smooth transitionbetween the transparent and opaque areas.

Note:

Adobe Premiere Elements Plugins

Apply the Chroma Key effect to a clip multipletimes to key out multiple colors.

Adjust the followingChroma key settings as needed:

Broadens or reduces the range of color that will be madetransparent. Higher values increase the range.

Blends the clip you are keying out with the underlying clip.Higher values blend more of the clip.

Controls the amount of shadows in the range of color youkeyed out. Higher values retain more shadows.

Darkens or lightens shadows. Drag to the right to darkenshadows, but do not drag beyond the Threshold slider; doing so invertsgray and transparent pixels.

Specifies the amount of anti‑aliasing applied to the boundary betweentransparent and opaque regions. Anti‑aliasing blends pixels to produce softer,smoother edges. Choose None to produce sharp edges with no anti‑aliasing.This option is useful when you want to preserve sharp lines, suchas those in titles. Choose Low or High to produce different amountsof smoothing.

Displays only the clip’s alpha channel, as modified by thekey settings. If Mask Only is selected, opaque areas of a clip appearwhite, transparent areas appear black, and partially transparentareas appear gray. Remove all the gray areas to produce a clean,hard‑edged key.

TheDifference Matte effect creates transparency by comparing a sourceclip with a difference clip, and then keying out pixels in the sourceimage that match both the position and color in the difference image.Typically, it’s used to key out a static background behind a movingobject, which is then placed on a different background. Often thedifference clip is simply a frame of background footage (beforethe moving object has entered the scene). For this reason, the Difference Matteeffect is best used for scenes that have been shot with a stationarycamera and an unmoving background.

Usethese effects to apply a garbage matte with either four, eight,or 16 adjustment points for more detailed keying. After you applythe effect, click the Applied Effects button, and then click theeffect name in the Applied Effects panel to display the garbagematte handles in the Monitor panel. To adjust the matte, drag thehandles in the Monitor panel.

TheImage Matte Key determines transparent areas based on a matte image’s alphachannel or brightness values. To get the most predictable results,choose a grayscale image for your image matte, unless you want toalter colors in the clip. Any color in the image matte removes thesame level of color from the clip you are keying. For example, whiteareas in the clip that correspond to red areas in the image matteappear blue‑green (since white in an RGB image is composed of 100%red, 100% blue, and 100% green); because red also becomes transparentin the clip, only blue and green colors remain at their originalvalues. Select your matte by clicking the Setup button in AppliedEffects panel.

Composites the clips using the alpha channel values of theimage matte.

Composites the clips using the luminance values of the image matte.

TheLuma Key effect keys out all the regions of a layer with a specifiedluminance or brightness. Use this effect if the object from whichyou want to create a matte has a greatly different luminance valuethan its background. For example, if you want to create a mattefor musical notes on a white background, you can key out the brightervalues. The dark musical notes become the only opaque areas.

Specifies the range of darker values that are transparent.Higher values increase the range of transparency.

Sets the opacity of nontransparent areas specified by theThreshold slider. Higher values increase transparency.

Tip: You can also use the Luma Key effect to key outlight areas by setting Threshold to a low value and Cutoff to ahigh value.

TheNon Red Key creates transparency from green or blue backgrounds.This key is similar to the Blue Screen and Green Screen Keys, butit also lets you blend two clips. In addition, the Non Red Key helpsreduce fringing around the edges of nontransparent objects. Usethe Non Red Key to key out green screens when you need to controlblending, or when the Blue Screen or Green Screen Keys don’t producesatisfactory results.

The following Non Red Key settings areadjusted in the Applied Effects panel:

Sets the levels of blue or green that determine transparentareas in the clip. Dragging the Threshold slider to the left increasesthe amount of transparency. Use the Mask Only option to view theblack (transparent) areas as you move the Threshold slider.

Sets the opacity of nontransparent areas that the Thresholdvalue specifies. Higher values increase transparency. Drag to theright until the opaque area reaches a satisfactory level.

Removes residual green or blue screen color from the edgesof the opaque areas of a clip. Choose None to disable defringing.Choose Green or Blue to remove a residual edge from green-screenor blue-screen footage, respectively.

Specifies the amount of anti-aliasing (softening) that isapplied to the boundary between transparent and opaque regions.Choose None to produce sharp edges, with no anti-aliasing. Thisoption is useful when you want to preserve sharp lines, such asthose in titles. Choose Low or High to produce different amountsof smoothing.

Displays only the clip’s alpha channel. Black representstransparent areas, white represents opaque areas, and gray representspartially transparent areas.

Note:

Combinethe Non Red Key with the Blue Screen Key, the Green Screen Key,or the Videomerge effect to smooth out hard to key areas.

TheRemove Matte effect removes color fringes from clips that are premultiplied witha color. It is useful when combining alpha channels with fill texturesfrom separate files. If you import footage with a premultipliedalpha channel, you may need to remove halos from an image. Halosare caused by a large contrast between the image's color and thebackground, or matte, color. Removing or changing the color of thematte can remove the halos.

Choose the color of the matte from the Matte Type menu.

TheRGB Difference Key effect is a simpler version of the Chroma Keyeffect. It lets you select a range for the target color,but you cannot blend the image or adjust transparency in grays.Use the RGB Difference Key effect for a scene that is brightly litand contains no shadows, or for rough cuts that don’t require fine adjustments.

Specifies the color in the video that will be made transparentby the mask.

Broadens or reduces the range of the target color that willbe made transparent. Higher values increase the range.

Specifies the amount of anti-aliasing (softening) appliedto the boundary between transparent and opaque regions. Choose Noneto produce sharp edges, with no anti-aliasing. This optionis useful when you want to preserve sharp lines, such as those in titles.Choose Low or High to produce different amounts of smoothing.

Displays only the clip’s alpha channel. Black representstransparent areas, white represents opaque areas, and gray representspartially transparent areas.

Adds a 50% gray, 50% opaque shadow offset 4 pixels down and tothe right from the opaque areas of the original clip image. Thisoption works best with simple graphics such as titles.

The Track Matte Key reveals one clip (backgroundclip) through another (superimposed clip), using a third file asa matte that creates transparent areas in the superimposed clip.This effect requires two clips and a matte, each placed on its owntrack. White areas in the matte are opaque in the superimposed clip, preventingunderlying clips from showing through. Black areas in the matteare transparent, and gray areas are partially transparent.

Youcan create mattes in various ways:

• Use the Titlesview to create text or shapes (use only grayscale images if you planto key using luma information), save the title, and then import thefile as your matte.

• Create a matte from any clip by using the Videomerge effect,Chroma Key, Blue Screen Key, Green Screen Key, or Non Red Key keyingeffect; then choose the effect’s Mask Only option.

• Use Adobe Photoshop Elements, Adobe Illustrator, or AdobePhotoshop to create a grayscale image and import it into Premiere Elements.

Lists the video tracks that contain clips that could be usedas mattes. Choose one from the list.

Selecting Matte Alpha from this pop-up menu sets the matte’stransparency based on its alpha channel. Matte Luma sets transparency basedon the matte’s luminance or brightness.

Reverses the order of the background and foreground clips.

The Airbrush effect creates an airbrushed effectby smoothing colors while maintaining sharp edges.

Lets you set the width of the airbrush nozzle. Increase thespray value to make the colors blend together over larger areas.Decrease the spray value to make individual color details becomemore evident.

The Colorize effect turns the image black-and-white,and then enhances specific areas using one or two colors that youspecify. The areas that are enhanced are those that contain oneof the two colors you specify. You can specify the two paint colorsthat dominate the image, and adjust how much color is applied.

Touse only one color, drag the strength value of one color to 0.

Specify the paint colors that stand out in the image. Use theeyedropper to select point colors directly from the image, or clickthe color swatch to choose a color from the Color Picker. Brightnessor dullness does not affect the results; however, the hue is important.For example, you can select a dark green or a light green and theresult will be the same. You can refine the color by clicking thecolor swatch and adjusting the color in the Color Picker.

Control the influence of the associated paint color. Thestronger the paint, the more it is used to color neighboring hues.

The Line Drawing effect converts an image intoa series of dots and lines drawn against a plain-colored background.

Sets the background color. Use the eyedropper to select acolor directly from the image, or click the color swatch to choosea color from the Color Picker.

Sets the pen color used for drawing the lines. Use the eyedropperor color swatch to choose a color.

Sets the sensitivity for creating lines. Slide to the farleft for little to no lines. Slide to the right and the picturebecomes increasingly busy with lines filling in the textures.

The Metallic effect paints an image to looklike it’s hammered out of metal. You can control the metal’s color,its behavior, and the amount it mixes with the original image.

Specifies the color of the metal. Use the eyedropper to selecta color directly from the image, or click the color swatch to choosea color from the Color Picker.

Specifies how much metal is mixed into the picture. Use thisin conjunction with the Picture control to create a nice blend betweenmetal and original picture.

Specifies how much of the original picture to blend in withthe metal. Mixing metal with the original colors creates a muchmore appealing result. Turn up both Metal and Picture to increasebrightness.

The Pastel Sketch effect softens colors anddraws sharp lines around the edges, creating the effect of a paintingin pastel colors.

Controls the sensitivity for creating lines. Drag to theleft to decrease the number of lines; drag right to increase thenumber of lines.

Specifies how to mix the original image with the sketchedimage. Drag to the right if you want more of the original imageto show through. Drag to the left to achieve a more sketched look.

The Old Film effect makes your video look likean aged movie, complete with scratches, jitters, and graininess,all of which you can adjust for maximum impact.

Sets the amount of film damage, including wear and scratches.

Shifts the color of the film from full color to sepia toblack and white.

Controls the amount of camera jitter in the scene.

Sets the style of film wear. Use this in conjunction withDamage.

The Active Camera effect simulates every varietyof camera movement, from agitated hand-held, to jackhammer, to agentle train ride.

Sets the range of motion along the horizontal (side to side)axis.

Sets the range of motion along the vertical (up and down)axis.

Enlarges the picture so it doesn’t chop off at the edgesfrom the camera movements. Depending on the Horizontal and Verticalsettings, drag this control just enough to hide all exposed pictureedges.

Sets the speed at which the camera moves from one positionto another.

Sets the rate and intensity of random jitter as the cameramoves from one position to another.

The Earthquake effect recreates the chaos ofan earthquake by moving, rotating, and blurring the image to simulatethe effect of a shaking camera.

Specifies the range of motion. Drag to the left for subtlemovement. Slide all the way to the right for the greatest rangeof movement.

The Shear Energy effect twists the images witha shearing blur on two axes. For example, consider a row of bookson a shelf, leaning to the right. If you push them to the left,they will lean to the left. Shear lets you increase or decreasethe shear (angle) of the first image, then it blurs the image inthe direction of the shear.

Sets the horizontal shearing. When the image is sheared horizontally,it progressively blurs more to the sides as it moves up from thecenter point of the shear operation.

Sets the vertical shearing. When the image is sheared vertically,it progressively blurs more to the top and bottom as it moves outwardfrom the center point of the shear operation.

Rotates the shear blur in degrees.

Specifies the center point of the shear blur.

Sets the amount of blur to mix in with the picture. Dragall the way to the left to make the blur disappear. Drag to theright to increase the percentage of blur until the original pictureis completely replaced by the blurred image.

The Zoom Blur effect simulates a camera zoomwithin a shot, adding motion blur that you can adjust up or downfor dramatic effect.

Sets the strength of the zoom. Drag to the right to increaseimage magnification. As you increase, you create a blur that startswith the original image and expands it to the magnified versionof the image.

Sets the amount of blur to mix with the nonblurred image.With Blend set all the way to the left, the blur disappears. Dragto the right to increase the percentage of blur until the originalpicture is completely replaced by the blurred image.

Sets the origin of the zoom.

The NewBlue Cartoonr Plus effect is the latest additionto the list of effects that can be applied to movie clips in AdobePremiere Elements Editor. The cartoon effect provides a cartoon-likefeel to movie clips on which it is applied. Using this effect, youcan create a cartoon-like movie out of a live-motion movie clip.

The effect can be customized using its various parameters.

Density

Controls how many lines to draw. At the lowest value, onlythe simplest, most obvious, lines show.

Clean Up

Removes dirt and noise between the lines.

Width

Sets the width of the lines. Increasing the value increasesthe overall width of the lines.

Mix

Determines the intensity of the black lines mixed into theimage. Increase the value for solid, black lines.

Layers

Determines the number of layers of paint for coloring thepicture. Set a low value to have broad, distinct layers. Increasethe value to blend the paints into a continuously changing palette.

Smooth

Controls the smoothness of the layer edges. Low values setharsh, high-resolution layer edges. High values set the layers towander in and out of the picture lines.

Sharpen

Increases the sharpness of the layer edges. At high values,a strong, almost brittle, effect is achieved.

Shading

Adds a bold shading around the edges of objects in the picture, makingit more dramatic

ColorShift

When you change the value, the colors change to other colorsthat fall within the spectrum of the primary color.

Color

Sets the color saturation. Decreasing the value results ina monochrome image. Increase the value for vivid colors.

Brightness

Sets the overall brightness of the picture.

Contrast

Increases the contrast between the dark and light areas inthe picture.

Blend

Mixes the original picture with the cartooned image. Decreasethe value to get an image close to the original image. Increasethe value for a more cartoonish effect.

TheBasic 3D effect manipulates a clip in an imaginary three‑dimensionalspace. You can rotate your clip around horizontal and vertical axesand move it toward or away from you. You can also create a specularhighlight to give the appearance of light reflecting off a rotatedsurface. The light source for the specular highlight is always above,behind, and to the left of the viewer. Because the light comes fromabove, the clip must be tilted backward to see this reflection.Specular highlights enhance the realism of the three‑dimensionalappearance.

Controls horizontal rotation (rotation around a verticalaxis). You can rotate past 90° to see the back side of the clip,which is the mirror clip of the front.

Controls vertical rotation (rotation around a horizontalaxis).

Specifies the clip’s distance from the viewer. As the distance getslarger, the clip recedes.

Adds a glint of light that reflects off the surface of the rotatedlayer, as though an overhead light were shining on the surface.When Draw Preview Wireframe is enabled, the specular highlight isindicated by a red plus sign (+) if it is not visible on the layer(the center of the highlight does not intersect the clip) and agreen plus sign (+) if the highlight is visible. You must rendera preview before the Specular Highlight effect becomes visible inthe Monitor panel.

Draws a wireframe outline of the three‑dimensional clip.Because manipulating a clip in three‑dimensional space can be timeconsuming, the wireframe renders quickly so you can manipulate thecontrols to get the rotation you want. Deselect the Preview controlwhen you finish manipulating the wireframe clip to see your finalresults.

TheBevel Alpha effect adds a beveled edge and lights to the alpha boundariesof a clip, often giving two‑dimensional elements a three‑dimensionalappearance. (If the clip has no alpha channel or its alpha channelis completely opaque, the effect is applied to the edges of theclip.) The edge created in this effect is somewhat softer than thatof the Bevel Edges effect. This effect works well with text containingan alpha channel.

TheBevel Edges effect gives a chiseled and lighted three‑dimensional appearanceto the edges of a clip. Edge locations are determined by the alpha channelof the source clip. Unlike Bevel Alpha, the edges created in thiseffect are always rectangular, so clips with nonrectangular alphachannels do not produce the proper appearance. All edges have thesame thickness.

TheDrop Shadow effect adds a shadow that appears behind the clip. Theshape of the Drop Shadow is determined by the clip’s alpha channel.Unlike most other effects, Drop Shadow can create a shadow outsidethe bounds of the clip (the dimensions of the clip’s source).

SinceDrop Shadow uses the alpha channel, it works well with 32‑bit footagefiles from drawing programs and three‑dimensional rendering programsthat support the alpha channel.

Note:

Because Drop Shadow worksbest when it is the last effect rendered, apply this effect afterapplying all other effects. You can create a realistic‑looking shadowon animated clips by applying and animating the Motion or Basic3D effect prior to applying Drop Shadow.

The Facet effect clumps pixels of similar colorvalues in cells for a painterly effect. Keyframes cannot be appliedto this effect.

TheLightning effect creates lightning bolts and other electrical effects,including a Jacob’s Ladder effect (an effect that depicts a smalllightning bolt bridging two metal spikes, often seen in Frankensteinmovies) between two specified points in a clip. The Lightning effectis automatically animated without keyframes across the clip’s timerange.

Specify where the lightning begins and ends.

Specifies the number of segments that form the main lightningbolt. Higher values produce more detail but reduce the smoothnessof motion.

Specifies the size of undulations in the lightning bolt asa percentage of the layer width.

Specify how much detail is added to the lightning bolt andany branches. For Detail Level, typical values are between 2 and3. For Detail Amplitude, a typical value is 0.3. Higher values foreither control are best for still images but tend to obscure animation.

Specifies the amount of forking that appears at the endsof bolt segments. A value of 0 produces no branching; a value of1.0 produces branching at every segment.

Specifies the amount of branching from branches. Higher values producetree‑like lightning bolts.

Specifies the size of the angle between a branch and themain lightning bolt.

Specifies the length of each branch segment as a fraction ofthe average length of the segments in the lightning bolt.

Specifies the maximum number of segments for each branch.To produce long branches, specify higher values for both the branch segmentlength and the branch segments.

Specifies the average width of each branch as a fractionof the width of the lightning bolt.

Adjust the following controlsfor the Lightning effect:

Specifies how fast the lightning bolt undulates.

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Determines how closely the lightning undulates along theline defined by the start and end points. Lower values keep thelightning bolt close to the line; higher values create significantbouncing. Use Stability with Pull Force to simulate a Jacob’s Laddereffect and cause the lightning bolt to snap back to a position alongthe start line after it has been pulled in the Pull Force direction.A Stability value that is too low does not let the lightning stretchinto an arc before it snaps back; a value that is too high letsthe lightning bolt bounce around.

Determines whether the end point of the lightning bolt remainsfixed in place. If this control is not selected, the end of thebolt undulates around the end point.

Specify the width of the main lightning bolt and how muchthe width of different segments can vary. Width changes are randomized. Avalue of 0 produces no width changes; a value of 1 produces themaximum width changes.

Specifies the width of the inner glow, as specified by theInside Color value. The Core Width is relative to the total widthof the lightning bolt.

Specify the colors used for the lightning bolt’s outer andinner glows. Because the Lightning effect adds these colors on topof existing colors in the composition, primary colors often producethe best results. Bright colors often become much lighter, sometimesbecoming white, depending on the brightness of colors beneath.

Specify the strength and direction of a force that pullsthe lightning bolt. Use the Pull Force control with the Stabilitycontrol to create a Jacob’s Ladder appearance.

Specifies a starting point for randomizing the lightningeffects you have specified. Because random movement of the lightningmay interfere with another clip or layer, typing another value forthe Random Seed starts the randomizing at a different point, changingthe movement of the lightning bolt.

Specifies how the lightning is added to the layer. Adobe Premiere Elements support layer blend modes that change the way layers react with each other. You often use some of the common modes in every day work. For example, if your image is too dark, you can quickly make it brighter by duplicating the photo layer in the layers palette. Later, you change the duplicate layer mode to Screen. Use the Opacity filter to select blending modes for various layers of your video. Premiere Elements supports 27 blending modes. Select a blending mode from the list and apply it to your image. Use the sliders to increase or decrease its effect.

Controls the frame‑by‑frame generation of the lightning.Selecting the Rerun At Each Frame option regenerates the lightningat each frame. To make the lightning behave the same way at thesame frame every time you run it, do not select this control. Selectingthis control may increase rendering time.

The Ramp effect creates a color gradient,blending it with the original clip contents. Create linear or radialramps and vary the position and colors of the ramp over time. Usethe Start and End Of Ramp properties to specify the start and endpositions. Use the Ramp Scatter control to disperse the ramp colorsand eliminate banding.

Note:

Traditionally, ramps do not broadcastwell. Serious banding occurs because the broadcast chrominance signaldoes not contain sufficient resolution to reproduce the ramp smoothly.The Ramp Scatter control disperses the ramp colors, eliminatingthe banding apparent to the human eye.

TheStabilizer effect removes unwanted camera shaking by analyzing thevideo image and tracking objects in the picture. If the entire picturemoves suddenly, the effect compensates for the move by shiftingthe image in the opposite direction, thus smoothing out the camerajitter. You can specify the amount of smoothing. When the effectmoves the image, it leaves empty video on one side. Use Background-UseOriginal, Zoom, or both to specify how the space is filled.

Specifies the degree of stabilization. When turned all theway down, the effect removes only the smallest jitter and vibration.When turned all the way up, it keeps the camera movement stableover a long period of time. If there is intention camera movement(for example, panning across a scene), setting a high value forsmoothing can cause the effect to remove that movement. Consequently,it is important to set Smoothing appropriately for each scene.

Fills in the blank edges with the original video image. Thisoption works well for small movements.

Enlarges the picture to fill in the blank edges. The morestabilization that is required (the more shaky the original imageis), the more you will want to zoom in to compensate.

Forces the stabilization to stray no further than the edgesof the enlarged (zoomed) image. This option disables the stabilization whenit hits the edge because it doesn’t allow for the full motion compensation. Usethis option if you want to ensure that the edges never appear.

The Alpha Glow effect adds color aroundthe edges of a masked alpha channel. You can specify that a singlecolor either fades out or changes to a second color as it movesaway from the edge.

Controls how far the color extends from the alpha channeledge. Higher settings produce larger glows (and can cause very slowprocessing before playback or export).

Controls the initial opacity of the glow.

Shows the current glow color. Click the swatch to chooseanother color.

Lets you add an optional color at the outer edge of the glow.

Specifies whether the colors fade out or stay solid.

TheColor Emboss effect sharpens the edges of objects in the clip butdoesn’t suppress any of the clip’s original colors.

Specifies the apparent direction in which the highlight sourceis shining, in degrees. A setting of 45° causes the shadow to becast in the northeast direction.

Specifies the apparent height of the embossing, in pixels.The Relief setting actually controls the maximum width of highlightededges.

Specifies the sharpness of the clip content’s edges. At lowersettings, only distinct edges show the effect. As you increase thesetting, the highlight becomes more extreme.

Adds a percentage of the original source clip to the final result.

The Emboss effect sharpens the edges of objectsin the clip and suppresses colors. The effect also highlights theedges from a specified angle.

Specifies the apparent direction in which the highlight sourceis shining, in degrees. A setting of 45° causes the shadow to becast in the northeast direction.

Specifies the apparent height of the embossing, in pixels.The Relief setting actually controls the maximum width of highlightededges.

Specifies the sharpness of the clip content’s edges. At lowersettings, only distinct edges show the effect. As you increase thesetting, the highlight becomes more extreme.

Adds a percentage of the original source clip to the final result.

The Find Edges effect identifies theareas of the clip that have significant transitions and emphasizesthe edges. Edges can appear as dark lines against a white backgroundor colored lines against a black background. When the Find Edges effectis applied, clips often look like sketches or photographic negativesof the original.

Inverts the clip after the edges are found. When Invert isnot selected, edges appear as dark lines on a white background.When Invert is selected, edges appear as bright lines on a blackbackground.

Adds a percentage of the original source clip to the final result.

TheMosaic effect fills a layer with solid color rectangles. It is usefulfor creating a highly pixelated clip.

Specifies the number of mosaic divisions in each direction.

Gives each tile the color of the pixel in its center in theunaffected clip. Otherwise, the tiles are given the average colorof the corresponding region in the unaffected clip.

TheNoise effect randomly changes pixel values throughout the clip.

Specifies the amount of noise, and therefore the amount of distortion,through random displacement of the pixels. The range is 0% (no effect)to 100% (the clip may not be recognizable).

Randomly changes the red, green, and blue values of the clip’s pixelsindividually when Use Color Noise is selected. Otherwise, the samevalue is added to all channels.

Determines whether the noise causes pixel colors to wraparound. When the color value of a pixel gets as large as it canbe, clipping makes it stay at that value. With unclipped noise,the color value wraps around or starts again at low values. WhenClipping is selected, even 100% noise leaves a recognizable clip.If you want a completely randomized clip, turn off Clipping andturn on Color Noise.

TheReplicate effect divides the screen into tiles and displays thewhole clip in each tile. Set the number of tiles per column androw by dragging the slider.

The Solarize effect creates a blend betweena negative and positive clip, causing the clip to appear to havea halo. This effect is analogous to briefly exposing a print tolight during developing.

The Strobe Light effect performs anarithmetic operation on a clip at periodic or random intervals.For example, every five seconds a clip could appear completely whitefor one‑tenth of a second, or a clip’s colors could invert at randomintervals.

Specifies the color of the strobe light. Click the whitebox to choose a color from the Color Picker, or use the eyedropperto select a color from the clip.

Specifies the intensity, or brightness, of the effect. Avalue of 0 causes the effect to appear at full intensity; highervalues diminish the intensity of the effect.

Specifies in seconds how long a strobe effect lasts.

Specifies in seconds the duration between the start of subsequentstrobes. For example, if the Strobe Duration is set to 0.1 secondand the Strobe Period is set to 1.0 second, the clip has the effectfor 0.1 second and then is without the effect for 0.9 second. Ifthis value is set lower than the Strobe Duration, the strobe effectis constant.

Specifies the probability that any given frame of the clipwill have the strobe effect, giving the appearance of a random effect.

Specifies how the effect is applied. Operates On Color Onlyperforms the strobe operation on all color channels. Make LayerTransparent makes the clip transparent when a strobe effect occurs.

Specifies the arithmetic operator to use when Operates On ColorOnly is selected from the Strobe menu. The default setting is Copy.

Randomizes the way lightning effect works.

The Texturize effect gives a clip theappearance of having the texture of another clip. For example, youcould make the clip of a tree appear as if it had the texture ofbricks, and control the depth of the texture and the apparent lightsource.

Texture Layer

Select the source of the texture to be used from the listof video tracks in the pop-up menu. To see the texture without seeingthe actual clip used for the texture, set the opacity for the textureclip to zero. To disable texture, select None.

Light Direction

Changes the direction of the light source, thus changingwhere shadows lie and how deep they appear.

Texture Contrast

Specifies the intensity of the texture’s appearance. Lower settingsdecrease the amount of visible texture.

Texture Placement

Specifies how the effect is applied. Tile Texture appliesthe texture repeatedly over the clip. Center Texture positions thetexture in the middle of the clip. Stretch Texture To Fit stretchesthe texture to the dimensions of the selected clip.

TheEcho effect combines a frame with previous frames from the sameclip. It has a variety of uses, from a simple visual echo to streakingand smearing effects. This effect is visible only when there ismotion in the clip. By default, any previously applied effects areignored when you apply the Echo effect.

Specifies the time, in seconds, between echoes. Negativevalues create echoes from previous frames; positive values createechoes from upcoming frames.

Specifies the number of frames to combine for the Echo effect.For example, if two echoes are specified, Echo will make a new clipout of [current time], [current time + Echo Time], and [currenttime + 2 x Echo Time].

Specifies the intensity, or brightness, of the starting framein the echo sequence. For example, if this is set to 1, the firstframe is combined at its full intensity. If this is set to 0.5,the first frame is combined at half intensity.

Specifies the ratio of intensities of subsequent echoes.For example, if the decay is set to 0.5, the first echo will behalf as bright as the Starting Intensity. The second echo will thenbe half that, or 0.25 times the Starting Intensity.

Specifies the operations to be performed between echoes. Add combinesthe echoes by adding their pixel values. If the starting intensityis too high, this mode can quickly overload and produce streaksof white. Set Starting Intensity to 1.0 per number of echoes andDecay to 1.0 to blend the echoes equally. Maximum combinesthe echoes by taking the maximum pixel value from all the echoes. Minimum combinesthe echoes by taking the minimum pixel value from all the echoes. Screen emulatescombining the echoes by sandwiching them optically. This is similarto Add, but it will not overload as quickly. Composite InBack uses the echoes’ alpha channels to composite them backto front. Composite In Front uses the echoes’ alphachannels to composite them front to back. Blend combinesthe echo values by averaging their values.

The Posterize Time effect changes theframe rate of a clip to one you choose. You can use it to slow a30-fps clip to 24 fps, for example, to give it the look of film, slowit to 18 fps to simulate the jerkiness of old home movies, or slowit even further to give it a strobe effect.

TheCamera View effect distorts a clip by simulating a camera viewingthe subject from different angles. By controlling the location ofthe camera, you distort the shape of the image.

Moves the camera vertically. The effect makes the clip appearto be flipping vertically.

Moves the camera horizontally. The effect makes the clipappear to be flipping horizontally.

Rolls the camera, thus appearing to rotate the clip.

Changes the focal length of the camera lens. Shorter lengths providewider views, whereas longer focal lengths provide narrower but closer views.

Sets the distance between the camera and the center of theclip.

Enlarges or reduces the view of the clip.

Specifies the background color.

When checked, makes the background transparent (useful if theclip with the effect is superimposed). To access this option fromthe Applied Effects panel, click the Setup button to the right ofthe effect name.

The Clip effect trims rows of pixels off theedges of a clip and replaces the trimmed areas with a specifiedbackground color. If you want Adobe Premiere Elements to automaticallyresize the trimmed clip to its original dimensions, use the Cropeffect instead of the Clip effect

Crops each edge of the clip separately.

Specifies the color that replaces the trimmed areas. Thedefault color is black.

Sets the units specified by the sliders, either in pixelsor the percentage of the frames. Click the Setup button at the rightof the effect name to set units.

The Crop effect trims rows of pixels fromthe edges of a clip and, if you select the Zoom option, automaticallyresizes the trimmed clip to its original dimensions. Use the slidercontrols to crop each edge of the clip separately. You can cropby pixels or clip percentage.

TheEdge Feather effect adds a darkened, soft‑focused bevel to the edgesof a clip. To adjust the width of the feather, drag the Amount sliderleft or right.

TheHorizontal Flip effect reverses each frame in a clip from left toright; however, the clip still plays in a forward direction.

TheHorizontal Hold effect skews the frames to the left or to the right;the effect is similar to the horizontal hold setting on a TV. Dragthe slider to control the clip’s slant.

TheRoll effect rolls a clip to the left or to the right, or up or down,as if the clip were on a cylinder.

TheVertical Flip effect flips a clip upside down. You cannot applykeyframes to this effect.

TheVertical Hold effect scrolls the clip upward; the effect is similarto adjusting the vertical hold on a TV. You cannot apply keyframesto this effect.

The Videomergeeffect automatically determines the background of the selected clipand makes it transparent. Video or image clips on the tracks belowit become visible through the transparent areas. If you want a differentcolor to be transparent, select the Select Color option, and choosea different color in the clip.

For best results, when shooting video that will use transparency,do the following:

• Create a strong (preferably dark or saturated) solid,uniform color background to shoot against.

• Make sure that the background is brightly and uniformly litto avoid shadows.

• Avoid skintones and colors that are similar to the subject’sclothing or hair color. (Otherwise, the skin, clothes, or hair willbecome transparent too.)

Click if you want to specify a different color as transparent.

Click the color box to choose a new color from the ColorPicker, or click the eyedropper, and then click a color in the clip.To use this option, first select Select Color.

Choose from Soft, Normal, or Detailed to specify the softnessof the edges created by the transparency.

Specifies the color range that determines transparent areasin the clip. Dragging the slider to the right increases the colorrange so that more similar colors become transparent.

TheBalance effect lets you control the relative volumes of the leftand right channels. Positive values increase the proportion of theright channel. Negative values increase the proportion of the leftchannel. You can use this to compensate, for example, when the soundscoming from one channel overpower those from the other.

TheBass effect lets you increase or decrease lower frequencies (200Hz and below). Boost specifies the number of decibels by which toincrease the lower frequencies.

Audio gain helps in normalizing audio, by either raising or lowering it to match other audio sources.

TheChannel Volume effect lets you independently control the volumeof each channel in a stereo clip or track. Unlike the Balance effect,Channel volume doesn’t automatically reduce the volume of one channelwhen you raise that of the other. You might use this, for example,to raise the volume of a voice in the left channel without diminishingthe volume of a voice in the right. Each channel’s level is measuredin decibels.

TheDelay effect adds an echo of the audio clip’s sound that plays aftera specified amount of time.

Specifies the amount of time before the echo plays. The maximumis 2 seconds.

Specifies a percentage of the delayed signal to be addedback into the delay to create multiple decaying echoes.

Controls the amount of echo.

TheDeNoiser effect automatically detects tape noise and removes it.Use this effect to remove noise from analog audio recordings, suchas magnetic tape recordings. Click the triangle beside the CustomSetup button to view the following options:

Stops the noise floor estimation at the current value. Usethis control to locate noise that drops in and out of a clip.

Specifies the amount of noise to remove within a range of‑20 to 0 dB.

Sets an offset value between the automatically detected noisefloor and the value that you specify. This is limited to a rangebetween ‑10 and +10 dB. Offset allows additional control when theautomatic denoising is not sufficient.

TheDynamics effect helps eliminate unwanted background noise, balancethe dynamic range, and reduce clipping, or the distortion from over-amplification. Clickthe Custom Setup twirl-down triangle to open the following controls:

Specifies the level (in dB) that the incoming signal mustexceed. Signals below this level are muted. Use this control toremove unwanted background noises, such as a background noise behinda voiceover.

Sets the level (in dB) at which compression occurs and theratio at which compression is applied, up to 8:1. Also controlsthe attack time (the time it takes for the compressorto respond), the release time (the time it takes forthe gain to return to the original level when the signal falls belowthe threshold). The MakeUp control adjusts the output level to accountfor loss in gain caused by compression. Use the Compressor controlsto increase the volume of soft sounds, decrease the volume of loudsounds, or both.

Reduces all signals below the specified threshold to thespecified ratio. The result is similar to the Gate control, butsubtler.

Sets the maximum level for signals, between ‑12 and 0 dB.Signals that exceed the threshold are reduced to the threshold level.

TheFill Left effect duplicates the left channel information of theaudio clip and places it in the right channel, discarding the originalclip’s right channel information. The Fill Right effect duplicatesthe right channel information and places it in the left channel,discarding the existing left channel information. For example, youmight use this effect on footage shot with a monaural microphone pluggedinto only one channel of a camcorder, extending the voice of a speaker fromone channel to both.

TheHighpass effect removes frequencies below the specified Cutoff frequency. Useit to reduce low-pitched noises and rumbles.

The Lowpass effect eliminates frequenciesabove the specified Cutoff frequency. Use it to eliminate high-pitchednoises, squeals, and whistles.

TheInvert effect inverts the phase of all channels. Use it, for example,to bring the sound of one shot of an event into phase with anothershot of the same event taken from another camcorder.

Audio Polish that cleans and enhances audio.It includes features for noise reduction, compression, brighteningthe high end and even adding reverberation.

Sets the amount of noise reduction to apply to the audio. Rotatethe knob to the right to decrease background noise.

Boosts lower-level signals, flattening the sound to be more consistent.Compression is especially useful for dialog because it brings voicesup to a constant level. Rotate the knob to the right to increasecompression.

Adds a little high end to the signal. Rotate the knob tothe right to “brighten” the sound. Brightening help polish muddyrecordings.

Adds a little reverberation to the mix. Rotate the knob tothe right to increase the amount of reverberation.

Auto Mute reduces background noise by turningoff all sound when the signal goes below a specified threshold.

Sets the minimum acceptable signal level. Auto Mute only allowssounds above the minimum level to play. Auto Mute erases the sound wheneverit dips below the minimum level. Turn the knob to the far left and almostevery sound level makes it through. Turn it to the right and sensitivity increasesto the point that only the loudest sounds make it through.

Controls the speed at which a sound is removed after itslevel drops below the minimum threshold. Most sounds have a naturaldecay to them. A quick cut immediately after the decay drops belowthe minimum Level sounds unnatural. On the other hand, the longerthe decay, the more background noise can be heard. Turn the Decayknob to the left for a quick fadeout. Turn the knob to the rightfor a longer decay.

Removes many undesirable sounds from the mix.The effect includes noise-reduction circuitry and tone elimination,useful for removing isolated tones such as hum.

Sets the amount of noise reduction to apply to the audio.Turn the knob to the right to decrease background noise.

Sets the cut frequency for the tone eliminator. If you knowthe frequency (such as 60-Hz electric hum), select it. If you don'tknow the frequency, perform the following steps:

1. Turn the Hum Cut slider to the far left so that it magnifiesthe tone.

2. Turn Hum Frequency control to find the spot where the tonethat you want to remove is at its loudest.

Afteryou have isolated the frequency, turn the Hum Cut control to theright to set the depth of the tone elimination.

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Most tonesare not pure; they have overtones, or harmonics. Turn the Hum Harmonicsslider to the right to add tone removal of higher harmonics. Don't overdoit because the increased filtering can also cut desired sounds.

Hum Remover scrubs hum from your soundtrack.Electric power is usually the most common reason for hum. Reasonsrange from a microphone cable that runs too close to a power cordto the humming sound of an electronically dimmed light. Power humis easy to isolate because it is always the same frequency: In NorthAmerica, the power frequency is 60-Hz. In other countries, powerhum is 50-Hz.Hum Remover applies a notch filter specificallyto the frequency of the hum. Sometimes, that's not enough. The humsignal often distorts, which adds additional tones. Hum Removercalculates the frequencies of these additional tones and removesthem as well.

Sets the frequency that must be removed. Typically, the frequencyis 60-Hz or 50-Hz. However, you can turn the knob to select anyfrequency within the range of 40-Hz to 75-Hz. The two most usefulfrequencies, 50-Hz and 60-Hz, are provided as presets.

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Determines the strength of the hum filter. Start with theknob at the left and turn to the right until the hum goes away.Ensure that you have set the Pitch and Hum Distortion sliders correctly.If the Pitch and Hum Distortion sliders have not been set appropriately,Hum Remover removes the wrong part of the signal.

Provides information to the Hum Remover about the level of distortionof the hum tone. A distorted hum has higher frequency overtonesthat must also be eliminated. Turn the knob to the right to removemore of these overtones (also known as 'harmonics'). The numberof overtones removed depends on the level of distortion.

Reduces background noise by progressively reducingthe volume of quieter sounds.

Sets the signal level for attenuation. Noise Fader leavesany sound louder than the threshold unchanged, while fading downsounds below the threshold. Turn the knob to the left to set thethreshold low. Turn the knob to the far right to fade all but theloudest sounds.

Determines how to fade out sounds below the threshold level.Turn the knob to the left for minimum fading. Turn the knob allthe way to the right to completely mute all sounds below the threshold.The correct level is somewhere in the middle.

Removes background noise. Use the effect toclean videos shot under less-than-ideal audio conditions.

Sets the intensity of the noise reduction. Turn all the wayto the left for no reduction at all. Turn to the middle to significantlydrop background noise while keeping the louder sounds prominentlyin the foreground. Turn further to the right and more of the signalfades out.

TheNotch effect removes frequencies that are near the specified center.The Center control specifies the frequency to be removed. If youare removing power‑line hum, type a value that matches the power‑linefrequency used by the electrical system where the clip was recorded.For example, in North America and Japan, type 60 Hz, and in mostother countries, type 50 Hz.

ThePitchShifter effect adjusts the pitch of the incoming signal. Usethis effect to deepen high voices or vice versa. You can adjusteach property by using graphical controls in the Custom Setup view,or by changing the Individual Parameters values.

Specifies the change in pitch in semitone steps. The adjustablerange is between ‑12 and +12 semitones.

Fine tunes the semitone grid.

Prevents formants in the audio clip from being affected.For example, use this control when increasing the pitch of a highvoice to prevent it from sounding cartoon like.

TheReverb effect adds ambience and warmth to an audio clip by addingthe reverberation the sounds might have had recorded in a “live”room. Click the triangle beside the Custom Setup button to viewthe following options:

Specifies the time between the signal and the reverberation.This setting correlates to the distance a sound travels to the reflectingwalls and back to the listener in a live setting.

Use thegraphical controls in the Custom Setup view, or adjust the Individual Parametersvalues.

Specifies the percentage in which the sound is absorbed.

Specifies the size of the room as a percentage.

Specifies the density of the reverb “tail.” The Size valuedetermines the range in which you can set Density.

Specifies the amount of dampening for low frequencies (indecibels). Dampening lower frequencies prevents the reverb fromrumbling or sounding muddy.

Specifies the amount of dampening of high frequencies (indecibels). Low settings make the reverb sound softer.

Controls the amount of reverb.

TheSwap Channels effect switches the placement of the left and rightchannel information.

TheTreble effects lets you increase or decrease higher frequencies(4000 Hz and above). The Boost control specifies the amount, measuredin decibels, to increase or decrease. Use this to compensate, forexample, when low instruments overpower high instruments in a soundtrack.

Usethe Volume effect in place of the Fixed Volume effect if you wantto render Volume before other Standard effects. The Volume effectcreates an envelope for a clip so that you can increase the audiolevel without clipping. Clipping occurs when the signalexceeds the dynamic range that’s acceptable for your hardware, oftenresulting in distorted audio. Positive values indicate an increasein volume; negative values indicate a decrease in volume. The Volumeeffect is available for clips only.

Note:

Youcan make most volume changes by using the fixed Volume effect. Youcan apply this additional Volume effect if other effects (such asReverb or Bass) overly increase or decrease clip volume. You canalso fade the volume of one clip out while fading the volume ofthe next up by dragging one of the Crossfade audio transitions fromthe Effects view of the Task panel to the cut point between theclips.

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While its sibling Photoshop Elements is turning 10, the younger Premiere Elements just gets the digits. And this update to Adobe's consumer video-editing software is even less jingly than the image-editing package when it comes to new bells and whistles. But this does represent Adobe's first 64-bit port of the package--Windows only, unfortunately--which is an essential step for future development of the product.

Adobe has beefed up the Organizer a bit to improve its video support, since it's now serving Premiere Elements as well as Photoshop Elements. It allows for hierarchical tagging, as well as Smart Tags, which can automatically classify your media as high, medium, or low quality, as well as tag what it thinks is in focus, low contrast, blurred, and so on. Running the Auto Analyzer to get the video tagged can take a while, though. And I'm still unhappy with the way Adobe handles AVCHD import; it tries and fails to process all the ancillary files that are part of the directory structure, and doesn't give you the option to copy the entire file structure wholesale so that it can be played back or just burned as if it's a disc. And if you're planning on burning AVCHD discs, keep in mind that the software doesn't yet support version 2.0 of the spec, which allows for 1080/30p. Via the Organizer you can now directly upload unedited videos to YouTube as well.

The application itself uses the same task-oriented architecture as Photoshop Elements, with Project, Edit, Disc Menus, and Share modes that are fairly straightforward. It uses a traditional video-editing interface, with both timeline and scene editing views. There's a bit of a learning curve to understanding even the basics for simple effects and transitions, but it's no worse--and no better--than most other video-editing software when it comes to ease of use.

There are only a couple of significant new features in version 10. Adobe has added a new Three-Way Color Corrector, which splits corrections for highlights, midtones, and shadows. While useful, I wish it had a way to do coarse changes on all three channels at once, then unlock them to fine-tune them individually. It also adds Auto Tone and Vibrance--both handy for automatic corrections--which should be familiar to Photoshop users.

Adobe also adds a pan and zoom, which lets you move around and dive into still images, and it can automatically pan around to identified faces. It's easy to use, but can be annoying: if you try to use a photo that's the wrong dimensions for the movie--and many photos are--it just tells you the image is too big. There really needs to be a dialog that pops up and allows you to resize or crop the photo.

As you'd expect, there are new themes, you can now upload movies to Facebook, and SmartSound music clips are now available on the Mac.

On the Mac, Premiere Elements is more powerful than iMovie with a more traditional interface, but I think it's a bit slower and more intimidating as well. Users of previous versions running 64-bit Windows should probably upgrade for the better memory management. If you're looking for a first video-editing package, Premiere Elements will have all the features you need, but expect to spend some time learning the ropes.

What do you need to know about free software?