Advanced Zoom and Advanced Movement are the two point-aimed transitions. Instead of zooming or sliding from the middle of the frame, both clips ride one continuous move aimed at a point you pick — a push into someone’s face, a whip toward a doorway. On top of the move you can add blur, RGB split, a fisheye lens, an exposure flash, bloom and camera shake. Both work as a cross transition and as a layer entrance or exit, and they lead every list in the transition browser.
How the move works
The outgoing clip travels one step and the incoming clip starts one step behind and lands home, so the two clips never move in opposite directions — the cut sits inside a single move. For Advanced Zoom the step is a zoom (and, if you want, a spin) through the Zoom point. For Advanced Movement it is a trip toward or away from the Target point, or along a path you draw.
Everything beyond the move starts at 0, which is off. The blur, split, lens, flash, bloom and shake all ride the same timing across the transition by default, so they build into the cut and fall away together. Each group’s Over time setting can change that.
Where the options live
- In the transition browser, select the transition and its settings appear under Advanced options.
- After applying it, click the cog on the transition’s row in TRANSITIONS. The settings are grouped there in folding sections.
A point option (Zoom point, Target point) has three controls: a pick button — click it, then click in the preview to place the point (Esc cancels) — a nine-cell grid of presets, and X / Y fields in percent of the frame. The fields run from −100 to 200%, so you can aim at something just off-screen.
Advanced Zoom
| Option | What it does | Range / default |
|---|---|---|
| Zoom point | The point both clips zoom through. | Centre (50%, 50%) |
| Direction | Zoom in pushes through the point; Zoom out pulls back from it. | Zoom in |
| Zoom strength | How deep the push goes. High values give a hard, blown-out punch into the cut. | 0–2000%, 100% |
| Rotation | Spins the frame about the zoom point on the same move, so the spin and the zoom read as one screw motion. Positive is clockwise, and it follows the transition’s easing. | −1080° to 1080° (three turns each way), 0° |
Radial blur
| Option | What it does | Range / default |
|---|---|---|
| Blur strength | Radial streaks that radiate from the zoom point. | 0–60, 0 |
| Blur over time | Follow speed sets the blur from how fast the move is going; Peak at cut makes it strongest on the cut; Constant holds it flat. | Follow speed |
| RGB split | Splits the colour channels as the clips move. | 0–300%, 0% |
Advanced Movement
| Option | What it does | Range / default |
|---|---|---|
| Target point | The point the move heads for. | Near the right edge (92%, 50%) |
| Direction | Move to point travels toward it; Move from point reverses the move, so the clips travel away from it. | Move to point |
| Travel | How far the clips travel. 100% is exactly the distance that clears the frame in that direction. At 0 the clips hold still and the blur, lens and shake carry the cut. | 0–260%, 100% |
| Distance sets travel | When on, a target point further from the centre makes a longer trip. | Off |
Motion Path
| Option | What it does | Range / default |
|---|---|---|
| Travel type | Straight (to point) uses the target point. Motion path makes both clips ride a curve instead. | Straight (to point) |
| Path | The curve: pick a preset (Smooth → ↓, Smooth → ↑, Smooth ↓ ←, S-curve →, Arc over, U-turn → ←) or arm the ✚ button and click the preview to lay anchors one by one. Esc, or ✚ again, stops. | Up to 12 anchors |
| Smoothing | How roundly the curve passes through the anchors. | 0–100%, 65% |
Each anchor has its own X / Y fields and a remove button. The move is relative to the first anchor. A Timing row gives one weight per segment (5–500) — how long the move spends reaching each next anchor — so a long glide can whip through its last leg; Even resets them. The incoming clip lands exactly in place at the cut, the directional blur follows the curve’s heading and speeds up with it, and Travel still scales the whole path. Draw the path from the transition’s cog in the inspector.
Perspective
Perspective tilts each clip like a card in 3D as it travels. It is off while Tilt is 0.
| Option | What it does | Range / default |
|---|---|---|
| Tilt | How far the card turns. | −80° to 80°, 0° |
| Mode | Lean into the move tips both clips into the travel and settles them back out. Swing through is one continuous card turn: the outgoing clip turns away while the incoming one arrives from the opposite angle. | Lean into the move |
| Depth | Camera distance. Lower values foreshorten harder. | 0.6–4, 1.8 |
| Axis | Auto (across travel) follows the direction of the move and banks into the bends of a path; Yaw (turn left/right) or Pitch (tip up/down) lock it. | Auto |
| Attach | Plate (rides the move) pivots on the moving clip; Camera (frame centre) pivots on the middle of the frame. | Plate |
| Shade | Darkens the receding half, like a lit card. | 0–100%, 35% |
Beyond the card’s horizon the frame stays empty, never a black block.
Directional blur
The same three controls as Advanced Zoom’s radial blur — Blur strength, Blur over time and RGB split — but the streaks and the channel split trail along the direction of travel.
Fisheye
Both transitions share this section.
| Option | What it does | Range / default |
|---|---|---|
| Amount | Positive values bulge the middle of the frame toward you like a wide-angle lens; negative values pinch it away. | −200% to 200%, 0% |
| Over time | Same as blur, Follow speed, Peak at cut or Constant. | Same as blur |
| Lens model | Spherical or Barrel distortion. | Spherical |
| Lens centre | The zoom or target point, or Frame centre. | Zoom point on Advanced Zoom, Frame centre on Advanced Movement |
| Pin the corner | Keeps the farthest corner still while the lens works. | On |
Exposure Flash
| Option | What it does | Range / default |
|---|---|---|
| Strength | Washes the clips toward the colour; the top of the range is a hard blow-out. | 0–200%, 0% |
| Colour | The colour of the wash — white for a flash, black for a dip, or anything else. | White |
| Over time | Same as blur, Follow speed, Peak at cut or Constant. | Same as blur |
The flash washes each clip’s own pixels rather than laying a card over the frame, so the two clips keep cross-blending underneath it.
Bloom
| Option | What it does | Range / default |
|---|---|---|
| Strength | Leaks the clips’ own highlights while the move is at speed. | 0–300%, 0% |
| Threshold | How bright a pixel must be to bloom. | 0–100%, 60% |
| Radius | How far the glow spreads. | 4–120 px, 36 px |
| Over time | Same as blur, Follow speed, Peak at cut or Constant. | Same as blur |
Wiggle
Wiggle adds camera shake: a sideways tremble and a roll.
| Option | What it does | Range / default |
|---|---|---|
| Amount | The master for the whole shake. At 0 the transition is perfectly still. | 0–100%, 0% |
| Frequency | How fast it shakes. | 1–40 hz, 14 hz |
| Rotation | The roll the shake reaches at Amount 100%. | 0–8°, 1.6° |
| Roughness | How jagged the shake is. | 0–100%, 40% |
| Over time | Swell into the cut trembles harder as the cut approaches and settles after it; Follow speed tracks the move; Constant shakes evenly. | Swell into the cut |
| Peak at | Where the swell is strongest. | 5–95%, 50% |
| Swell shape | How sharply the swell rises and falls. | 0.3–4, 1.4 |
| Seed | A different shake pattern. | 1–99, 7 |
| Both clips share it | On, both clips shake as one camera. Off, each clip gets its own shake. Cross only. | On |
Blend & edges
| Option | What it does | Range / default |
|---|---|---|
| Squeeze | Advanced Movement only. Scales the clips as they travel, on the same timing as the blur. | 0–40%, 8% |
| Opposite on incoming | Advanced Movement only. The arriving clip scales the other way, so the hand-off reads as a counter-move. | Off |
| Blend window | How long the crossfade between the clips lasts, as a share of the transition. At 0% there is no crossfade: both clips stay at full opacity and swap in a single frame on the Blend point, so the move carries the cut on its own. | 0–100%; 26% on Advanced Zoom, 18% on Advanced Movement |
| Blend point | Where the crossfade sits inside the transition. Early hands the frame to the incoming clip while it is still travelling; late holds the outgoing clip most of the way. The blend always finishes inside the transition. | 0–100%, 50% |
| Edges (out) | What fills the area the outgoing clip leaves exposed: Mirror tile or No fill (empty, so whatever is behind shows). | Mirror tile |
| Edges (in) | The same for the incoming clip, or Same as out. Cross only. | Same as out |
| Tile fade | Darkens the mirrored tiles, so the real clip reads against them. | 0–100%; 35% on Advanced Zoom, 45% on Advanced Movement |
A late Blend point pairs well with No fill: the outgoing clip stays on screen until the incoming one has grown to fill the frame.
As an entrance or exit
Pick either transition on the In or Out tab of the transition browser. An entrance is the half of the cross the incoming clip plays, an exit the half the outgoing clip plays. The empty half draws nothing, so whatever sits under the layer keeps showing.
- On an entrance, Blend window is the layer’s fade-in. At 0% the layer is simply there from the Blend point on.
- An exit has no second clip to blend into, so it does not fade the layer: the move alone carries it out at full opacity. Blend window, Blend point and Opposite on incoming are not offered on the Out tab.
- Both clips share it and Edges (in) need two clips, so an entrance or exit has a single Edges setting.
- On a layer smaller than the frame, both transitions work inside the layer’s own box. Set Edges to No fill if you don’t want the mirrored tiles around it.
- An exit’s easing runs forward in time. Ease In (or Expo In, Cubic In) flies the layer out still accelerating, and with Blur over time on Follow speed the blur is strongest on the last frame. Ease Out leaves fast and settles; Smooth, the default, does both.
- Where an entrance or exit overlaps a cross transition on the same clip, the cross wins for the length of the overlap.
Where to go next
- Transitions — the full catalogue, Order, length and easing.
- Transition Builder — hand-build a Custom move with the same kind of blur, lens and shake.
- Timeline Workflow — moving clips that carry crosses.
- Overlay Effects — effects that render before the transition.
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