Streaming Media

Streaming Media on Facebook Streaming Media on Twitter Streaming Media on LinkedIn

Tutorial: Applying Effects to a Portion of a Image with Adobe Premiere Pro’s Track Matte Effect

This tutorial demonstrates how to apply an effect to a portion of a video image while leaving the rest of the clip untouched, and how to track that portion of the image throughout the duration of the clip, using the Track Matte effect in Adobe Premiere Pro CC.

Here’s what’s going on. Basically, we’ve divided the clip into two components, as divided by the matte in Video 3. If we turn off the track output for the bottom clip, the screen goes black except for what’s inside the ellipse (Figure 9, below), which tells us that everything outside the ellipse is being provided by Video 1, while everything inside the ellipse is being supplied by Video 2.

Figure 9. With the track output for Video 1, we see only the area covered by the Track Matte from Video 2.

So, if you want to apply an effect that affects everything outside the ellipse, you apply it to Video 1. If you want to apply an effect that affects just the portion inside the ellipse, you apply to Video 2.

So let’s say I want to make everything but my daughter black and white, as shown in Figure 1. First, I go to Video Effects > Image Control and choose Black & White, then drag it onto Video 1. Now we see the background, which is represented by Video 1, is black and white, while the foreground (my daughter, aka the elliptical area covered by the Track Matte) is still full color (Figure 10, below).

Figure 10. The Black & White effect applied only to Video 1.

If I wanted to affect just the foreground portion that’s covered with the matte, then I’d drag the effect onto Video 2, which would make my daughter black and white while retaining full color in the rest of the image.

Animating the Track Matte

Now that you’ve created the Track Matte, with the intention of applying it to a moving object in a full-motion video, how do you make the matte follow the object around? To begin, turn off the track output for Video 1 (making visible only the foreground part under the Track Matte, not the background part outside of it), so that you can see the area under the matte more clearly. To keep the object in view, you need to move the title around to match the motion that you’re seeking.

To begin, in the Effect Controls panel, under Motion, click the toggle animation radio button to the left of the Position control to make sure keyframes are enabled. If you needed to vary the scale of the matte throughout the clip, you would also set a keyframe for Scale. In this case, because my daughter moves only laterally within the clip, and essentially occupies the same amount of the frame at all times, I don’t need to set a scale keyframe.

With keyframes enabled, it’s just a question of adjusting the positioning of the mask to follow, in this case, the dancer, being as precise as you choose, depending on how much time you want to spend. Figure 11 (below) shows all the adjustments I made in the demo shown at the beginning of the tutorial video to follow her throughout the clip and keep her under the matte.

Figure 11. Keyframes created to keep the dancer under the matte throughout the clip. Click the image to see it at full size.

Related Articles
Two types of noises degrade the audio you shoot with your video: random noises like microphone clicks and pops, and consistent noises like white noise or air conditioning hum. This tutorial demonstrates how to remove both of them in Adobe Audition CS6.
In this tutorial you'll learn how to create and edit industry-standard closed captions for video using the new closed-captioning capabilities in the just-released Adobe Premiere Pro CC.
Here's a quick tutorial for Premiere Pro CC users on how to migrate encoding presets that you created to customize and streamline encodes in Adobe Media Encoder CS5/6 into Adobe Media Encoder CC so you can pick up right where you left off.
If you ever find yourself having to render multiple sequences from Premiere Pro, there's an easier way to do it than by using the Premiere Pro Export control. This tutorial will explain the easier and more efficient way using Adobe Media Encoder.
Exploring 3 new key features in Audition CC, the newest version of Adobe's professional audio editing application: Sound Removal for eliminating hums and other variable-frequency unwanted noises, the Loudness Radar Meter for matching and adhering to broadcast volume standards, and Automatic Speech Alignment for ADR.
In this first installment of a two-part series, Jan Ozer compares the declipping and crackle and pop-removal features in iZotope's new RX 3 pro audio editor to the parallel features in Adobe Audition CC.
In this final round between audio editing champs iZotope RX 3 and Adobe Audition CC, we compare the two audio editors in noise reduction and reverb/echo reduction.
Recent upgrades to Adobe CC make it easy to apply graded looks in Adobe Premiere Pro CC and match shots with different color temperatures via seamless roundtripping between Premiere Pro CC and SpeedGrade CC.
Using Adobe Lightroom 5 to color-grade and apply metadata to DSLR video files is simple and efficient and can benefit live-switchers doing minimal edits, editing novices, and pro editors exploring non-traditional workflows.
New SpeedLooks in SpeedGrade, Mask Tracker in After Effects, Sync Settings in Adobe Media Encoder, improved multicam in Premiere Pro, expanded UltraHD/4k support, and more