Adobe premiere elements 10 playback problems free. Troubleshoot video files in Adobe Premiere Elements
Adobe premiere elements 10 playback problems free.Adobe Flash
Retrieved April 30, Dennis Publishing Ltd. Archived from the original on March 24, Future US, Inc. Archived from the original on February 11, Retrieved September 9, Archived from the original on January 29, Archived from the original on May 26, October Retrieved December 10, Retrieved October 20, Photoshop Blog.
Retrieved August 18, Adobe Blog. October 4, Retrieved March 7, Retrieved March 6, What’s new in Adobe Premiere Elements. March 6, Archived from the original on March 6, Retrieved November 7, Comparison List.
Adobe Inc. Category Commons. Categories : Adobe software Video editing software Video editing software for Windows. A value of 0 produces no branching; a value of 1. Specifies the amount of branching from branches. Branch Angle. Branch Seg. Specifies the length of each branch segment as a fraction of the average length of the segments in the lightning bolt. Branch Segments. Specifies the maximum number of segments for each branch. To produce long branches, specify higher values for both the branch segment length and the branch segments.
Branch Width. Determines how closely the lightning undulates along the line defined by the start and end points. Lower values keep the lightning bolt close to the line; higher values create significant bouncing. A Stability value that is too low does not let the lightning stretch into an arc before it snaps back; a value that is too high lets the lightning bolt bounce around. Fixed Endpoint. Determines whether the end point of the lightning bolt remains fixed in place.
If this control is not selected, the end of the bolt undulates around the end point. Width, Width Variation. Specify the width of the main lightning bolt and how much the width of different segments can vary. Width changes are randomized. A value of 0 produces no width changes; a value of 1 produces the maximum width changes.
Specifies the width of the inner glow, as specified by the Inside Color value. The Core Width is relative to the total width of the lightning bolt. Outside Color, Inside Color. Because the Lightning effect adds these colors on top of existing colors in the composition, primary colors often produce the best results.
Bright colors often become much lighter, sometimes becoming white, depending on the brightness of colors beneath. Pull Force, Pull Direction.
Specify the strength and direction of a force that pulls the lightning bolt. Specifies a starting point for randomizing the lightning effects you have specified. Because random movement of the lightning may interfere with another clip or layer, typing another value for the Random Seed starts the randomizing at a different point, changing the movement of the lightning bolt.
Blending Mode. 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.
Selecting the Rerun At Each Frame option regenerates the lightning at each frame. To make the lightning behave the same way at the same frame every time you run it, do not select this control. Selecting this control may increase rendering time. The Ramp effect creates a color gradient, blending it with the original clip contents. Create linear or radial ramps and vary the position and colors of the ramp over time. Use the Start and End Of Ramp properties to specify the start and end positions.
Use the Ramp Scatter control to disperse the ramp colors and eliminate banding. Traditionally, ramps do not broadcast well. Serious banding occurs because the broadcast chrominance signal does not contain sufficient resolution to reproduce the ramp smoothly. The Ramp Scatter control disperses the ramp colors, eliminating the banding apparent to the human eye.
The Stabilizer effect removes unwanted camera shaking by analyzing the video image and tracking objects in the picture. If the entire picture moves suddenly, the effect compensates for the move by shifting the image in the opposite direction, thus smoothing out the camera jitter. You can specify the amount of smoothing. When the effect moves the image, it leaves empty video on one side. Use Background-Use Original, Zoom, or both to specify how the space is filled.
Specifies the degree of stabilization. When turned all the way down, the effect removes only the smallest jitter and vibration. When turned all the way up, it keeps the camera movement stable over a long period of time.
If there is intention camera movement for example, panning across a scene , setting a high value for smoothing can cause the effect to remove that movement. Consequently, it is important to set Smoothing appropriately for each scene. Background-Use Original. Fills in the blank edges with the original video image. This option works well for small movements. Enlarges the picture to fill in the blank edges.
The more stabilization that is required the more shaky the original image is , the more you will want to zoom in to compensate. Correction-Limit To Zoom.
Forces the stabilization to stray no further than the edges of the enlarged zoomed image. Use this option if you want to ensure that the edges never appear.
The Alpha Glow effect adds color around the edges of a masked alpha channel. You can specify that a single color either fades out or changes to a second color as it moves away from the edge. Controls how far the color extends from the alpha channel edge. Higher settings produce larger glows and can cause very slow processing before playback or export. Specifies the apparent direction in which the highlight source is shining, in degrees. Specifies the apparent height of the embossing, in pixels.
The Relief setting actually controls the maximum width of highlighted edges. At lower settings, only distinct edges show the effect. As you increase the setting, the highlight becomes more extreme. The Emboss effect sharpens the edges of objects in the clip and suppresses colors. The effect also highlights the edges from a specified angle.
Blend with Original. The Find Edges effect identifies the areas of the clip that have significant transitions and emphasizes the edges. Edges can appear as dark lines against a white background or colored lines against a black background. When the Find Edges effect is applied, clips often look like sketches or photographic negatives of the original. Inverts the clip after the edges are found.
When Invert is not selected, edges appear as dark lines on a white background. When Invert is selected, edges appear as bright lines on a black background. The Mosaic effect fills a layer with solid color rectangles. It is useful for creating a highly pixelated clip. Sharp Colors. Gives each tile the color of the pixel in its center in the unaffected clip.
Otherwise, the tiles are given the average color of the corresponding region in the unaffected clip. Amount Of Noise. Specifies the amount of noise, and therefore the amount of distortion, through random displacement of the pixels. Otherwise, the same value is added to all channels. Determines whether the noise causes pixel colors to wrap around. When the color value of a pixel gets as large as it can be, clipping makes it stay at that value.
With unclipped noise, the color value wraps around or starts again at low values. If you want a completely randomized clip, turn off Clipping and turn on Color Noise.
The Replicate effect divides the screen into tiles and displays the whole clip in each tile. Set the number of tiles per column and row by dragging the slider. The Solarize effect creates a blend between a negative and positive clip, causing the clip to appear to have a halo. This effect is analogous to briefly exposing a print to light during developing.
The Strobe Light effect performs an arithmetic operation on a clip at periodic or random intervals. Strobe Color. Specifies the color of the strobe light. Click the white box to choose a color from the Color Picker, or use the eyedropper to select a color from the clip. Specifies the intensity, or brightness, of the effect. A value of 0 causes the effect to appear at full intensity; higher values diminish the intensity of the effect. Strobe Duration. Strobe Period. Specifies in seconds the duration between the start of subsequent strobes.
For example, if the Strobe Duration is set to 0. If this value is set lower than the Strobe Duration, the strobe effect is constant. Random Strobe Probability. Specifies the probability that any given frame of the clip will have the strobe effect, giving the appearance of a random effect. Specifies how the effect is applied. Operates On Color Only performs the strobe operation on all color channels. Make Layer Transparent makes the clip transparent when a strobe effect occurs. Strobe Operator.
Specifies the arithmetic operator to use when Operates On Color Only is selected from the Strobe menu. The default setting is Copy. The Texturize effect gives a clip the appearance of having the texture of another clip. For example, you could make the clip of a tree appear as if it had the texture of bricks, and control the depth of the texture and the apparent light source.
Select the source of the texture to be used from the list of video tracks in the pop-up menu. To see the texture without seeing the actual clip used for the texture, set the opacity for the texture clip to zero.
To disable texture, select None. Changes the direction of the light source, thus changing where shadows lie and how deep they appear. Lower settings decrease the amount of visible texture.
Tile Texture applies the texture repeatedly over the clip. Center Texture positions the texture in the middle of the clip. Stretch Texture To Fit stretches the texture to the dimensions of the selected clip. The Echo effect combines a frame with previous frames from the same clip. It has a variety of uses, from a simple visual echo to streaking and smearing effects. This effect is visible only when there is motion in the clip.
By default, any previously applied effects are ignored when you apply the Echo effect. Clip with low echo values C. Clip with increased number of echoes. Specifies the time, in seconds, between echoes. Negative values create echoes from previous frames; positive values create echoes from upcoming frames. Number Of Echoes. Specifies the number of frames to combine for the Echo effect. Starting Intensity. Specifies the intensity, or brightness, of the starting frame in the echo sequence.
For example, if this is set to 1, the first frame is combined at its full intensity. If this is set to 0. Specifies the ratio of intensities of subsequent echoes. For example, if the decay is set to 0. The second echo will then be half that, or 0. Echo Operator. Specifies the operations to be performed between echoes.
Add combines the echoes by adding their pixel values. If the starting intensity is too high, this mode can quickly overload and produce streaks of white. Set Starting Intensity to 1. Maximum combines the echoes by taking the maximum pixel value from all the echoes.
Minimum combines the echoes by taking the minimum pixel value from all the echoes. Screen emulates combining the echoes by sandwiching them optically. This is similar to Add, but it will not overload as quickly. Blend combines the echo values by averaging their values. The Posterize Time effect changes the frame rate of a clip to one you choose. You can use it to slow a fps clip to 24 fps, for example, to give it the look of film, slow it to 18 fps to simulate the jerkiness of old home movies, or slow it even further to give it a strobe effect.
The Camera View effect distorts a clip by simulating a camera viewing the subject from different angles. By controlling the location of the camera, you distort the shape of the image. Focal Length. Changes the focal length of the camera lens. Shorter lengths provide wider views, whereas longer focal lengths provide narrower but closer views. When checked, makes the background transparent useful if the clip with the effect is superimposed. The Clip effect trims rows of pixels off the edges of a clip and replaces the trimmed areas with a specified background color.
If you want Adobe Premiere Elements to automatically resize the trimmed clip to its original dimensions, use the Crop effect instead of the Clip effect. Left, Top, Right, Bottom. Sets the units specified by the sliders, either in pixels or the percentage of the frames. Click the Setup button at the right of the effect name to set units.
The Crop effect trims rows of pixels from the edges of a clip and, if you select the Zoom option, automatically resizes the trimmed clip to its original dimensions. Use the slider controls to crop each edge of the clip separately.
You can crop by pixels or clip percentage. To adjust the width of the feather, drag the Amount slider left or right. The Horizontal Flip effect reverses each frame in a clip from left to right; however, the clip still plays in a forward direction.
The Horizontal Hold effect skews the frames to the left or to the right; the effect is similar to the horizontal hold setting on a TV. The Roll effect rolls a clip to the left or to the right, or up or down, as if the clip were on a cylinder.
The Vertical Hold effect scrolls the clip upward; the effect is similar to adjusting the vertical hold on a TV. The Videomerge effect automatically determines the background of the selected clip and makes it transparent.
Video or image clips on the tracks below it become visible through the transparent areas. If you want a different color to be transparent, select the Select Color option, and choose a different color in the clip. Otherwise, the skin, clothes, or hair will become transparent too. Select Color. Click the color box to choose a new color from the Color Picker, 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 softness of the edges created by the transparency. Specifies the color range that determines transparent areas in the clip.
Dragging the slider to the right increases the color range so that more similar colors become transparent. The Balance effect lets you control the relative volumes of the left and right channels. Positive values increase the proportion of the right channel. Negative values increase the proportion of the left channel.
You can use this to compensate, for example, when the sounds coming from one channel overpower those from the other. The Bass effect lets you increase or decrease lower frequencies Hz and below. Boost specifies the number of decibels by which to increase the lower frequencies.
Audio gain helps in normalizing audio, by either raising or lowering it to match other audio sources. The Channel Volume effect lets you independently control the volume of each channel in a stereo clip or track.
You might use this, for example, to raise the volume of a voice in the left channel without diminishing the volume of a voice in the right. Specifies a percentage of the delayed signal to be added back into the delay to create multiple decaying echoes. The Fill Right effect duplicates the right channel information and places it in the left channel, discarding the existing left channel information.
For example, you might use this effect on footage shot with a monaural microphone plugged into only one channel of a camcorder, extending the voice of a speaker from one channel to both. The Highpass effect removes frequencies below the specified Cutoff frequency. Use it to reduce low-pitched noises and rumbles. The Lowpass effect eliminates frequencies above the specified Cutoff frequency. Use it to eliminate high-pitched noises, squeals, and whistles.
The Invert effect inverts the phase of all channels. Use it, for example, to bring the sound of one shot of an event into phase with another shot of the same event taken from another camcorder. Audio Polish that cleans and enhances audio. It includes features for noise reduction, compression, brightening the high end and even adding reverberation.
Noise Reduction. Sets the amount of noise reduction to apply to the audio. Rotate the 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 voices up to a constant level.
Rotate the knob to the right to increase compression. Adds a little high end to the signal. Brightening help polish muddy recordings. Adds a little reverberation to the mix. Rotate the knob to the right to increase the amount of reverberation. Auto Mute reduces background noise by turning off all sound when the signal goes below a specified threshold.
Minimum Level. Sets the minimum acceptable signal level. Auto Mute only allows sounds above the minimum level to play. Auto Mute erases the sound whenever it dips below the minimum level. Turn the knob to the far left and almost every sound level makes it through. Turn it to the right and sensitivity increases to the point that only the loudest sounds make it through.
Controls the speed at which a sound is removed after its level drops below the minimum threshold. Most sounds have a natural decay to them. A quick cut immediately after the decay drops below the minimum Level sounds unnatural.
On the other hand, the longer the decay, the more background noise can be heard. Turn the Decay knob to the left for a quick fadeout. Turn the knob to the right for 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. Turn the knob to the right to decrease background noise. Hum Frequency. Sets the cut frequency for the tone eliminator.
If you know the frequency such as Hz electric hum , select it. If you don’t know the frequency, perform the following steps:. Turn Hum Frequency control to find the spot where the tone that you want to remove is at its loudest. After you have isolated the frequency, turn the Hum Cut control to the right to set the depth of the tone elimination. Most tones are not pure; they have overtones, or harmonics. Turn the Hum Harmonics slider to the right to add tone removal of higher harmonics.
Don’t overdo it 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. Reasons range from a microphone cable that runs too close to a power cord to the humming sound of an electronically dimmed light. Power hum is easy to isolate because it is always the same frequency: In North America, the power frequency is Hz. In other countries, power hum is Hz.
Hum Remover applies a notch filter specifically to the frequency of the hum. Sometimes, that’s not enough. The hum signal often distorts, which adds additional tones.
Hum Remover calculates the frequencies of these additional tones and removes them as well. Sets the frequency that must be removed. Typically, the frequency is Hz or Hz. However, you can turn the knob to select any frequency within the range of Hz to Hz. The two most useful frequencies, Hz and Hz, are provided as presets.
Determines the strength of the hum filter. Start with the knob 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. Hum Distortion. Provides information to the Hum Remover about the level of distortion of the hum tone. A distorted hum has higher frequency overtones that must also be eliminated.
Turn the knob to the right to remove more of these overtones also known as “harmonics”. The number of overtones removed depends on the level of distortion. Sets the signal level for attenuation. Noise Fader leaves any sound louder than the threshold unchanged, while fading down sounds below the threshold.
Turn the knob to the left to set the threshold low. Turn the knob to the far right to fade all but the loudest sounds. Determines how to fade out sounds below the threshold level. Turn the knob to the left for minimum fading. Turn the knob all the 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 to clean videos shot under less-than-ideal audio conditions.
Sets the intensity of the noise reduction. Turn all the way to the left for no reduction at all. Turn to the middle to significantly drop background noise while keeping the louder sounds prominently in the foreground.
Turn further to the right and more of the signal fades out. The Notch effect removes frequencies that are near the specified center. The Center control specifies the frequency to be removed. The Treble effects lets you increase or decrease higher frequencies Hz and above.
The Boost control specifies the amount, measured in decibels, to increase or decrease. Use this to compensate, for example, when low instruments overpower high instruments in a soundtrack. Use the Volume effect in place of the Fixed Volume effect if you want to render Volume before other Standard effects.
The Volume effect creates an envelope for a clip so that you can increase the audio level without clipping. Positive values indicate an increase in volume; negative values indicate a decrease in volume. The Volume effect is available for clips only. You can make most volume changes by using the fixed Volume effect. You can apply this additional Volume effect if other effects such as Reverb or Bass overly increase or decrease clip volume. You can also fade the volume of one clip out while fading the volume of the next up by dragging one of the Crossfade audio transitions from the Effects view of the Task panel to the cut point between the clips.
Using a negative value inverts the source channel before adding it to the output channel. This value adds a base amount of a channel to the output channel.
Optional Select Monochrome to apply the same settings to all the output channels, creating a clip that contains only gray values. Click Done. Specify Extract settings. Apply the effect. Click the Applied Effects button, and then click the Setup button to the right of the effect name. In the Extract Settings dialog box, drag the two triangles underneath the histogram a diagram showing the number of pixels at each brightness level in the current keyframe to specify the range of pixels converted to white or black.
Pixels between the triangles are converted to white. All other pixels are converted to black. Drag the softness slider to introduce levels of gray into the pixels that have been converted to white. Higher softness values produce more gray. Optional Select Invert to reverse the range that is converted to white and black, and click OK.
Image Control. Lightens the shadows in the clip. This control is active only if you deselect Auto Amounts. Darkens the highlights in the clip.
Specifies that scene changes are ignored when you have enabled Temporal Smoothing. Expand the More Options category to reveal the following controls:. Blur and sharpen. Antialias Windows only. Ghosting Windows only. The Sharpen effect increases the contrast where color changes occur. The Invert video effect inverts the color information of a clip. Combines the inverted clip with the original. You can apply a fade to the inverted clip.
AutoTone and Vibrance. Three-Way Color Corrector. Tonal range. HSL Tuner. 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.
Split Tone. All the Distort options are available only on Windows. Specifies the shape of the wave. Choose from a sine wave, circle, triangle, or square. Specifies the height of the wave. Specifies the wave width. Corner Pin. The Lens Distortion effect simulates a distorted lens through which the clip is viewed. Fill Color. Specifies the background color. Setting this value determines the angle at which the mirror image pivots at the pivot point.
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. Scale Width. Scales width up or down as a percentage of the source clip width. Scales height and width proportionately.
Specifies skew amount. Skew Axis. The axis on which the skew is based. Changing the axis has no effect if Skew is 0. Specifies the number of complete rotations and degree that the clip rotates.
Specifies the degree of transparency of the clip, in percentages. Wave Warp. The Wave Warp effect distorts a clip to make it wave-shaped. Wave Type. Options from a pop-up menu specify the shape of the wave.
Wave Height. Wave Width. Specifies the distance from one wave crest to the next. Specifies the direction of the wave, in degrees. Wave Speed. 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 cycle begins. Options from a pop-up menu control the amount of blurring used to smooth the edges of the waves. Specifies a location for the center of the flare. Specifies the percentage of brightness. Lens Type. Selects the type of lens to simulate. Specifies the degree to which the effect will be blended with the source clip.
Select the Write-on effect from the Effects panel and apply it to a video clip on the timeline. Select the clip on the timeline and expand the effect Write-on in the Applied Effects panel. Position the edit line at the beginning of the clip.
To animated the Brush Position, open the keyframe control and toggle the key next to the Brush Position parameter. Increase the brush size from 2 to a higher value say 10 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. Image control. Color Balance HLS. Specifies the color scheme of the clip.
Specifies the brightness of the clip. Specifies the intensity of the colors in the clip. Specify Color Pass settings. Drag the Similarity slider to increase or decrease the range of the specified color. Replace a color. Choose the replacement color by clicking the Replace Color swatch. Gamma Correction. Alpha Adjust. Ignores the alpha channel of the clip. Reverses the transparency and opaque areas of the clip. Displays only the alpha channel.
You can adjust the following settings in the Applied Effects panel:. Chroma Key Windows only. Apply the Chroma Key effect to a clip multiple times to key out multiple colors. Adjust the following Chroma key settings as needed:. Difference Matte effect. Image Matte Key effect. Matte Alpha. Composites the clips using the alpha channel values of the image matte.
Matte Luma. Composites the clips using the luminance values of the image matte. Luma Key effect. Non Red Key. Remove Matte effect. Choose the color of the matte from the Matte Type menu. Specifies the color in the video that will be made transparent by the mask. Track Matte Key. You can create mattes in various ways:. The Track Matte Key has the following controls:.
Reverses the order of the background and foreground clips. NewBlue Art Effects Elements. NewBlue, Inc. To use only one color, drag the strength value of one color to 0. NewBlue Film Look. Sets the amount of film damage, including wear and scratches.
Shifts the color of the film from full color to sepia to black and white. Controls the amount of camera jitter in the scene. Sets the style of film wear. Use this in conjunction with Damage. NewBlue Motion Effects Elements. Sets the range of motion along the horizontal side to side axis. Sets the range of motion along the vertical up and down axis. Sets the speed at which the camera moves from one position to another.
Sets the rate and intensity of random jitter as the camera moves from one position to another. H Shear. V Shear. Rotates the shear blur in degrees. Specifies the center point of the shear blur.
Sets the origin of the zoom. NewBlue Cartoonr effect. The effect can be customized using its various parameters. Density Controls how many lines to draw.
Clean Up Removes dirt and noise between the lines. Width Sets the width of the lines. Increasing the value increases the overall width of the lines.
Mix Determines the intensity of the black lines mixed into the image. Layers Determines the number of layers of paint for coloring the picture.
Smooth Controls the smoothness of the layer edges. Sharpen Increases the sharpness of the layer edges. Shading Adds a bold shading around the edges of objects in the picture, making it more dramatic ColorShift When you change the value, the colors change to other colors that fall within the spectrum of the primary color.
Color Sets the color saturation. Brightness Sets the overall brightness of the picture. Contrast Increases the contrast between the dark and light areas in the picture. Blend Mixes the original picture with the cartooned image. Basic 3D. Controls vertical rotation rotation around a horizontal axis. As the distance gets larger, the clip recedes. Specify where the lightning begins and ends. Specifies the size of undulations in the lightning bolt as a percentage of the layer width.
Specifies the size of the angle between a branch and the main lightning bolt. Specifies the average width of each branch as a fraction of the width of the lightning bolt.
Adjust the following controls for the Lightning effect:. Specifies how fast the lightning bolt undulates. Core Width. Random Seed. Video Stabilizer. Controls the initial opacity of the glow. Start Color. Shows the current glow color. Click the swatch to choose another color. End Color. Lets you add an optional color at the outer edge of the glow. Fade Out. Specifies whether the colors fade out or stay solid.
Color Emboss. Adds a percentage of the original source clip to the final result. Specifies the number of mosaic divisions in each direction. The Noise effect randomly changes pixel values throughout the clip. Noise Type. Strobe Light.
Specifies in seconds how long a strobe effect lasts. Randomizes the way lightning effect works. Texture Layer Select the source of the texture to be used from the list of video tracks in the pop-up menu. Light Direction Changes the direction of the light source, thus changing where shadows lie and how deep they appear.
Texture Placement Specifies how the effect is applied. Echo Time. Posterize Time. Camera View Windows only. Moves the camera vertically.
Adobe premiere elements 10 playback problems free
You can correct, improve, and otherwise modify your clips with the effects provided in Adobe Premiere Elements. All effects are plajback adobe premiere elements 10 playback problems free default values for settings, so when you apply an effect, it rlements 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.
The samples below preemiere just some of the video effects included with Adobe Premiere Elements. To preview adobe premiere elements 10 playback problems free effect not in this gallery, apply it and preview it in the Monitor panel. See Apply and preview effects. Original clip. Alpha Glow. Bend Windows only. Bevel Alpha. Bevel Edges. Channel Mixer. Clip Windows only. Color Balance RGB. Color Pass Windows only.
Color Replace Windows only. Drop Shadow. Edge Детальнее на этой странице. Facet Windows only. Fast Blur. Find Edges. Gaussian Blur. Sharpen Windows only. Eelments Flip. Horizontal Hold Windows only. Lens Distortion. Lens Flare. Lighting Effects.
Polar coordinates. Ripple Windows only. Vertical Flip. Vertical Hold Windows only. Active Camera. Line Drawing.
Old Film. Pastel Sketch. Shear Energy. Zoom Blur. Auto Color adjusts the contrast and color of a clip by neutralizing the midtones and placing a limit on the range of the white and black pixels. Auto Contrast adjusts the overall contrast and mixture of colors without introducing or removing color adobe premiere elements 10 playback problems free.
Auto Levels automatically corrects the highlights and shadows. Because Auto Levels adjusts each color channel individually, it may remove or introduce color casts, which are tints to a clip. Each effect has one or more of the following properties:.
Temporal Smoothing. Specifies elenents range of adjacent frames used to determine the amount of correction needed for each frame, relative to pronlems frames. For example, if you set Temporal Smoothing to 1 second, Premiere Elements analyzes the frames 1 second before the displayed frame to determine the appropriate adjustments. If you set Temporal Smoothing to 0, Premiere Elements analyzes узнать больше здесь frame independently without regard for surrounding frames.
Scene Detect. Black Clip Подробнее на этой странице White Clip. Specifies how much the effect constrains the shadows and highlights within the new extreme shadow level 0 and highlight level colors in the clip. Larger values adobe premiere elements 10 playback problems free greater contrast.
Snap Neutral Midtones. Available for Auto Color only Specifies that Premiere Elements finds an average nearly neutral gray rfee in a clip and adjusts the gamma values of that color to make it neutral. Blend With Original. Problens value 0. It adjusts all pixel values in the clip at once—highlights, shadows, and adobf.
Every clip in Premiere Elements is composed from three color channels: red, green, and blue. Each channel contains playhack luminance values for its respective color. Using the Channel Mixer effect, you can add the values from any of these channels to any of the other channels, for example, adding the luminance values from the green channel into the red channel. Use this effect to make creative color adjustments not easily achieved with the other color adjustment tools.
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 with a pair of color names.
For example, the Red-Green property has the red channel as its output and the green channel as its input. You can use it to add the luminance values of the green channel to the red channel. The value to the right of each property name sets the percentage of the output channel сторону! free symantec antivirus for windows 10 СУПЕР by the specified input channel. The Constant Const properties for each output channel allow you to specify a base value to 1 to pproblems output.
The Monochrome option creates a grayscale clip from the afobe channel values. Monochrome is useful for clips that you plan to convert to grayscale. The Extract effect removes colors from a video clip or still image, creating a textured grayscale appearance. The Image Control effect emulates the controls of a video processing amplifier. This effect adjusts the brightness, contrast, hue, and adobe premiere elements 10 playback problems free of a clip.
The Lighting Effects effect applies creative lighting effects on adobe premiere elements 10 playback problems free clip with up to five lights. You can control lighting properties such as lighting type, direction, intensity, color, lighting center, and lighting spread.
Use the Bump Layer control to use textures or patterns from other clips to produce special lighting effects, such as a 3D-like surface prfmiere.
The Posterize effect specifies the number of tonal levels or brightness values for each channel in a clip and maps pixels to the closest matching level. For example, if you choose two tonal levels in an RGB clip, you get two tones for red, two tones for green, and two tones for blue. Values range from 2 to Although the adobe premiere elements 10 playback problems free of this effect are most evident when you reduce the number of gray levels in a grayscale clip, Posterize also produces ppremiere effects in color clips.
Use Level to adjust the number of tonal levels for each channel to which Prfmiere will map existing colors. This effect does not apply a global darkening or lightening of a clip, but rather it adjusts the shadows and highlights independently, based on the surrounding pixels.
You can also adjust the overall contrast of a clip. The default settings probleme optimized premisre fix clips with backlighting problems.
Auto Amounts. Specifies that Adobe Premiere Elements automatically analyzes and corrects highlight and shadow problems stemming from взято отсюда issues. This option is selected by default. Deselect it to activate manual controls for нажмите чтобы увидеть больше and highlight correction.
Shadow Amount. Highlight Amount. Specifies the range of adjacent frames that Playbacck Premiere Elements analyzes in order to determine the amount of correction needed for each frame, relative to its surrounding frames. For example, if you set Temporal Smoothing to 1 second, the frames are analyzed 1 second before the displayed frame to determine appropriate shadow and highlight adjustments. If you set Temporal Smoothing to 0, each frame is analyzed independently, without regard for surrounding frames.
This control is active only if you select Adobe premiere elements 10 playback problems free Amounts. Specify the range adobe premiere elements 10 playback problems free adjustable tones in premierf shadows and highlights.
Lower values restrict the adjustable range to only the darkest and lightest regions, respectively. Higher values expand the adjustable range. Страница controls are useful for isolating flements to adjust. For example, to lighten a dark area without affecting the midtones, set a low Shadow Tonal Width value so that when you adjust the Shadow E,ements, you are lightening only the darkest areas of a clip.