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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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In the BBC news opening titles, it features piercing red and white colours to grab your attention, with the colour red being very closely associated with emergency, grabbing your attention, as if you can't miss out. To add onto this thought process, there's the iconic score, with a real kick to grab your attention off the bat, if that didn't, then the numerous beeping to company it would too. Overall, I think it does a brilliant job of grabbing a viewer's attention, due to the intensity of the opening sequence, it almost gives the idea that you "must" watch it. With imagery of the globe, allowing to feel you're getting information from all over the world.

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Following a similar view point with news, we arrive at STV News, now it knows how to really grab your attention with those loud trumpets and jingle, it does a good job of bringing a nice jingle to remind you but also grab your attention, it wants you to listen, following the similar route of BBC News, and although it does want to get your attention, it also includes visual stimulation through the use of the Scottish land, in motion graphic, working nicely in bringing the intro, close to match the audience. It keeps a consistent house style colour format

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The introduction for ancient aliens presents you with a variety of imagery, making sure to add to the detail of questions flying at you, it keeps a big focus on motion and space, and has plenty of iconic shots in space. The instrumental to accompany it is a sci-fi type genre to it, adding a layer of mystery and intrigue to the opening titles, trying to make the viewer interested in learning more a boosting engagement. They also double down on this point by using a series of text flashing through the sky, asking a variety of questions, to provide engagement, as well as keep the intrigue maintained.

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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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1. Adobe Premiere Pro User Guide

2. Beta releases

1. Beta Program Overview

2. Premiere Pro Beta Home

3. Beta features

1. Enhance Speech

2. Enhance Speech FAQs

3. Audio Category Tagging

4. Interactive fade handles

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. Automatically duck audio

7. Remix audio

8. Monitor clip volume and pan using Audio Clip Mixer

9. Audio balancing and panning

10. Advanced Audio - Submixes, downmixing, and routing

11. Audio effects and transitions

12. Working with audio transitions

13. Apply effects to audio

14. Measure audio using the Loudness Radar effect

15. Recording audio mixes

16. Editing audio in the timeline

17. Audio channel mapping in Premiere Pro

18. 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

1. Best Practices: Mix audio faster

2. Best Practices: Editing efficiently

3. Editing workflows for feature films

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

1. Applying transitions in Premiere Pro

2. Modifying and customizing transitions

3. Morph Cut

11. Titles, Graphics, and Captions

1. Overview of the Essential Graphics panel

2. Titles
Create a title

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. 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

13. Compositing

1. Compositing, alpha channels, and adjusting clip opacity

2. Masking and tracking

3. Blending modes

14. 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

15. 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

1. Export settings reference

2. Basic Video Settings

3. Encoding Settings

11. Best Practices: Export faster

16. 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

17. 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

18. Working with other Adobe applications

1. After Effects and Photoshop

2. Dynamic Link

3. Audition

4. Prelude

19. 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

20. 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

21. Extensions and plugins

1. Installing plugins and extensions in Premiere Pro

2. Latest plugins from third-party developers

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

23. 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

To animate a property is to change its value over time. In Premiere Pro, effect properties can be animated by assigning keyframes to them.

A keyframe marks the point in time where you specify a value, such as spatial position, opacity, or audio volume. To create a change in a property over time, you set at least two keyframes-one keyframe for the value at the beginning of the change, and another keyframe for the value at the end of the change. Premiere Pro then creates a gradual change in values between keyframes, called interpolation.

You can work with keyframes either In the Timeline or in the Effect Controls panel.

Add, select, and delete keyframes

You can add keyframes in the Timeline or the Effect Controls panel at the current time. Use the Toggle Animation button in the Effect Controls panel to activate the keyframing process.

To create keyframes in a track or on a clip, it is not necessary to enable keyframe display.

Keyframe controls in Effect Controls panel

A. Toggle animation button B. Add/Remove keyframe button

1. If you want to add and adjust keyframes in a Timeline panel, make keyframes visible for the video or audio track.

If the keyframes are not visible by default, click the Wrench icon in the Timeline panel, and select Show Video Keyframes.

2. In the Effect Controls panel, click the triangle to expand the effect that you want to add keyframes to, and then click the Toggle Animation icon to activate keyframes for an effect property.

3. Do one of the following to display the effect property's graph:

4. Move the playhead to the point in time where you want to add a keyframe.

(Effect Controls panel only) Adjust the controls for an effect's property. This automatically creates a keyframe at the current time.

6. Repeat steps 5 and 6 as needed to add keyframes and adjust the effect property.

If you want to modify or copy a keyframe, first select it in a Timeline panel. Unselected keyframes appear hollow; selected keyframes appear solid. You don't need to select segments between keyframes because you can drag segments directly. Also, segments automatically adjust when you change the keyframes that define their end points.

To select a keyframe, use the Selection tool or the Pen tool to click the Keyframe icon in the Timeline panel.

To select multiple keyframes, Shift-click with the Selection tool or the Pen tool to select multiple contiguous or noncontiguous keyframes in a Timeline panel.

When you position the Selection or Pen tool over a keyframe, the pointer appears with a Keyframe icon .

To select multiple keyframes by dragging in the Timeline panel, use the Pen tool to draw a marquee selection box around the keyframes. Shift-drag to add more keyframes to an existing selection.

If you no longer need a keyframe, you can easily delete it from an effect property in either the Effect Controls or a Timeline panel. You can remove all keyframes at once or deactivate keyframes for the effect property. In the Effect Controls, when you deactivate keyframes with the Toggle Animation button, existing keyframes are deleted and no new keyframes can be created until you reactivate keyframes.

Select one or more keyframes and choose Edit > Clear. You can also press Delete.

Navigate the current-time indicator to the keyframe and click the Add/Remove Keyframe button.

(Effect Controls panel only) To delete all keyframes for an effect property, click the Toggle Animation button to the left of the name of the effect or property. When prompted to confirm your decision, click OK.

When you deactivate the Toggle Animation button, keyframes for that property are permanently removed and the value of that property becomes the value at the current time. You cannot restore deleted keyframes by reactivating the Toggle Animation button. If you accidentally delete keyframes, choose Edit > Undo.

View keyframes and graphs

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.

View keyframes in the Effect Controls panel

If you've added keyframes to a sequence clip, you can view them in the Effect Controls panel. Any effect containing keyframed properties displays Summary Keyframe icons when the effect is collapsed. Summary keyframes appear across from the effect heading and correspond to all the individual property keyframes contained in the effect. You cannot manipulate summary keyframes; they appear for reference only.

1. If necessary, click the Show/Hide Timeline View button in the Effect Controls panel to show the effects timeline. If necessary, widen the Effect Controls panel to make the Show/Hide Timeline View button visible.

2. (Optional) To view the Value and Velocity graphs of an effect property, click the triangle next to the Toggle Animation icon.

View keyframes and properties in a Timeline panel

If you've added keyframes to animate an effect, you can view them and their properties in a Timeline panel. For video and audio effects, a Timeline panel can display the keyframes specific to each clip. For audio effects, a Timeline panel can also display the keyframes for an entire track. Each clip or track can display a different property. However, you can display the keyframes for only one property at a time within an individual clip or track.

The segments connecting keyframes form a graph that indicates changes in keyframe values along the duration of the clip or track. Adjusting keyframes and segments changes the shape of the graph.

1. For a video track, click the Show Keyframes button

, and choose any of the following from the menu:

2. For an audio track, click the Show Keyframes button

, and choose any of the following from the menu:

The tool tip displays the keyframe location, as well as the property and options you set for it in the Effect Controls panel. Use this information for making precise keyframe placements. You can quickly note the value you've set for a keyframe. You can also quickly compare the location and change in value of two or more keyframes.

Set keyframe display for a Timeline panel

You can specify the types of keyframes shown in the tracks of the Timeline. You can also specify whether keyframes are shown at all, by default. For example, you can choose to have keyframes hidden by default, so that you cannot set or change them accidentally when trying to edit a clip.

Move the current-time indicator to a keyframe

Both the Effect Controls and a Timeline panels have keyframe navigators, which have left and right arrows to move the current-time indicator from one keyframe to the next. In a Timeline panel, the keyframe navigator is enabled after you activate keyframes for an effect property.

Edit keyframe graphs in the Effect Controls panel

Once you activate keyframing for an effect's property, you can display the effect's Value and Velocity graphs. Value graphs provide information about the value of nonspatial keyframes (such as the Scale property of the Motion effect) at any point in time. They also display and let you adjust the interpolation between keyframes. You can use the Velocity graph to fine-tune the rate of change between keyframes.

1. Click the triangle next to a property's name to display its Value and Velocity graphs.

2. (Optional) To better view a graph, hover the Selection or Pen tool over the boundary line below a graph. When the pointer turns into a segment pointer

, drag to increase the height of the graph area.

3. Use the Selection or Pen tool to drag a keyframe up or down on the Value graph, changing the effect property's value.

Edit keyframe graphs from a Timeline panel

1. Use the Selection or Pen tool to do one of the following:

If you want to edit multiple or nonadjacent keyframes, select those keyframes.

Position the Selection or Pen tool over a keyframe or keyframe segment. The Selection or Pen tool changes to the keyframe pointer or keyframe segment pointer .

2. Do any combination of the following:

The Value and Velocity graphs in the Effect Controls panel will show changes made to keyframes in a Timeline panel.

Get help faster and easier

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Adding, navigating, and setting keyframes

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Master keyframing techniques in Premiere Pro. Learn how to easily add, select, and modify keyframes.

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

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ADVANCED KEYFRAMING Tutorial in Premiere Pro

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Adjusting colour in Premiere pro using colour correction

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Adjusting colour in Premiere pro using colour correction

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Adjust and correct color in Premiere Pro CC

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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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Exposure Sets the brightness of the video clip. Move the Exposure slider to the right to increase tonal values and expand highlights. Move the slider to the left to decrease tonal values and expand shadows. Adjust the slider until the video looks good with the desired brightness.

Contrast Increases or decreases contrast. Adjusting the contrast mainly affects the midtones of color in your video. When you increase contrast, the middle-to-dark areas become darker. Similarly, decreasing the contrast makes the middle-to-light areas lighter.

Highlights Adjusts bright areas. Drag the slider to the left to darken highlights. Drag to the right to brighten highlights while minimizing clipping.

Shadows Adjusts dark areas. Drag the slider to the left to darken shadows while minimizing clipping. Drag to the right to brighten shadows and recover shadow details.

Whites Adjusts white clipping. Drag the slider to the left to reduce clipping in highlights. Drag to the right to increase highlight clipping.

Blacks Adjusts black clipping. Drag the slider to the left to increase black clipping, making more shadows pure black. Drag to the right to reduce shadow clipping.

Reset Reverts all Tone controls to the original settings.

Auto To set the overall tonal scale, select Auto. When you select Auto, Premiere Pro sets the sliders to maximize the tonal scale and minimize highlight and shadow clipping.

Saturation Adjusts the saturation of all colors in the video equally. Drag the slider to the left to decrease the overall saturation. Drag to the right to increase the overall saturation.

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Exposure Sets the brightness of the video clip. Move the Exposure slider to the right to increase tonal values and expand highlights. Move the slider to the left to decrease tonal values and expand shadows. Adjust the slider until the video looks good with the desired brightness. Contrast Increases or decreases contrast.

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How To Color Correct Like A PRO! | Learn Premiere Pro 2021 in 10 minutes

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My research for motion GFX has proved very fruitful, allowing ,me to draw information from various elements of GFX in order to produce a well edited title, however it also extends further than this for all elements of a produced piece of content, being able to smoothly blend together clips in order to add essential visual elements to engage and inform the viewer. For things like keyframes, it proves very valuable in order to create a sequence of motion, as well as allowing to pick and choose the duration of movement, whether quick and subtle or slow and exaggerated, keyframes are very helpful for motion in content and GFX. Colour correction is something that is very valuable for content as it allows a lot of changes to be made to colour within the content, in order to produce visually appealing content, whether it's arranging white balance, shadows, and midtones, exposure in order to make sure the content feels clear with the look or feel of the video, or getting more creative with colour wheels to enhance the tone and mood of the content, adding to the overall vibe.

Overall, this research has allowed for me to draw these ideas and information together, in order to provide me with many essential skills for editing quality content and how to properly utilise motion GFX and making titles.