Adobe after effects cc vs cs6 free –

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Photoshop is primarily geared toward digital photo manipulation and photorealistic styles of computer illustration , while Illustrator provides results in the typesetting and logo graphic areas of design. Early magazine advertisements featured in graphic design trade magazines such as Communication Arts referred to the product as “the Adobe Illustrator”. Illustrator 88, the product name for version 1.

Byte in listed Illustrator 88 as among the “Distinction” winners of the Byte Awards, stating that with it Adobe had “pulled ahead” of previously industry-dominant competitor Aldus FreeHand. Early versions of the software did not support working in preview mode and users needed to have two windows open on their desktop in order to have a live preview of their work. One window would show the work in progress and the other window would show a preview of the work in progress.

Although during its first decade Adobe developed Illustrator primarily for Macintosh, it sporadically supported other platforms. The first version of Illustrator for Windows, version 2. The next Windows version, version 4. Note that there were no versions 2. And there was no version 6 for Windows. Version 4 was, however, the first version of Illustrator to support editing in preview mode, which did not appear in a Macintosh version until 5.

Version 6 was the last truly Macintosh version of Illustrator. The interface changed radically with the following version to bring consistency between Mac and Windows computer platforms. The changes remained until CS6 when some small steps were taken to restore the app to a slightly more Mac-like interface. With the introduction of Illustrator 7 in , Adobe made critical changes in the user interface with regard to path editing and also to converge on the same user interface as Adobe Photoshop , and many users opted not to upgrade.

Like Photoshop, Illustrator also began supporting plug-ins, greatly and quickly extending its abilities. With true user interface parity between Macintosh and Windows versions starting with 7. Adobe bought Aldus in for Page Maker.

As a result, Macromedia acquired Free Hand in from its original developer, Altsys , and continued its development through Illustrator Version 9 included a tracing feature, similar to that within Adobe’s discontinued product Streamline. Illustrator CS aka version 11 , released by Adobe for Mac and Windows in October , was the first version to include 3-dimensional capabilities allowing users to extrude or revolve shapes to create simple 3D objects.

It was the last version for the Mac which did not run natively on Intel processors. Live Trace allows for the conversion of bitmap imagery into vector art and improved upon the previous tracing abilities. Live Paint allows users more flexibility in applying color to objects, specifically those that overlap.

Instead, Adobe would provide tools and support to ease the transition to Illustrator. Illustrator CS3 included interface updates to the Control Bar, the ability to align individual points, multiple Crop Areas, the Color Guide panel and the Live Color feature among others. CS3 was released on March 27, CS4 was released in October It features a variety of improvements to old tools along with the introduction of a few brand-new tools acquired from FreeHand.

The ability to create multiple artboards is one of CS4’s main additions from Freehand. The artboards allow you to create multiple versions of a piece of work within a single document. Other tools include the Blob Brush, which allows multiple overlapping vector brush strokes to easily merge or join, and a revamped gradient tool allowing for more in-depth color manipulation as well as transparency in gradients. CS5 was released in April Along with a number of enhancements to existing functionality, Illustrator CS5’s new features include a Perspective Grid tool taken from FreeHand, a Bristle Brush for more natural and painterly looking strokes and a comprehensive update to strokes, referred to by Adobe as “Beautiful Strokes”.

The app had many of the features of Adobe Illustrator, yet it was a free download. This allowed professionals to sketch and ideate “on the go” and allowed anyone to access world-class vector drawing capabilities.

As a result, Facebook and social media posts appeared from all over the world with vector drawings from Adobe Ideas from pros and novices alike. Version CS6 was the 16th generation of Adobe Illustrator. Adobe added many more features and several bug fixes such as a new user interface, layer panels, RGB codes, and color ramp to increase performance.

CS6 was released on April 23, This version the 17th was the first to be only sold in a subscription-based service model, in line with the other software in the formerly called Creative Suite. As part of Creative Cloud, this version brought improvements in that subject such as color, font and program settings syncing, saving documents to the cloud, and integration with Behance a creative collaborative network , as well as other features such as a new touch-compatible type tool, images in brushes, CSS extraction, and files packaging.

Starting with version 1. For instructions, see Progressively download video using a web server. This method keeps the video file external to the Animate file and the resulting SWF file. This keeps the SWF file size small. This is the most common method of using video in Animate.

This method also keeps the video file external to your Animate file. Adobe Media Streaming Server gives you secure protection of your video content in addition to a smooth streaming playback experience. This method results in very large Animate files, and is only recommended for short video clips. For instructions, see Embed video within an Animate file. During authoring, you can publish only your SWF file to preview or test part or all of your Animate content.

This results in faster preview times and quicker turnaround on iterative experimentation. No audio synchronization issues or memory restrictions exist. The frame rate of the video file can be different from the frame rate of the SWF file, allowing for greater flexibility in authoring Animate content.

You can import a video file that is stored locally on your computer, and then upload the video file to a server after importing it to your FLA file. In Animate, when you import video for progressive download, you are really adding only a reference to the video file. Animate uses the reference to find the video file on your local computer or on a web server.

Select the video clip to import. You can select either a video clip located on your local computer, or enter the URL of a video already uploaded to a web server or Adobe Media Server. To import video located on your local computer, select Load external video with playback component. The URL for a video clip located on a web server will use the http communication protocol.

Select one of the predefined FLVPlayback component skins. Animate copies the skin into the same folder as the FLA file. If you choose to use a custom skin invoked from a remote location, then live preview will not be available for the video on Stage. When you finish creating your Animate document and want to deploy the SWF file and video clip, upload the following assets to the web server or Adobe Media Server hosting your video:. If you are using a local copy of the video clip, upload the video clip which is located in the same folder as the source video clip you selected with a.

Animate uses a relative path to point to the FLV or F4V file relative to the SWF file , letting you use the same directory structure locally that you use on the server. Streaming video with Adobe Media Server provides the following advantages over embedded and progressively downloaded video:. Network resources are used more efficiently, because only the parts of the video that are viewed are sent to the client. Streaming lets you deliver live video and audio presentations, or capture video from a web cam or digital video camera.

Adobe Media Server enables multiway and multiuser streaming for video chat, video messaging, and video conferencing applications. To learn more about Adobe Media Server, see www.

To learn more about Flash Video Streaming Service, see www. When you embed a video file, all of the video file data is added to the Animate file. This results in a much larger Animate file and subsequent SWF file. The video is placed in the Timeline where you can see the individual video frames represented in the Timeline frames. Because each video frame is represented by a frame in the Timeline, the frame rate of the video clip and the SWF file must be set to the same rate.

If you use different frame rates for the SWF file and the embedded video clip, video playback is inconsistent. Note : To use variable frame rates, stream the video using either progressive downloading or Adobe Media Server. When you import video files using either of these methods, the FLV or F4V files are self-contained and run at a frame rate separate from that of all other timeline frame rates included in the SWF file.

Embedded video works best for smaller video clips, with a playback time of less than 10 seconds. If you are using video clips with longer playback times, consider using progressively downloaded video, or streaming video using Adobe Media Server. You might encounter problems if the resulting SWF files become excessively large. Flash Player reserves a lot of memory when downloading and attempting to play large SWF files with embedded video, which can cause Flash Player to fail.

Longer video files over 10 seconds long often have synchronization issues between the video and audio portions of a video clip. Over time, the audio track begins playing out of sequence with the video, causing a less than desirable viewing experience. To play a video embedded in a SWF file, the entire video file must be downloaded before the video starts to play. If you embed an excessively large video file, it might take a long time for the SWF file to download in its entirety and for playback to start.

After a video clip is imported, it cannot be edited. Instead, you must re-edit and re-import the video file. The video frame rate and Animate Timeline frame rate must be the same. Set the frame rate of your Animate file to match the frame rate of the embedded video.

You can also add motion animation to text in 3D, to make animations and appearances look beautiful, use pro presets and templates. Manage and adjust from the available presets or you can create your own using the keyframing feature. Some of the interesting icons from Text Animation are Text animators, Graph editing, 3D text animation, and Mask paths. With this feature you can create visual wonders by things like removing objects from videos, adding 3D animations, creating weather effects on video layers, and adding special effects to make your work look magical and real.

With the help of rendering, Cinema 4D will make it easier for you to create 3D space on layers, as well as to convert shapes and text into 3D objects.

With this feature, you can animate motion graphics with stunning visual effects. This feature also provides quality motion design templates or you can create them for repeated use in projects that you want to edit. This expression will also create dynamic and organized movement efficiently. This rotoscoping is used to cut the motion of objects from the video. In this feature, you can remove elements from videos and add them to live-action footage. In this rotoscope, you can also find compositing techniques for combining the moving elements of a video project.

As the name of the feature, namely Motion Tracking, you can track the movement of objects in the video. You can learn techniques from this feature for embedding graphic elements into objects to create dynamic, fluid motion with the help of the camera. From the brief review that the author gave above, it can be concluded that After Effects provides very complete features for creators in creating animated graphics on video.

Complete feature facilities, making After Effects reliable in creating video content for media companies and multimedia content. If you have any questions or comments regarding the above discussion, please write your questions in the comments column below.

Thank you and good luck! Until now, After Effects is still paid and premium.

 
 

 

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Adobe after effects cc vs cs6 free

 
 

Especially in the fields of content, film, and other multimedia, video editing software is always the mainstay to create great work. Discussing video maker and editor software, this time the author will also give a brief review of motion graphics video processing software called Adobe After Effects.

Adobe After Effects is a PC or Laptop software that currently dominates professional video creators in the world because its facilities and features are very complete compared to other video creator software. This software is the output of Adobe Inc.

After Effects software is widely used in television, film post-production, special effects creation, and video animation. If you are curious, with a complete understanding and history, just take a look at the following review. Adobe After Effects is a professional motion graphics processing software digital motion graphics for editing video content and visual effects.

This software is widely and reliably used for the needs of making videos, multimedia content, and films, on the web. The main ability of this software is that it can turn objects into animations. Adobe After Effects software has more complete video editing facilities than other editing software.

After Effects incorporates the full features of several software, including Shape tools such as Adobe Photoshop to create shapes , and Keyframe tools to set keyframes in animations such as Adobe Flash.

Besides that, After Effects also has Expression features like Adobe Flash to make motion graphics look dynamic by adding action scripts. Adobe After Effects is an application made by Macromedia, which was later acquired by Adobe by upgrading all the features of the application.

This software is widely used by professional video editors, web designers, film producers, visual effects creators, and other multimedia programs.

As the name suggests, this program facilitates a lot of visual effects, there are dozens of standard effects that are ready to be processed to be applied to graphic video content in the workspace. In addition to abundant Effects support, this application also facilitates the import of vector files. Adobe After Effects is currently fully compatible with graphic video editing. After Effects provides the best facilities for video processing needs with additional Motion Graphics, Visual Effects, Graphics Animations, Compositing, and other video graphic features.

After Effects applies a working method with the help of a layering system so that work is organized and organized. The most prominent virtue in After Effects is an action script called Expression which aims to produce dynamic animation movements into its motion graphics. The text animation will help you to animate words. This feature also has some special effects such as using kinetic typography effects on text.

Even After Effects also makes it easy for you to animate your logo this logo is a vector graphic previously created from Illustrator. You can also add motion animation to text in 3D, to make animations and appearances look beautiful, use pro presets and templates. Manage and adjust from the available presets or you can create your own using the keyframing feature. Some of the interesting icons from Text Animation are Text animators, Graph editing, 3D text animation, and Mask paths.

With this feature you can create visual wonders by things like removing objects from videos, adding 3D animations, creating weather effects on video layers, and adding special effects to make your work look magical and real.

Screens the second layer over the original layer; the brighter areas in the second layer brighten the first layer, and the darker areas in the second layer are discarded. Screen mode is especially useful for compositing fire, lens flares, and other lighting effects.

The point on the Output Cycle wheel at which the mapping of the input colors begins. A positive value moves the starting point clockwise around the Output Cycle wheel. Use Preset Palette. Presets for the Output Cycle. The top palettes are designed for quick color correction and adjustment tasks. The bottom choices offer a variety of built-in color palettes for creative results. Output Cycle. Customize the output color palette by altering the colors and locations of the triangles on the Output Cycle wheel.

The triangles specify the location on the color wheel where a specific color occurs. The color between triangles is smoothly interpolated, unless Interpolate Palette is deselected. Each Output Cycle can have triangles. To change the location of a triangle, drag the triangle.

Shift-drag to snap the triangle to degree increments. At the top of the wheel, the triangle snaps to either the start position or end position depending on whether you drag from the left or right. To add a triangle, click in or near the wheel, and select a color from the color picker.

Click slightly to the left of the top arrows for the end color, and slightly to the right for the start color. To change the opacity, select a triangle on the color wheel and then drag the attached triangle above the opacity slider.

Make sure that Modify Alpha is selected if you want the opacity information to affect your output. When you animate the Output Cycle, the position and color of a triangle are interpolated between keyframes.

For best results, make sure that all keyframes have the same number of Output Cycle triangles. Cycle Repetitions. How many iterations of the Output Cycle the input color range is mapped to. The default value of 1 maps the input range to one iteration of the Output Cycle, from input black at the top of the Output Cycle wheel, clockwise to input white at the top of the Output Cycle wheel.

A value of 2 maps the input range to two iterations of the Output Cycle. Use this option to create a simple palette and repeat it many times throughout a gradient. Interpolate Palette. Colors between triangles are interpolated smoothly. When this option is deselected, output colors are posterized. Modify controls specify which color attributes the Colorama effect modifies.

For subtle refinement of images, choose the same color attribute for Input Phase and Modify. For example, choose Hue from both menus to simply adjust Hue. Modify Alpha. To smooth the edges, deselect Modify Alpha. Using this method, you can adjust the levels of only the alpha channel without also changing the RGB information.

Change Empty Pixels. The influence of the Colorama effect extends to transparent pixels. This setting works only if Modify Alpha is selected. These controls determine which pixels the effect affects. Matching Color. The center of the range of colors of pixels that the Colorama effect modifies. To select a specific color in the image using the eyedropper, turn off the Colorama effect temporarily by clicking its Effect switch in the Effect Controls panel. How far a color can be from Matching Color and still be affected by the Colorama effect.

When Matching Tolerance is 0, the Colorama effect only affects the exact color selected for Matching Color. When Matching Tolerance is 1, all colors are matched; this value essentially turns off Matching Mode. How smoothly the matched pixels blend into the rest of the image. For example, if you have an image of a person wearing a red shirt and blue pants, and you want to change the color of the pants from blue to red, subtly adjust Matching Softness to spread the matching from the blue in the pants into the shadows of the pants folds.

If you adjust it too high, the matching spreads to the blue of the sky; if you adjust it even higher, the matching spreads to the red shirt. Matching Mode. What color attributes are compared to determine matching. In general, use RGB for high-contrast graphics and Chroma for photographic images. The layer to use as a matte. Masking Mode specifies what attribute of the Mask Layer is used to define the matte. The matte determines which pixels of the layer to which the effect is applied are affected by the effect.

Composite Over Layer. Shows modified pixels composited on top of the original layer. Deselect this option to show only modified pixels. The Curves effect adjusts the tonal range and tone response curve of an image. The Levels effect also adjusts tone response, but the Curves effect gives you more control. With the Levels effect you make the adjustments using only three controls highlights, shadows, and midtones.

With the Curves effect, you can arbitrarily map input values to output values using a curve defined by points. When you apply the Curves effect, After Effects displays a graph in the Effect Controls panel that you use to specify a curve.

The horizontal axis of the graph represents the original brightness values of the pixels input levels ; the vertical axis represents the new brightness values output levels. In the default diagonal line, all pixels have identical input and output values. Curves displays brightness values from 0 to 8 bit or 16 bit , with shadows 0 on the left. If the image has more than one color channel, choose the channel you want to adjust from the Channel menu.

RGB alters all channels using a single curve. To adjust the curves in the Curves effect automatically, click the Auto button beneath the curves in the Effect Controls panel. This automatic adjustment is based on a database of curve adjustments performed by color and photography experts on a broad range of input images. The adjustment made to an image is an interpolation between the adjustments made to reference input images with similar color distributions.

To smooth the curve, click the Smooth button. To reset the curve to a line, click the Reset button. The curve type is determined by the last tool used to modify it. You can save arbitrary map curves modified by the Pencil tool as. You can save curves modified by the Bezier tool as. The Equalize effect alters the pixel values of an image to produce a more consistent brightness or color component distribution.

The effect works similarly to the Equalize command in Adobe Photoshop. 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. Use the Exposure effect to make tonal adjustments to footage, either to one channel at a time or to all channels at once. The Exposure effect simulates the result of modifying the exposure setting in f-stops of the camera that captured the image. The Exposure effect works by performing calculations in a linear color space, rather than in the current color space for the project.

The Exposure effect is designed for making tonal adjustments to high—dynamic range HDR images with bpc color, but you can use the effect on 8-bpc and bpc images. Individual Channels. Simulates the exposure setting on the camera that captures the image, multiplying all light intensity values by a constant.

The units for Exposure are f-stops. Gamma Correction. The amount of gamma correction to use for adding an additional power-curve adjustment to the image. Higher values make the image lighter; lower values make the image darker.

Negative values are mirrored around zero that is, they remain negative but still get adjusted as if they were positive. The default value is 1. Bypass Linear Light Conversion. Select to apply the Exposure effect to the raw pixel values. This option can be useful if you manage color manually using the Color Profile Converter effect. For pedestal and gain, a value of 0. The Black Stretch control remaps the low pixel values of all channels. Large Black Stretch values brighten dark areas.

Gamma specifies an exponent describing the shape of the intermediate curve. The Pedestal and Gain controls specify the lowest and highest attainable output value for a channel. This effect is based on the color wheel. Adjusting the hue, or color, represents a move around the color wheel. Adjusting the saturation, or purity of the color, represents a move across its radius. Channel Control. Channel Range. The definition of the color channel chosen from the Channel Control menu. Two color bars represent the colors in their order on the color wheel.

The upper color bar shows the color before the adjustment; the lower bar shows how the adjustment affects all of the hues at full saturation.

Use the adjustment slider to edit any range of hues. Specifies the overall hue of the channel chosen from the Channel Control menu. Use the dial, which represents the color wheel, to change the overall hue.

The underlined value displayed above the dial reflects the number of degrees of rotation around the wheel from the original color of a pixel.

A positive value indicates clockwise rotation; a negative value indicates counterclockwise rotation. Master Saturation, Master Lightness. Specify the overall saturation and lightness of the channel chosen from the Channel Control menu. Adds color to a grayscale image converted to RGB, or adds color to an RGB image—for example, to make it look like a duotone image by reducing its color values to one hue.

Specify the hue, saturation, and lightness of the color range chosen from the Channel Control menu. After Effects displays only the sliders for the Channel Control menu choice.

Choose a preset color range for the color you want to adjust, and then use the sliders for that color range. Drag one or both of the white triangles to adjust the amount of feather without affecting the range. Drag one or both of the vertical white bars to adjust the range.

Increasing the range decreases the fall-off, and vice versa. The Leave Color effect desaturates all colors on a layer except colors similar to the color specified by Color To Leave. For example, a movie of a basketball game could be decolored except for the orange of the ball itself. John Dickinson provides an example of using the Leave Color effect on his Motionworks website.

Amount To Decolor. How much color to remove. The flexibility of the color-matching operation. Edge Softness. Choose Using RGB to perform more strict matching that usually decolors more of the image.

The Levels effect remaps the range of input color or alpha channel levels onto a new range of output levels, with a distribution of values determined by the gamma value. This effect functions much the same as the Levels adjustment in Photoshop.

This effect uses GPU-accelration for faster rendering. By choosing Alpha from the Channel menu, you can use the Levels effect to convert completely opaque or completely transparent areas of a matte to be semitransparent, or to convert semitransparent areas to be completely opaque or completely transparent.

Because transparency is based on the monochrome alpha channel, the controls for this effect refer to complete transparency as black and complete opacity as white. Use Output Black Level of 0 and Input Black Level greater than 0 to convert a range of semitransparent areas to be completely transparent. Use Output White Level of 1.

Use Output Black Level greater than 0 to convert a range of completely transparent areas to be semitransparent. Use Output White Level less than 1. The Levels Individual Controls effect functions like the Levels effect but allows you to adjust the individual color values for each channel, so you can add expressions to individual properties or animate one property independently of the others.

See Levels Individual Controls effect. Shows number of pixels with each luminance value in an image. See Color correction, color grading, and color adjustment.

Tip : Click the histogram to alternate between showing colorized versions of the histograms for all color channels and only showing the histogram for the channel or channels selected in the Channel menu. Input Black and Output Black. Pixels in the input image with a luminance value equal to the Input Black value are given the Output Black value as their new luminance value.

The Input Black value is represented by the upper left triangle below the histogram. The Output Black value is represented by the lower left triangle below the histogram.

Input White and Output White. Pixels in the input image with a luminance value equal to the Input White value are given the Output White value as their new luminance value. The Input White value is represented by the upper right triangle below the histogram. The Output White value is represented by the lower right triangle below the histogram. The exponent of the power curve that determines the distribution of luminance values in the output image.

The Gamma value is represented by the middle triangle below the histogram. These controls determine the results for pixels with luminance values that are less than the Input Black value or greater than the Input White value. If clipping is on, pixels with luminance values less than the Input Black value are mapped to the Output Black value; pixels with luminance values above the Input White value are mapped to the Output White value.

If clipping is off, the resulting pixel values can be less than the Output Black value or greater than the Output White value and the Gamma value affects. The Levels Individual Controls effect functions like the Levels effect but allows you to adjust the individual color values for each channel.

As a result, you can add expressions to individual properties or animate one property independently of the others. To see each control individually, click the arrow next to the channel color to expand it. For faster renders, this effect uses GPU-acceleration. For information on the controls for this effect, see Levels effect. The Photo Filter effect mimics the technique of putting a colored filter in front of the camera lens to adjust the color balance and color temperature of the light transmitted through the lens and exposing the film.

You can choose a color preset to apply a hue adjustment to an image, or you can specify a custom color using the color picker or the eyedropper. To select a custom color for the filter color, click the color swatch for the Color control to select a color using the color picker, or click the eyedropper and click a color anywhere on the computer screen.

To retain Photo Filter adjustment layers created in Photoshop, import the Photoshop file into your After Effects project as a composition rather than as footage.

If you changed your default Photoshop color settings, After Effects may not be able to exactly match the color of the Photo Filter. This effect works with 8-bpc and bpc color. In After Effects CS6 or later, this effect works in bit color. Warming Filter 85 and Cooling Filter Color conversion filters that tune the white balance in an image.

If an image was photographed with a lower color temperature of light yellowish , the Cooling Filter 80 makes the image colors bluer to compensate for the lower color temperature of the ambient light. Conversely, if the photo was taken with a higher color temperature of light bluish , the Warming Filter 85 makes the image colors warmer to compensate for the higher color temperature of the ambient light.

Warming Filter 81 and Cooling Filter Light balancing filters for minor adjustments in the color quality of an image. The Warming Filter 81 makes the image warmer yellower , and the Cooling Filter 82 makes the image cooler bluer. Individual Colors. Apply a hue adjustment to the image depending on the color preset you choose. Your choice of color depends on how you use the Photo Filter command. If a photo has a color cast, you can choose a complement color to neutralize the color cast.

You can also apply colors for special color effects or enhancements. For example, the Underwater color simulates the greenish-blue color cast common to underwater photography. The PS Arbitrary Map effect is intended only to provide compatibility with projects created in earlier versions of After Effects that use the Arbitrary Map effect.

For new work, use the Curves effect. An arbitrary map adjusts the brightness levels of an image, remapping a specified brightness range to darker or brighter tones. In the Curves window in Photoshop, you can create an arbitrary map file for the entire image or for individual channels.

You can import and apply an arbitrary map file with Options in the Effect Controls panel. When loaded into After Effects, the specified arbitrary map is applied to the layer or to one or more channels of the layer, depending on how it was created. To convert. Cycles through the arbitrary map. Increasing the phase shifts the arbitrary map to the right as viewed in the Curves dialog box ; decreasing the phase shifts the map to the left.

Apply Phase Map To Alpha. Applies the specified map and phase to the alpha channel of the layer. Selective color correction is a technique used by scanners and separation programs to change the amount of process colors in each of the primary color components in an image. You can modify the amount of a process color in any primary color selectively—without affecting the other primary colors.

For example, you can use selective color correction to decrease the cyan in the green component of an image while leaving the cyan in the blue component unaltered. The Selective Color effect is provided in After Effects primarily to ensure fidelity with documents imported from Photoshop that use the Selective Color adjustment layer type.

Changes the existing amount of cyan, magenta, yellow, or black by its percentage of the total. This option cannot adjust pure specular white, which contains no color components. Adjusts the color in absolute values. The adjustment is based on how close a color is to one of the options in the Colors menu. The Details property group provides an alternate interface for adjusting colors and matches the properties shown in the Timeline panel. You can also adjust the overall contrast of an image.

The default settings are for fixing images with backlighting problems. Auto Amounts. If this option is selected, the Shadow Amount and Highlight Amount values are ignored, and amounts are used that are automatically determined to be appropriate for lightening and restoring detail to the shadows.

Selecting this option also activates the Temporal Smoothing control. Shadow Amount. The amount to lighten shadows in the image.

This control is active only if you deselect Auto Amounts. Highlight Amount. The amount to darken highlights in the image. Temporal Smoothing can result in smoother-looking corrections over time. If this option is selected, frames beyond a scene change are ignored when surrounding frames are analyzed for temporal smoothing.

The higher you set this value, the less the effect affects the clip. The range of adjustable tones in the shadows and highlights. Lower values restrict the adjustable range to only the darkest and lightest regions, respectively. Higher values expand the adjustable range. These controls are useful for isolating regions to adjust. Specifying a value that is too large for a given image may introduce halos around strong dark to light edges. The default settings attempt to reduce these artifacts.

These halos may occur if the Shadow or Highlight Amount value is too large; they can also be reduced by decreasing these values. Shadow Radius and Highlight Radius. The radius in pixels of the area around a pixel that the effect uses to determine whether the pixel resides in a shadow or a highlight.

Generally, this value should roughly equal the size of the subject of interest in the image. Color Correction. The amount of color correction that the effect applies to the adjusted shadows and highlights.

For example, if you increase the Shadow Amount value, you bring out colors that were dark in the original image; you may want these colors to be more vivid.

The higher the Color Correction value, the more saturated these colors become. The more significant the correction that you make to the shadows and highlights, the greater the range of color correction available. Midtone Contrast. The amount of contrast that the effect applies to the midtones. Higher values increase the contrast in the midtones alone, while concurrently darkening the shadows and lightening the highlights. A negative value reduces contrast.

The Tint effect tints a layer by replacing the color values of each pixel with a value between the colors specified by Map Black To and Map White To. Pixels with luminance values between black and white are assigned intermediate values. Amount To Tint specifies the intensity of the effect.

This effect is GPU accelerated for faster rendering. The Tritone effect alters the color information of a layer by mapping bright, dark, and midtone pixels to colors that you select. The Tritone effect is like the Tint effect, except with midtone control.

The Vibrance effect adjusts saturation so that clipping is minimized as colors approach full saturation. Colors that are less saturated in the original image are affected by the Vibrance adjustments more than are colors that are already saturated in the original image. The Vibrance effect is especially useful for increasing saturation in an image without over-saturating skin tones. The saturation of colors with hues in the range from magenta to orange is affected less by Vibrance adjustments.

To affect less-saturated colors more than more saturated colors and protect skin tones, modify the Vibrance property. To adjust the saturation of all colors equally, modify the Saturation property. The Video Limiter effect clips video signals to legal ranges in the project working space. For broadcast, these ranges are measured in IRE units. You can limit the chrominance and luminance values of the video signals to meet broadcast specifications.

You can apply it to individual layers, or to an adjustment layer to limit your entire composition. You can use the Video Limiter effect instead of the similar but older, 8-bpc-only Broadcast Colors effect. Legal Notices Online Privacy Policy. Buy now. User Guide Cancel. Third-party effects in this category included with After Effects:.

Lumetri Color effect. This effect works with 8-bpc, bpc, and bpc color. Selective color adjustment with the color correction curves. RGB curves. RGB Curves let you adjust luma and tonal ranges across the clip using curves. The master curve controls the Luma. Initially, the master curve is represented as a straight white diagonal line.

The upper-right area of the line represents highlights and the lower-left area represents shadows. Adjusting the master curve adjusts the values of all three RGB channels simultaneously.

You can also choose to selectively adjust tonal value only for Red, Green, or Blue channels. To adjust different tonal areas, add control points directly to the curve. Click directly on the curve line and then drag the control point to adjust a tonal area. Dragging a control point left or right increases or decreases the contrast.

Hue saturation curves. Hue versus Hue – Select a color hue in the image and change it to another hue. Hue versus Saturation – Change the saturation of a color in the image. Hue versus Luma – Adjust the brightness of a color in the image. Saturation versus Saturation – Select and adjust the saturation range within the original saturation of an image. Luma versus Saturation – Select a luma range and adjust its saturation.

Set up Hue Saturation curves. Selectively color grade your footage. Click the eyedropper for the curve that you want to use.

Drag the control points to adjust any of the color curves. When you selecting another color with the eyedropper, it adds additional three points to the graph. You can also create control points by clicking the curve. To delete a point, use Cmnd-click Mac and alt-click Win. Double-click any point to clear all points from the graph.

Press the Shift key while you select a point on the graph to lock a control point at thier current hue. Drag the center control point up or down to raise or lower the output value of the selected range. For example, you can use the Hue versus Sat curve to select a green range; dragging up increases the saturation of that range of green colors in your video, while dragging down reduces the saturation.

While moving a control point, a vertical band appears to help you judge your final result.