![]() ![]() This easily could be accomplished using “Key Frames”. Unless the object you want to blur is stationary, such as a logo at the corner of your video, you’ll likely be going to want the blurred area to move with the object blurred. How to blur a moving object in Premiere Pro? Once you’ve selected the shape, its size could also be manipulated by clicking and dragging the dots around the masked blur area. Your options are an ellipse mask, 4 point polygon mask, and free draw bezier.Īfter deciding on the shape, you could set the options like mask path, mask feather for smooth borders, mask opacity, and mask expansion. That’s where you’ll change the shape of your blur. Go you your editing workspace, and inside the “Effects Controls” tab, you’ll see Camera blur settings under the Video dropdown menu. Unless, for some reason, you want the entire video to be blurred, it’s a good idea to go to the effects settings and give the blur a shape, strength, and form. Specify the area that needs to be blurred This defeats the entire blurring purpose, so let’s continue with step 3: 3. Underneath, you’ll find the “Blur & Sharpen” dropdown menu.Ĭlick on “Camera Blur” and drag & drop it to the media file you want to blur on your timeline. It should be located in the right panel if you’re using the standard workspace layout. The next thing you’re going to want to do is go to the effects. Import your mediaĪs with anything you’ll do on Premiere Pro, first import your footage that includes the area you’d like to blur out. So without further ado, let’s get started with the actual steps involved in blurring an object: 1. You could draw a custom shape, a rectangle, a square, or even an ellipse.Īlso read: How to add film grain to video? The shape and form of the mask you’re going to apply will depend on the size of the area you’re going to blur. ![]() This way, you could not only blur but also apply a cover, highlighting effects. To blur a moving or stationary object, first, you’ll need to mask the area. How to apply the blur effect on Premiere Pro? Or you could be simply blurring copyrighted material on your footage such as logos and brand names. You may have to blur a face that you don’t have permission to use, and you may be blurring adult content in your media so you can upload it to social media without facing any issues. Use cases for blurring an object in Adobe PP are unlimited. This time, we suspect, it will be a longer-lasting affair.In this tutorial, you will learn how to apply soft-edge masks to your videos in Premiere Pro to protect a person’s identity and track the mask in a scene for continuous blur tracking.Īlso read: How to fix blurry video in Premiere Pro? Why would I blur something in Premiere Pro? Once again, the new features have exceeded our expectations and, once again we’re extremely tempted to switch to Premiere Pro as our main editor. Pricing is yet to be announced, but unless Adobe goes berserk with its strategy, both Premiere Pro and CS6 Production Premium should easily justify the required investment. Regardless, it’s a valuable addition to the suite that further bolsters its position for professional use. ![]() The lack of native support for Premiere Pro project files is disappointing, but Iridas only joined the Adobe fold in September 2011. We won’t attempt to second-guess what professional colour graders look for, but this is the most sophisticated colour-grading software we’ve used. Regardless, this is still an outstanding application, and for us, possibly the most rewarding of the entire CS range.Įlsewhere, the introduction of SpeedGrade as part of the Production Premium bundle (previously published by Iridas) is very welcome. Sadly, After Effects doesn’t share Premiere Pro’s improved Project panel, nor its new-found ability to adjust settings without interrupting playback click absolutely anything and playback grinds to a halt. It can be painstaking work but allows for extremely accurate masking when grappling with motion blur, where fast-moving elements need to be feathered more than slower elements. Our favourite new feature could easily be overlooked: a variable feather can be applied at different points around a mask. And there’s also a new 3D Camera Tracker to help make 3D elements fit with the implied 3D space of 2D footage. There’s a 3D extrude function and a ray tracer 3D rendering engine: basic stuff compared to dedicated 3D software, but enough to produce some respectable 3D animated logos. Again, it isn’t the most robust process: outlines and fills became separated, and a gradient fill proved too much for it. Other enhancements include the ability to convert Illustrator files into editable vector drawings.
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