Are you placing the transition between two distinctly different clips?
If you simply slice a clip and then put a cross-dissolve transition over the cut, you're just transitioning from a clip to itself, so you won't see anything. Is that the case in your situation?
Is there a indicator between the clips indicating the transition? (I'm assuming so, since you say you've lengthened the transition to 10 seconds.) Have you ensured you're working in Timeline mode?
Otherwise, can you explain in more detail what you're doing and what you're not seeing? Better yet, can you post a screen capture of your timeline so we can see it ourselves?
Thanks Steve. Besides being new to PSE, this forum is proving a little difficult to master. Took me 5 minutes to figure out how to reply (at least I hope I'm replying). You correctly surmised the problem, it is a clip withtin a clip. So having learned WHY it won't work, I'm left wondering how to place a transition there? BTW I was working in both "Timeline" and "Storyline), a habit from Roxio. The storyline format allows you to clearly see the transition. In Roxio (Videowave), if I spilt a clip and want to place a transition at the split, it is no problem. I'm assuming there is a way to do that here as well. I can see this is a ,more sophisticated program, so I am guessing what appears as a liability to me now is actually a feature that will provide me with more flexibility and creativity down the road once I get ahead of the learning curve. Any herlp is appreciated.
If one has a single Clip, and then they Cut that Clip into two, and wish to add a Cross-Dissolve Transition to the two resulting "pieces," an have that Transition be seen, one would Trim the Tail, of the first piece, or the Head of the second, or a bit of each. As one Trims the the Head, and/or Tail material, the Clips will close up the gap on the Timeline. If one did not want that to happen, and they wanted a gap to insert another Clip, they could hold down the Ctrl key, while doing the Trimming.
With the new difference between the Tail of the first piece, and the Head of the second, the viewer will now see the Cross-Dissolve Transition.
With many other Transitions, like that Page Turn, though the Frames at the Tail of the first piece and the Head of the second are really "next to each other" from the original longer, un-cut Clip, the viewer WILL see the Transition, though there is really nothing to "transiton" between. It's like having added a motion graphic to the Clips. Same thing for a Dip-to-Black.
One could use a Transition, like the Random Invert, to create an "interference effect," in the middle of a Clip, just by making a Cut, and not Trimming. The viewer will see the Dither, though there is nothing to "transition" to.
This is also probably a good time to throw out one very important concept with Transitions - Handles. This ARTICLE will give you background on what they are, and how they are both needed and used.
And be sure to check out my free 8-part Basic Training tutorial series on Premiere Elements support site Muvipix.com. It should get you started with the basics.
I think the dissolve effect is for amateurs! I use a different 'dissolve' quite a bit.
If you want to dissolve between two different scenes, I often find it a lot easier and better to have the clips alternate on 2 different tracks and overlap them by at least the length of the dissolve.
Simply fade in and out the top track and you get an automatic disslove like this. It is much easier to manage than dragging a dissolve effect.
You dont even have to reduce the level of the bottom video track in between.
After all you have to "loose" the amout of time taken by the dissolve somewhere and this shows it exactly whereas the dissolve effect doesnt.
It makes it much easier to adjust the length and start of the dissolve to mask out unwanted frames.
It is also easier to control the audio because often you dont want the sound to abruply change when the picture changes or mix together during the dissolve so you make the video change at a slightly different time to the video and at a different rate.
Also you might want to have only the main audio track so you can seperate and delete the audio of the top track.
If you have a background noise such as traffic, you might just want it to reduce in level while the inserted scene is on instead of abrupty cutting.
I usually take extra wide shots of the area I am shooting in and insert these to mask out any shaky movements, or repositioning the camera angle or quick zooms on people talking without stopping the camera so the sound is continuous.
Thanks to all. Actually Ted, now that you remind me of it, years ago I had a program that used just that method to create dissolves. Anyway what I take out of all of this is that if I take my "original" clip and rather than continually splitting it, I simply set a start and end point and then bring it to the timeline and then go back to the clip and repeat the process with new start/end points for my next scene everything works fine as far as placing transitions. Once again, thanks for the help.
The A-B Roll editing was the only way to do it, back in the days of film. One created one reel, with the footage alternating between segments of black leader. The second reel was created with black leader in the places where the A Roll had footage, and footage, where the A-Roll had black leader. The footage overlapped by 1/2 of the desired Duration of the Transition - Cross-Dissolve, and both the A-Roll and the B-Roll were printed onto a single reel of film by the lab. The editor had to account for the Handles, or the Cross-Dissolve did not work in the print.
There were basically 3 Transitions possible: the Butt-Cut, Fade-to-Black (which in Video is most often called Dip-to-Black), and the Cross-Dissolve. The first was just what it sounds like, and the Tail of one Clip was butted to the Head of the next. The junction was either glued, or taped into place. The Fade-to-Black could be done in the lab, or with either the shutter, or the iris in camera. The latter was done primarily in the lab, though I had one camera that allowed for a Cross-Dissolve, by rewinding the last footage by a number of Frames, and then with the adjustment of the shutter angle, a Cross-Dissolve was created. One had to count carefully, or that Transition would be lop-sided, and not look good and smooth. Basically, this was a controlled double-exposure, created in-camera.
With Video editing, things improved, and if a switcher was placed between the source video tape machine, and the destination tape machine, more could be done. When NLE's were developed, the A-B Roll layout came along. It was not until several generations later, that single-Track editing became available. For anyone with a film background, the concept of Handles was easy to comprehend, as they had worked with them, in that overlap. Users, new to editing, however, found Handles a very abstract concept.
I still do a lot of A-B Roll layouts, just like Ted's example, but usually with animated Titles, and PiP compositions.
Even though I have many hundreds of available Transitions, I still rely almost exclusively on "the Big 3" - Butt-Cut, Dip-to-Black and Cross-Dissolve. Before I would use any other, I would need for it to enhance my "story." I even use the Big-3 to tell part of the story, and each has its place. The audience's concepts of time and place can be enhanced and expanded by their use and by their attributes, such as Duration. I know that this is getting into the realm of "story telling," and gets beyond the mechanics of a Transition.