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As a viewer and as an editor, I have had the opportunity to see all kinds of effects and transitions. Some have been cheesy, over the top or totally unnecessary. Meanwhile, others have helped move the story along or enhance what the editor was trying to convey.
One of my favorite plugin developers, Idustrial Revolution, has a set of 30 unique transitions for Final Cut Pro X known as X Effect Tech Transitions. These hi-tech effects form grids, repeat frames, split color channels, and much more. In this promo video below, there was a transition that caught my eye and I wanted to replicate it in Premiere, using only the native filters. It’s called the Flash Invert Freeze and you can see it at the 33 second mark in this promo below. I will show you how to replicate this transition in Premiere Pro.
Solarize Flashframe Transition
In my timeline, I have 2 clips with one clip on Track 1 and another clip on Track 2.
I will move my clip on Track 1 to the out of the clip on Track 2.
Next, I will create hold frames on each clip. For the outgoing clip, I will find a moment towards the end where I want to hold on and make an edit. For the incoming clip, I will hold the frame on the in point.
Let’s extend the hold frames of each clip so they overlap for about 1 second.
Now, I will key frame the opacity on Track 2 to go from 100-0 every 2 frames until the end of the clip. If you want to speed up the time, first create two opacity key frames at 100 and 0. Move your play head 2 frames after the second key frame and option drag the opacity key frames to the play head’s current position. Then, right click on the key frames and select Hold.
With the opacity blinking every 2 frames, you will see both clips within a 22 frame time span. Animating the opacity of the clip on Track 2 gives the user more flexibility than using the Strobe Light filter. To adjust, trim the clip on Track 2 one frame after the last opacity key frame and the clip on track 1 a frame or two, as seen by my timeline below.
The last step in this transition is to add an adjustment layer. Let’s place an adjustment layer on Track 3 so we can affect both clips simultaneously. Trim the length of the layer to match the duration of the hold frames.
Apply the Solarize filter to the adjustment layer and change the threshold to 100. Lastly, apply the Tint filter and keep it at its default colors.
Render your timeline and your result should look something like this video below.
If you want to create this transition to use in future projects, you can save presets for the opacity animation and image filters that were used here. Overall, I believe this transition is best used in fast paced music videos, where the genre is house or dubstep. I can also see it being used on fashion shoot/show highlights. This transition can be taken a step further by adding a scale and rotation animation to make it rumble erratically.
I’m the NLE Ninja with AudioMicro asking you to stay creative.
A lot of films today have varying effects surrounding the eyes such as turning the eyes a different color, glowing red, filled with fire, etc. It is a good idea for every Visual Effects Artist to have some of these skill sets under their belt. Today we are going to take a look at an eye effect created for the Green Lantern film where the lead actor’s eyes turn white. The effect will be broken down into 3 main steps and can be followed along in this video or by the text supplied below:
- Step 1: Motion tracking
- Step 2: creating the eye
- Step 3: applying the effect
Step 1: Motion tracking basically is the process of following an object as it moves around from frame to frame in a piece of footage. In our footage we need to track the motion of the eyes since that’s where we are applying the effect to. Without motion tracking the effect would not stick to the eye.
First make sure on your timeline you’re set to where you want the effect to begin, then right click on the source footage and choose TRACK MOTION. Make sure both position AND rotation is checked off. This is because as I talk my head moves around and not only is the position changing, but subtly the angle and rotation changes as well. When you have both checked you’ll notice two boxes appear on your footage, called “Track Point 1” – which is your position – and “Track Point 2” – which is your rotation.
We’re going to focus on one eye at a time. Let’s go to the left eye first, move the position track point – track point 1 – over to the center of the pupil. Have the small box focus on the iris, and the large box focus on the entire eye. Then move the rotation track point – track point 2 – to the right eye and set it up the same way, small box on iris, large on the entire eye.
Go back over to your tracker controls, hit analyze forward, and I’m going to stop it after I close my eyes. Once it finished collecting all the data you will want to go to LAYER — NEW — NULL OBJECT. Then in your tracker controls hit EDIT TARGET, change it to your null object, and hit APPLY. Now you can see all of that tracking data is now saved to that null object. Now let’s do the same quickly for the right eye. This time the right eye is going to have the position tracker — track point 1 — and the left eye will take the rotation tracker — track point 2 — small box on the iris, large on the entire eye, analyze forward, new null object, edit target, apply, and we’re set. Last I recommend renaming each of the null object layers so you know which is for the left and right eye.
Step 2: Keep in mind that the effect is not applied directly to the source footage, and so we need to create a second pair of eyes to apply the effect to. To do this, what I did was scrub through my footage, find a point where my iris was most exposed, duplicated the layer, right clicked on it, then went to TIME — FREEZE FRAME. Again let’s focus on the left eye first. Zoom in close, and let’s use our pen tool to cut around the iris. Once we have that done we need to create a second mask around the pupil, and to do this one I find it easier to just use the ellipse mask tool. Then go to your mask settings, and change mask 2 to subtract, and by doing this if we solo the layer we can that we created a ring shape that only contains the iris, which is what we’re applying the effect to.
Again do the same for the right eye: Duplicate the layer, freeze frame, cut out iris and pupil, and change mask settings. Now we need to get these iris rings to stick to and follow the source footage eyes, and to do that all we need to do is grab the pick whip here and parent the left iris ring to the left tracking null, and the right iris ring to the right tracking null. As you quickly scrub through the footage you should notice that they are staying right in place.
Step 3: To change the eyes white all I did was go to EFFECTS — COLOR CORRECTION — EXPOSURE. And what I love about this is that as you increase the exposure, not only do you turn the eyes white, you retain the highlights in the eyes, and the varying shades of gray which add depth and realism to the effect.
To have your eyes change over time, what you do is go to where you want the effect to start on the timeline, keyframe the opacity stopwatch at zero, then go to where you want it to end, and turn the opacity up. So now your eyes turn white over time, but you will notice that the iris sticks out a bit as the eye lid should be covering certain portions of it. So to fix this I go into my mask settings, keyframe the mask path, and go through frame by frame and adjust it accordingly.
This technique is great for changing your eyes to pretty much any color, you just need to try different color correction effects and hues.