- Most of the popular video editing suites (Final Cut Pro, Premiere Pro, etc.) will convert the resolution but they don't do the low-pass filter step. You have to do it yourself. Many people approximate it with a Gaussian blur filter, but that is pretty crude, hard to control and can easily lead to loss of detail.
- Adobe Premiere Pro Masterclass Series 2 Introduction In this module on Adobe Premiere Pro Masterclass, you will be learning interpolation of keyframe, ease out and rotation, anchor point and anti-flicker, opacity and its animation, opacity mask using eclipse shape, understanding feather, opacity mask using 4 point polygon.
- Adobe Premiere Pro CC is one of the most widely used video editing suites in professional circles worldwide. In terms of power, performance and all-round versatility, you’ll rarely encounter an Adobe Premiere Pro review with a single negative thing to say.
Convolution Kernel Effect. Learning how to edit videos on computer, you’ll need to work not only with frames but even with pixels. The convolution kernel effect changes the brightness value of each pixel in the clip according to a mathematical operation known as convolution. Premiere Pro Audio Mixer shows panning, balance, volume meters.
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- Making Sense of the Plethora of Video Effects
See all Sams Teach Yourself on InformIT Design & Creative Media Tutorials.This chapter is from the book
This chapter is from the book
This chapter is from the book
Premiere's video effects run the gamut from simple to complex. They have a wide range of uses. Some you may rely on regularly, whereas others fill such narrow niches they may never see the light of day.
With 79 video effects staring up at you, it's darned hard to know when and why to use any one of them. In this hour I'll single out my favorites and try to make sense of the rest.
The highlights of this hour include the following:
Categorizing and simplifying Premiere's video effects
My favorite video effects and how to use them
The hidden power of QuickTime video effects
Convolution Kernels On Discrete Structures
Making Sense of the Plethora of Video Effects
It's not easy wading through Premiere's 14 video effects categories, trying to unravel what their 79 effects do and how they do it (see Figure 12.1).
Figure 12.1 Premiere's 14 category names for video effects do not necessarily describe their contents.
Consider that some effects have multiple functions with numerous options. The QuickTime effect alone offers 15 effects with a dozen subeffects.
Convolution Kernel Ct
The categories themselves can be confounding. The Gamma Correction video effect is in the Image Control file folder but is also a feature of the Levels effect in the Adjust file folder. Convolution Kernel is in the Adjust folder but handles 10 different functions of effects in the Blur, Stylize, and Sharpen folders. And the Transform effect is not in the Transform file folder.
Some effects resolve rarely encountered technical problems, such as missing fields or 'interlace flicker.' Still others don't seem to achieve their stated purposes.
To minimize clutter, ease access, and keep things simple, I suggest you create several new video effects file folder categories: Technical Fixes, Color Appearance, Blur/Sharpen,and Specialized After Effects. You'll continue to use Distortion and QuickTime.
To create these new categories, open the Video Effects palette, click the fly-out menu triangle, select New Folder, and create your folders. Then drag and drop effect icons to the new folders.
Once you're done, delete the old file folder category names by selecting them and clicking the trashcan icon in the bottom-right corner. Actually, old folders never die, they 'hide.' If you select Show Hidden from the fly-out menu, you'll see the old, default categories at the bottom of the palette. No matter what you do, you cannot delete an effect from within Premiere.
There's a surprising amount of redundancy in Premiere's video effects. For instance, three effects create black-and-white video. To further eliminate clutter, I've selected the best of near-equals and placed the also-rans in one other category—Duplicates.
I'll take you through each of those categories, saving the specialized After Effects (AE) effects for Hour 13, 'Wrapping Up Effects with After Effects.' I'll also note my favorite effects and explain how to use them.
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The reference works I found prior to this project were quite complicated and difficult to understand, as many of them used techniques that would require more than a semester to learn.
Taking advantage of the nature of self-directed projects, I set one of the main goals of this project as discovering and implementing the effects I personally find captivating. While project 1 (improved documentation – please take a look!) was successful in that I was able to learn the basic usage of “jit.gen,” it did have a somewhat limited range of visuals that were definitely different, but similar to my reference work. Therefore, for the final project, I felt the need and desire to experiment with various techniques I have not used prior to this project and to make take a more personal approach.
Several of the reference works I found appealing were created by Paul Fennell, so I decided to reach out to him. He was kind enough to send me patches that would benefit my project more than the old ones I found on his YouTube channel, and he even introduced me to some of his recent works created using Fragment:Flow, an audio-visual performance and video processing environment he developed! It was very exciting to hear back from an artist who creates works I find beautiful.
Since the focus of my piece is almost entirely on the visual elements, unlike his audio-visual works, I studied the ways in which I could make visual manipulations using some of his techniques. Paul noted that “small, sub decimal changes in value/ranges are best,” and indeed, the performance decreased as soon as I put two-digit negative values. However, I wanted to use specific values for dramatic contrasts in order to amplify the strangeness that the piece has. Since my main goal was to create obscure visual manipulations, I chose to go with values I wanted, regardless of the decrease in performance. The speeds and durations were edited using Adobe Premiere Pro CC so that the lag does not remain an issue. I also added a high values for the “flow” for abrupt waves of distortions and transitions.
However, I did not edit any of the visual elements such as colors, contrasts, and brightness, using the video editing application. For the effects that highlight the visual forms, I experimented with various objects such as jit.sobel, jit.robcross, and jit.brcosa. It was exciting to see that”brcosa” was also used by Paul in his patch :
In short, the jit.sobel object offers two gradient edge detection implementations, Sobel and Prewitt. These edge detectors use 3×3 convolution kernels to compute a 2-dimensional spatial gradient of an incoming matrix, brightening features with “high spatial frequency” — a large amount of change from cell to cell — and darkening features with less change.
However, I personally preferred using jit.robcross object which implements the Robert’s Cross method of edge detection, as it allowed me to easily eliminate details I found distracting and unnecessary, such as the outlines of my irises. This edge detector has similar components as Sobel and Prewitt, but uses a 2×2 convolution kernel, which means the matrix is not perfectly aligned with the target pixel, unlike kernels with two odd dimensions, such as those of Sobel and Prewitt. More information on kernel parameters can be found here.
As I usually do for works that focus and rely heavily on subtle movement changes, I eliminated colors. In this case, jit.rgb2luma was used to convert the 4-plane char ARGB matrix into a 1-plane char monochrome matrix. I played around with ARGB scaling attributes composed of a-scale, r-scale, g-scale, and b-scale, to find what seemed fitting visually. My preferred setting was a negative b-scale value and a g-scale value much greater than a and r, which stayed below the value of 1. The textures of the background were subtle yet maintained, while highlighting the outlines of my body, inevitably directing the focus to the small movements that would have been overlooked otherwise.
I have been told that many of my works are not so “friendly” without no one definite answer or interpretation. As a result, I have naturally become interested in the autonomy of my art. For this particular project, I wanted to create a work that could not only function in, but also benefit from my absence. It aims to represent the common nonverbal communication of an eye contact, while shaping the lengthy reciprocal gaze into an experience that is slightly uncomfortable and odd through unusual speeds, unexpected visual manipulations, and most importantly, the removal of eyes.