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Find 3 sources of research that help you with Compositing (e.g. tutorial Videos or articles)

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Write 100 words on how your research has helped you with ideas, skills and techniques that you will take forward into creating your own title sequence.

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Find 3 sources of research that help you with Key Frames (e.g. tutorial Videos or articles)

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Find 3 sources of research that help you with Colour Correction (e.g. tutorial Videos or articles)

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Using You Tube, B.O.B or another source - research a minimum of 3 Documentary OR News opening titles and write what you like about them and why.

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BoB, Box of Broadcasts is Learning on Screen On Demand TV and Radio for Education

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This is the most useful video tutorial i have found for compositing. It does cover a lot that was done in class but it goes into a few things with a more step by step process making it easier to follow

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Cover image via

Opacity blending tools are some of the most versatile and useful tools in any NLE. All opacity modes, regardless of type, are fundamentally combining certain elements from one piece of footage with another. The different blend modes simply refer to the algorithm that determines which parts of one frame get blended with the other.

We'll start with some of the basics before moving on to a slightly more involved method.

Basic Compositing in Premiere

Image via Columbia Pictures.

Let's give Bond's arrival to his Estate a bit more of an eerie atmosphere. We're going to composite a few details from a still from into Skyfall.

Image via Paramount Pictures.

This shot from True Grit has a beautifully silhouetted woman visiting a small cemetery with a looming, dead tree behind her. Because of the hard backlight of the sky, it should be easy to composite both shots together - assuming both are stationary.

To begin, put the dominant frame on a layer lower than the one you're blending. In this example, we are adding atmosphere to the shot from Skyfall with elements from the one in True Grit, so Bond is on bottom and Grit is on top.

To start blending, simply lower the opacity of the top layer to 50% to begin adjustments to scale and position.

For my example, I like positioning the woman and tree on the left side of the frame. I pay close attention to try and match the horizon lines, whenever possible.

Once I've found a position I like, it's time to mask. I'm giving as much space to the mask as possible, without overlapping key details in the main shot. I've opened up the mask feather a little bit before heading to the opacity blending controls. After a bit of experimentation, I've settled on hard light blended at 70%.

I really like how the hard light blend mode preserved the silhouetted features yet blended the misty haze from the Scottish Highlands into the deep shadows of the tree, woman, and headstones.

With a few small tweaks to the perspective, I'd call this one about done.

Now that we've got the basics of the process down, let's look at a way to use blending that can come in super handy - and yield some pretty dramatic effects - on any project.

Sky Replacement with Opacity Blending

Image via Warner Bros.

We'll be adjusting a shot from by replacing the background and sky with yet another still from Skyfall.

Image via Columbia Pictures.

For this shot, we're blending the lower half of the Gravity still - over the misty mountains - into the one from Skyfall. So, Skyfall goes on the bottom layer with Gravity on top.

I've drawn a simple square mask around the bottom third of the Gravity frame, setting the boundaries at the edge, where the water line meets the mountains in the distance.

To fine-tune the mask, I punched out the mountains in the center of the Gravity frame to make the new composited mountain range feel a little more continuous.

For this shot, I duplicated the Gravity clip, added it to the top layer, and expanded the mask into the replacement range. I'm essentially trying to very softly and subtly feather my mask over the top of the new mountain range in order to blend the shots together a little better.

To further this, I extended the feather to about 85 and set the opacity blend mode to luminosity at 30%. Combined, I really like how the two shots fade into one another - the low luminosity blend helps to give a sense of distance and foreboding to the final composited shot.

3. Thoughts on Compositing in NLEs

When I first began experimenting with compositing in Premiere, I was pretty shocked by the quality of the results. On two or more blocked-off shots, with relatively similar perspective, you can quickly and effectively get really decent results with some experimentation (and the right opacity blend mode and ratio).

For shots with motion - or important elements or actors moving across the entire frame - this process will likely prove far more tedious than traditional compositing workflows. That being said, with enough contrast between the shots, the right blend mode might just surprise you.

Looking for more articles on filmmaking and video production? Check these out.

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Quick and Easy Compositing Tips for Adobe Premiere Pro

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Join us as we explore how to use opacity blending modes to alter or enhance your footage by blending elements from one scene into another.

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This article is very straightforward and simple to follow, it does however cover a lot of what is covered in the first video tutorial

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How to Shoot a Cityscape with Miniatures | Premiere Pro Compositing Tutorial w/ No Film School

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How to use KEYFRAMES when you edit in Premiere? (Beginners basics tutorial)

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This is a good intro tutorial for keyframes. It does only cover very basic things and the guy explaining things does so in a clear and concise way

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The Effect Controls panel and Timeline panels let you adjust the timing and values of keyframes, but they work in different ways. The Effect Controls panel displays all effect properties, keyframes, and interpolation methods at once. Clips in a Timeline panel show only one effect property at a time. In the Effect Controls panel, you have complete control over keyframe values. In a Timeline panel, you have limited control. For example, you can't change values that use x and y coordinates, such as Position, in a Timeline. However, you can make keyframe adjustments without moving to the Effect Controls panel.

The graphs in the Timeline and Effect Controls panels display the values of each keyframe and the interpolated values between keyframes. When the graph of an effect property is level, the value of the property is unchanged between keyframes. When the graph goes up or down, the value of a property increases or decreases between keyframes. You can affect the speed and smoothness of the property changes from one keyframe to the next. Just change the interpolation method and adjust Bezier curves.

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Adding, navigating, and setting keyframes

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The Effect Controls panel and Timeline panels let you adjust the timing and values of keyframes, but they work in different ways. The Effect Controls panel displays all effect properties, keyframes, and interpolation methods at once. Clips in a Timeline panel show only one effect property at a time.

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Adobe has some good help pages set up to help teach you the different aspects of premiere pro. Unfortunately these are sometimes difficult to follow if you learn by watching as apposed to reading

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Adobe Premiere Pro 2023: How to Use Key Frames for Beginners

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4 Easy Tips for Color Correction in Premiere Pro

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This Tutorial is useful for colour correction on skin tones. This will no doubt be useful for any mistakes that may appear in my final project. This makes this one of the most useful ones.

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Color Grading in Premiere Pro CC - Get Pro Film Look

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This gives you the terminology as well as explaining the processes involved in colour correcting footage on premiere pro. It is useful to know these terms not only for using the effect but also when explaining it to someone else

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1. Adobe Premiere Pro User Guide

2. Beta releases

1. Beta Program Overview

2. Premiere Pro Beta Home

3. Beta features

1. Audio Category Tagging

2. Interactive fade handles

3. Share for review with Frame.io

4. Invite collaborators to co-edit a project

3. Getting started

1. Get started with Adobe Premiere Pro

2. What's new in Premiere Pro

3. Best practices for updating Premiere Pro

4. Keyboard shortcuts in Premiere Pro

5. Accessibility in Premiere Pro

6. Frequently asked questions

7. Release notes

4. Hardware and operating system requirements

1. Hardware recommendations

2. System requirements

3. GPU and GPU Driver requirements

4. GPU Accelerated Rendering & Hardware Encoding/Decoding

5. Creating projects

1. Start a new project

2. Open projects

3. Move and delete projects

4. Work with multiple open projects

5. Work with Project Shortcuts

6. Backward compatibility of Premiere Pro projects

7. Open and edit Premiere Rush projects in Premiere Pro

8. Best Practices: Create your own project templates

6. Workspaces and workflows

1. Workspaces

2. Import and export FAQs

3. Working with Panels

4. Windows touch and gesture controls

5. Use Premiere Pro in a dual-monitor setup

7. Frame.io

1. Install and activate Frame.io

2. Use Frame.io with Premiere Pro and After Effects

3. Integrate Adobe Workfront and Frame.io

4. Frequently asked questions

8. Import media

1. Importing

1. Transfer files

2. Importing still images

3. Importing digital audio

2. Importing from Avid or Final Cut

1. Importing AAF project files from Avid Media Composer

2. Importing XML project files from Final Cut Pro 7 and Final Cut Pro X

3. File formats

1. Supported file formats

2. Support for Blackmagic RAW

4. Working with timecode

9. Editing

1. Edit video

2. Sequences

1. Create and change sequences

2. Set In and Out points in the Source Monitor

3. Add clips to sequences

4. Rearrange and move clips

5. Find, select, and group clips in a sequence

6. Remove clips from a sequence

7. Change sequence settings

8. Edit from sequences loaded into the Source Monitor

9. Simplify sequences

10. Rendering and previewing sequences

11. Working with markers

12. Source patching and track targeting

13. Scene edit detection

3. Cut and trim clips

1. Split or cut clips

2. Trim clips

3. Edit in Trim mode

4. Perform J cuts and L cuts

5. Create and play clips

6. Adjust Trimming and Playback preferences

4. Video

1. Synchronizing audio and video with Merge Clips

2. Render and replace media

3. Undo, history, and events

4. Freeze and hold frames

5. Working with aspect ratios

5. Audio

1. Overview of audio in Premiere Pro

2. Edit audio clips in the Source Monitor

3. Audio Track Mixer

4. Adjusting volume levels

5. Edit, repair, and improve audio using Essential Sound panel

6. Enhance Speech

7. Enhance Speech FAQs

8. Automatically duck audio

9. Remix audio

10. Monitor clip volume and pan using Audio Clip Mixer

11. Audio balancing and panning

12. Advanced Audio - Submixes, downmixing, and routing

13. Audio effects and transitions

14. Working with audio transitions

15. Apply effects to audio

16. Measure audio using the Loudness Radar effect

17. Recording audio mixes

18. Editing audio in the timeline

19. Audio channel mapping in Premiere Pro

20. Use Adobe Stock audio in Premiere Pro

6. Text-Based Editing

1. Text-Based Editing

2. Text-Based Editing FAQs

7. Advanced editing

1. Multi-camera editing workflow

2. Set up and use Head Mounted Display for immersive video in Premiere Pro

3. Editing VR

8. Best Practices

10. Video Effects and Transitions

1. Overview of video effects and transitions

2. Effects

1. Types of effects in Premiere Pro

2. Apply and remove effects

3. Effect presets

4. Metadata effect in Premiere Pro

5. Automatically reframe video for different social media channels

6. Color correction effects

7. Effects Manager

8. Change duration and speed of clips

9. Adjustment Layers

10. Stabilize footage

3. Transitions

11. Titles, Graphics, and Captions

1. Overview of the Essential Graphics panel

2. Graphics and Titles

3. Graphics

1. Create a shape

2. Draw with the Pen tool

3. Align and distribute objects

4. Change the appearance of text and shapes

5. Apply gradients

6. Add Responsive Design features to your graphics

7. Install and use Motion Graphics templates

8. Replace images or videos in Motion Graphics templates

9. Use data-driven Motion Graphics templates

4. Captions

1. Speech to Text

2. Download language packs for transcription

3. Working with captions

4. Check spelling and Find and Replace

5. Export text

6. Speech to Text FAQs

5. Best Practices: Faster graphics workflows

6. Retiring the Legacy Titler FAQs

7. Upgrade Legacy titles to Source Graphics

12. Fonts and emojis

1. Color fonts

2. Emojis

13. Animation and Keyframing

1. Adding, navigating, and setting keyframes

2. Animating effects

3. Use Motion effect to edit and animate clips

4. Optimize keyframe automation

5. Moving and copying keyframes

6. Viewing and adjusting effects and keyframes

14. Compositing

1. Compositing, alpha channels, and adjusting clip opacity

2. Masking and tracking

3. Blending modes

15. Color Correction and Grading

1. Overview: Color workflows in Premiere Pro

2. Color Settings

3. Auto Color

4. Get creative with color using Lumetri looks

5. Adjust color using RGB and Hue Saturation Curves

6. Correct and match colors between shots

7. Using HSL Secondary controls in the Lumetri Color panel

8. Create vignettes

9. Looks and LUTs

10. Lumetri scopes

11. Display Color Management

12. Timeline tone mapping

13. HDR for broadcasters

14. Enable DirectX HDR support

16. Exporting media

1. Export video

2. Export Preset Manager

3. Workflow and overview for exporting

4. Quick export

5. Exporting for the Web and mobile devices

6. Export a still image

7. Exporting projects for other applications

8. Exporting OMF files for Pro Tools

9. Export to Panasonic P2 format

10. Export settings

11. Best Practices: Export faster

17. Collaborative editing

1. Collaboration in Premiere Pro

2. Get started with collaborative video editing

3. Create Team Projects

4. Add and manage media in Team Projects

5. Invite and manage collaborators

6. Share and manage changes with collaborators

7. View auto saves and versions of Team Projects

8. Manage Team Projects

9. Linked Team Projects

10. Frequently asked questions

18. Long form and Episodic workflows

1. Long Form and Episodic Workflow Guide

2. Using Productions

3. How clips work across projects in a Production

4. Best Practices: Working with Productions

19. Working with other Adobe applications

1. After Effects and Photoshop

2. Dynamic Link

3. Audition

4. Prelude

20. Organizing and Managing Assets

1. Working in the Project panel

2. Organize assets in the Project panel

3. Playing assets

4. Search assets

5. Creative Cloud Libraries

6. Sync Settings in Premiere Pro

7. Consolidate, transcode, and archive projects

8. Managing metadata

9. Best Practices

1. Best Practices: Learning from broadcast production

2. Best Practices: Working with native formats

21. Improving Performance and Troubleshooting

1. Set preferences

2. Reset and restore preferences

3. Recovery Mode

4. Working with Proxies

1. Proxy overview

2. Ingest and Proxy Workflow

5. Check if your system is compatible with Premiere Pro

6. Premiere Pro for Apple silicon

7. Eliminate flicker

8. Interlacing and field order

9. Smart rendering

10. Control surface support

11. Best Practices: Working with native formats

12. Knowledge Base

1. Known issues

2. Fixed issues

3. Fix Premiere Pro crash issues

4. Unable to migrate settings after updating Premiere Pro

5. Green and pink video in Premiere Pro or Premiere Rush

6. How do I manage the Media Cache in Premiere Pro?

7. Fix errors when rendering or exporting

8. Troubleshoot issues related to playback and performance in Premiere Pro

22. Extensions and plugins

1. Installing plugins and extensions in Premiere Pro

2. Latest plugins from third-party developers

23. Video and audio streaming
Secure Reliable Transport (SRT)

24. Monitoring Assets and Offline Media

1. Monitoring assets

1. Using the Source Monitor and Program Monitor

2. Using the Reference Monitor

2. Offline media

1. Working with offline clips

2. Creating clips for offline editing

3. Relinking offline media

Learn how to adjust the color and luminance in video clips, correct video that's too dark or too light, or set the levels to meet broadcast requirements.

Video length: 4 minutes 50 seconds

How to use color correction and Lumetri presets in Premiere Pro

About Color Correction effects

Premiere Pro provides professional quality Color Correction tools that let you edit footage directly on your timeline. You can find the color and luminance adjusting effects in the Color Correction bin inside the Video Effects bin.

Color correction adjustments are used for several reasons:

Modify footage so that clips appear to be shot under the same conditions.

Adjust colors in a clip so it appears to have been shot at night instead of day.

Adjust the exposure of an image to recover details from the over-exposed highlights.

Enhance a color in a clip to add graphic elements.

Restrict colors in a clip to a particular range, such as the broadcast-safe range.

Color Correction effects are applied the same way as Standard effects. Although other effects also adjust color and luminance, the Color Correction effects are designed for making fine color and luminance corrections.

You can find the color and luminance adjusting effects in the Color Correction bin inside the Video Effects bin.

The effect properties are adjusted in the Effect Controls panel.

The Color Correction effects and other color effects are clip-based. However, you can apply them to multiple clips using nesting sequences. For information about nesting sequences, see Using multiple sequences.

When correcting color, it is useful to use the Lumetri scopes to help you analyze the chroma and luminance in a clip. You can view a scope in a seperate Lumetri panel so that you can check your video levels as you make adjustments. For information about scopes, see Lumetri scopes.

The American Society of Cinematographers Color Decision List (ASC CDL) is a format that standardizes the exchange of primary color information.

The parameters of CDL are: Slope, Offset and Power. Each function uses a number for the red, green, and blue color channels for a total of nine numbers comprising a single-color decision. A tenth number, Saturation, applies to the R, G, and B color channels in the combination.

Brightness & Contrast effect

The Brightness & Contrast effect adjusts the brightness and contrast of an entire clip. The default value of 0.0 indicates that no change is made. Using the Brightness & Contrast effect is the easiest way to make simple adjustments to the tonal range of the image. It adjusts all pixel values in the image at once-highlights, shadows, and midtones.

The Change Color effect adjusts the hue, lightness, and saturation of a range of colors.

The Change Color effect has the following options:

View - Corrected Layer shows the results of the Change Color effect. Color Correction Mask shows the areas of the layer that will be changed. White areas in the color correction mask are changed the most, and dark areas are changed the least.

Hue Transform - The amount, in degrees, to adjust hue.

Lightness Transform - Positive values brighten the matched pixels; negative values darken them.

Saturation Transform - Positive values increase saturation of matched pixels (moving toward pure color); negative values decrease saturation of matched pixels (moving toward gray).

Color To Change - The central color in the range to be changed.

Matching Tolerance - How much colors can differ from Color To Match and still be matched.

Matching Softness - The amount that unmatched pixels are affected by the effect, in proportion to their similarity to Color To Match.

Match Colors - Determines the color space in which to compare colors to determine similarity. RGB compares colors in an RGB color space. Hue compares on the hues of colors, ignoring saturation and brightness-so bright red and light pink match, for example. Chroma uses the two chrominance components to determine similarity, ignoring luminance (lightness).

Invert Color Correction Mask - Inverts the mask that determines which colors to affect.

The Change To Color effect changes a color you select in an image to another color using hue, lightness, and saturation (HLS) values, leaving other colors unaffected.

Change To Color offers flexibility and options unavailable in the Change Color effect. These options include tolerance sliders for hue, lightness, and saturation for exact color matching, and the ability to select the exact RGB values of the target color that you wish to change to.

The Change To Color effect has the following options:

From - The center of the color range to change.

To - The color to change matched pixels to. To animate a color change, set keyframes for the To color.

Change - Which channels are affected.

Change By - How to change colors. Setting To Color performs a direct change of affected pixels to the target color. Transforming To Color transforms affected pixel values towards the target color, using HLS interpolation; the amount of change for each pixel depends on how close the pixel's color is to the From color.

Tolerance - How much colors can differ from the From color and still be matched. Expand this control to reveal separate sliders for Hue, Lightness, and Saturation values. Use the View Correction Matte option to better identify which pixels are matched and affected.

Softness - The amount of feather to use for the edges of the correction matte. Higher values create smoother transitions between areas affected by the color change and those unaffected.

View Correction Matte - Shows a grayscale matte that indicates the amount to which the effect affects each pixel. White areas are changed the most, and dark areas are changed the least.

The Channel Mixer effect modifies a color channel by using a mix of the current color channels. Use this effect to make creative color adjustments not easily done with the other color adjustment tools: Create high-quality grayscale images by choosing the percentage contribution from each color channel, create high-quality sepia-tone or other tinted images, and swap or duplicate channels.

The Channel Mixer effect has the following options:

output channel]-[input channel - The percentage of the input channel value to add to the output channel value. For example, a Red-Green setting of 10 increases the value of the red channel for each pixel by 10% of the value of the green channel for that pixel. A Blue-Green setting of 100 and a Blue-Blue setting of 0 replaces the blue channel values with the green channel values.

output channel]-Const - The constant value (as a percentage) to add to the output channel value. For example, a Red-Const setting of 100 saturates the red channel for every pixel by adding 100% red.

Monochrome - Uses the value of the red output channel for the red, green, and blue output channels, creating a grayscale image.

The Color Balance effect changes the amount of red, green, and blue in the shadows, midtones, and highlights of an image.

Preserves the average brightness of the image while changing the color. This control maintains the tonal balance in the image.

Color Balance (HLS) effect

The Color Balance (HLS) effect alters an image's levels of hue, luminance, and saturation.

The Color Balance (HLS) effect has the following options:

Hue - Specifies the color scheme of the image.

Lightness - Specifies the brightness of the image.

Saturation - Adjusts the image's color saturation. The default value is 0 which doesn't affect the colors. Negative values decrease saturation, with -100 converting the clip to grayscale. Values greater than 0 produce more saturated colors.

If the Color Balance Saturation control does not give you the results you want, try the Saturation control in the Fast Color Corrector effect.

The Equalize effect alters an image's pixel values to produce a more consistent brightness or color component distribution. The effect works similarly to the Equalize command in Adobe Photoshop. Pixels with 0 alpha (transparent) values aren't considered.

The Equalize effect has the following options:

Equalize - RGB equalizes the image based on red, green, and blue components. Brightness equalizes the image based on the brightness of each pixel. Photoshop Style equalizes by redistributing the brightness values of the pixels in an image so that they more evenly represent the entire range of brightness levels.

Amount To Equalize - How much to redistribute the brightness values. At 100%, the pixel values are spread as evenly as possible; lower percentages redistribute fewer pixel values.

The Leave Color effect removes all colors from a clip except those similar to the Color To Leave. For example, a shot of a basketball game could be decolored except for the orange of the ball itself.

The Leave Color effect has the following options:

Amount To Decolor - How much color to remove. 100% causes areas of the image dissimilar to the selected color to appear as shades of gray.

Color To Leave - Use the eyedropper or Color Picker to determine which color to leave.

Tolerance - The flexibility of the color-matching operation. 0% decolors all pixels except those that exactly match Color To Leave. 100% causes no color change.

Edge Softness - The softness of the color boundaries. High values smooth the transition from color to gray.

Match Colors - Determines whether colors' RGB values or hue values are compared. Choose Using RGB to perform more strict matching that usually decolors more of the image. For example, to leave dark blue, light blue, and medium blue, choose Using Hue and choose any shade of blue as Color To Leave.

Lumetri Color provides you professional-quality color grading and color correction tools that let you grade your footage directly on your editing timeline. Using these tools, you can adjust color, contrast, and light in your sequences in new and innovative ways.

The Lumetri color effect has the following options:

Basic Correction: Using controls in the Basic Correction section, you can correct video that's too dark or too light, and adjust both the hue (color or chroma) and luminance (exposure and contrast) in your clip. For morere information, see Apply basic color correction.

Creative: The Creative section of the Lumetri Color panel includes various looks that allow you to do quick color adjustments to your clips using already existing presets. For more information, see Get creative with color using Lumetri looks.

Curves: The curves feature allows you to make quick and precise color adjustments to achieve natural-looking results. For more information, see Adjust color using RBG and Hue Saturation Curves.

Color Wheels & Match: Color wheels allow you to make color adjustments to just the dark or light areas of a shot. For more information, see Correct and match colors between shots.

HSL Secondary: HSL Secondary combines with existing tools to give you even finer control of your shots. It is commonly used after primary color correction is complete. For more information, see Using HSL Secondary controls in the Lumetri Color panel.

Vignette: Vignettes are a subtle way to direct your audience's eyes to a specific subject in the frame, such as a person or a landscape. For more information, see Create vignettes.

The Tint effect alters an image's color information. For each pixel, the luminance value specifies a blend between two colors. Map Black To and Map White To specify to which colors dark and bright pixels are mapped. Intermediate pixels are assigned intermediate values. Amount To Tint specifies the intensity of the effect.

Use the new Video Limiter effect to limit RGB values to meet HDTV digital broadcast specifications. You can use it as a per shot effect or add as an output effect to limit the entire sequence upon export. The Video Limiter enabled on the timeline is applied both during editing and at export. The Video Limiter does not include the additional Chrominance limiting needed for legacy Analog NTSC transmissions.

Video Limiter options

The Video Limiter effect has the following options:

Clip Level: Specifies the max output value in IRE units. The default is 103 IRE. Corresponding ranges in IRE, 8-bit RGB and Y are as follows:
100 = IRE 0 to 100, RGB 0 to 255, Y 16 to 235. SMPTE limited range.

103 = IRE -3 to 103, RGB -8 to 263, Y 9 to 242

105 = IRE -5 to 105, RGB -13 to 268, Y 5 to 246. EBU R103 "Preferred".

109 = IRE -7 to 109, RGB -17 to 277, Y 1 to 254. SDI limits

Compression before clipping: Applies a knee starting at 3%, 5%, 10%, or 20% below the clip level, moving colors into range before the hard clip.

Gamut Warning: When gamut warning is enabled, the colors that are compressed or outside of the color range are shaded or highlighted, respectively. The Gamut warning option is not available in Export Effects settings. A gamut warning enabled on the timeline is also active during export.

Gamut Warning Color: Specifies the gamut warning color

Get help faster and easier

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Learn how to adjust the color and luminance in video clips, correct video that's too dark or too light, or set the levels to meet broadcast requirements.

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I enjoy the intro to this documentary series as it transitions from the original black and white footage, that they then colour as the footage is playing giving it a feel of pulling these things into our current time to be viewed in a new light. Couple this with the choice of music and it really brings a grandiose effect to the whole thing.

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The montage intro this adopts is very interesting, it is a good choice for this type of documentary. It definetly gets you ready for a more relaxed and free flowing documentary that you are about to watch.

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Blue Planet II Opening Intro Titles Episode 1 (HD)

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Like Blue Planet this uses a montage for its opening titles.This one however gives a much more upbeat pop culture feel to it. So even though its the same method it gives a completely different feel that matches a different documentary. This is done with a more upbeat music and faster cuts on the montage.

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This isn't something i will necessarily use for my documentary but it is very interesting and something i would like to attempt in the future

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Adobe has some good help pages set up to help teach you the different aspects of premiere pro. Unfortunately these are sometimes difficult to follow if you learn by watching as apposed to reading

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This tutorial is more helpful than the last one as it not only shows you how to use keyframes but it also points out mistakes that can come up when you are trying to do it yourself. This is probably the most useful tutorial I have seen

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After this research I feel like I could make a much more interesting title sequence for my upcoming documentary than before. It would be interesting to use the colour correction in the intro sequence from giving it a feel like the WWII In Colour example. Also from my examples I am thinking about using a montage during the intro as it works on multiple different themes of documentary. It will also be helpful to keep the keyframe tutorial that explains the common mistakes and how to correct them as a frame of reference during the post production on my title.