Composite shot properties

Composite shot properties

composite shot properties large

When you create a new composite shot its properties are displayed. You can make further adjustments to the properties at any time by clicking the cog next to its name in the Project Media list or the settings button at the top of the timeline when the composite shot is active.


At the top you can set the name and duration. The name is used in the Media panel and on the timeline.


At the top the currently selected template is displayed and can be changed using the menu. This area can also be used to save new templates for future use.

Choosing a template

The template menu lists a range of common formats, although these will only be of use if you want your composite shot to be a standard video format.

Once you have chosen a template you can either click Create straight away or continue to customize the options.

Saving a new template

After altering some of the video and audio properties you might want to save the setup to a new template so that you can easily use it again in future.

Clicking the Save template button to the right of the template menu will display a dialog in which you can specify a name for the new template. If a template already exists with that name you will be asked if you want to replace it.

The default templates cannot be changed or replaced.

The new template will then be available from the template menu.

Removing a template

The Remove template button will permanently remove the currently selected template from the list.

The default templates cannot be removed.


Video properties

These options affect how video is displayed in your composite shot.

Width & height - the resolution of the video frame in pixels.
Frame rate - the number of frames displayed sequentially in each second of playback. If this does not match your video clips they may playback too fast or too slow.
Field type - how each frame of video is stored and displayed. Some video formats store each frame as a full resolution 'progressive' frame similar to how actual film works, while others will store 'interlaced' video which consists of two 'fields' on each frame.
Aspect - the shape of the individual pixels, which in turn affects the shape of the video frame. Some formats use non-square pixels to create widescreen aspect ratios, so make sure you check your camera's specification if your video looks stretched or squashed.

The Match Composite Shot/Match Editor Sequence button will automatically update the properties to match the currently active timeline, which can be a very useful shortcut if you want everything to use the same settings.

Audio properties

The audio sample rate is taken from your main project Editor sequence properties and cannot be changed for individual composite shots.


comp shot advanced properties

Fog properties

When working in 3D, your layers exist in a physical space.

With fog turned off, all layers are displayed equally regardless of their distance from the camera. A layer in the far distance will be just as bright as a close-up layer.

If you turn fog on, layers will gradually fade to black over a given distance.

Enable - turns the fog on and off.
Near distance - the distance at which layers begin to fade into the fog.
Far distance - the distance at which layers will be completely fogged.
Density - when using exponential fall offs, this increases the rate at which the fog thickens.
Fall off - change between a linear fall off and various exponential fall offs. Exponential fall offs are more natural but can be more difficult to predict.
Color - change the color of the fog.

Motion blur properties

If you want to use HitFilm's automatic motion blur you need to turn it on here for each composite shot.

You also need to activate motion blur for each layer on your timeline that you want to have motion blur.

Enable - turns motion blur on and off for the composite shot.
Shutter angle - a larger shutter angle will create more motion blur. The shutter angle simulates the amount of time a real camera shutter is open.
Shutter phase - positions the blur in relation to the moving object. This can be used to offset the blur in front or behind the object. For realistic motion blur this is best kept to half the value of the shutter angle.

RECAP Each composite shot has its own unique settings, which you can update at any time.