Looking for:
10 Free: Video Copilot After Effects Plug-ins & More - Toolfarm |
Thursday, February 9, 2023
Adobe after effects cs6 video copilot free free
Adobe after effects cs6 video copilot free free.Top 15 Best Free After Effects Plugins for Video Editing 2022
John Dickinson provides a video tutorial on his Motionworks website in which he demonstrates the use of the Color Link effect to blend a foreground layer with a background layer.
Source Layer. The layer from which to sample colors. If you choose None, the layer to which the effect is applied is used as the source layer, taking into account any masks and other effects applied to the layer.
If you choose the name of the layer from the menu, the source layer without masks and effects is used. The percentage of pixels to ignore at the extreme channel values. This clipping is useful for reducing the influence of noise or other nonrepresentative pixels. Stencil Original Alpha.
The opacity of the effect. The lower you set this value, the less the effect affects the layer. Blending Mode. The blending mode to use to combine the effect result with the original layer. The Color Stabilizer effect samples the color values of a single reference frame, or pivot frame , at one, two, or three points; it then adjusts the colors of other frames so that the color values of those points remain constant throughout the duration of the layer.
This effect is useful for removing flicker from footage and equalizing the exposure of footage with color shifts caused by varying lighting situations. Tip : Use this effect to remove the flicker common to time-lapse photography and stop-frame animation. You can animate the effect control points that define the sample areas to track objects for which you want to stabilize colors. The greater the difference in color values between the sample points, the better the effect works.
Sets the pivot frame. Display the frame that has the area of brightness or color that you want to match, and click Set Frame. The Colorama effect is a versatile and powerful effect for converting and animating colors in an image. Using the Colorama effect, you can subtly tint an image or radically change its color palette.
Colorama works by first converting a specified color attribute to grayscale and then remapping the grayscale values to one or more cycles of the specified output color palette. One cycle of the output color palette appears on the Output Cycle wheel. Black pixels are mapped to the color at the top of the wheel; increasingly lighter grays are mapped to successive colors going clockwise around the wheel.
Andrew Kramer provides a video tutorial on his Video Copilot website that demonstrates the use of the Colorama effect to create a procedural matte as a first step in replacing a sky.
Get Phase From. The second layer to use as input. To use only this layer as input, select Zero for Get Phase From; otherwise, both the Add Phase layer and the layer to which the effect is applied are used. You can choose the layer to which the effect is applied to add a second input attribute from the same layer. Add Phase From. Adds the values of the two attributes for each pixel. Averages the values of the two attributes for each pixel.
Average is therefore the safest option for predictable output. 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. By default, these numbers are visible in the Timeline panel next to the layer name. The number corresponds to the position of that layer in the stacking order.
When the stacking order changes, After Effects changes all numbers accordingly. The layer stacking order affects rendering order and therefore affects how the composition is rendered for previews and final output. See Render order and collapsing transformations. After you add a layer to a composition, you can reposition the layer in the Composition panel. You can also change any of the properties of a layer in the Timeline panel.
See Layer properties in the Timeline panel. You can perform many tasks—such as drawing masks—in either the Composition panel or the Layer panel. However, other tasks—such as tracking motion and using the paint tools—must be performed in the Layer panel. The Layer panel shows you a layer before any transforms are applied to the layer.
For example, the Layer panel does not show the result of modifying the Scale property of a layer. To see a layer in context with other layers and with the results of transforms, use the Composition panel.
Layers that are not based on a source footage item are synthetic layers. Synthetic layers include text layers and shape layers. You cannot open a synthetic layer in the Layer panel. You can, however, precompose a synthetic layer and open the precomposition in the Layer panel. To view changes to a layer such as masks or effects in the Layer panel, select Render in the Layer panel.
Deselect Render to view the original, unaltered layer. You can create a layer from any footage item in the Project panel, including another composition. After you add a footage item to a composition, you can modify and animate the resulting layer.
When you add a composition to another composition, you create a layer that uses the composition that you added as its source. See Precomposing, nesting, and pre-rendering. By default, when you create a layer with a still image as its source, the duration of the layer is the duration of the composition.
By default, new layers begin at the beginning of the composition duration. Often, the next step after adding a layer to a composition is scaling and positioning the layer to fit in the frame.
See Scale or flip a layer. When you create layers from multiple footage items, the layers appear in the layer stacking order in the Timeline panel in the order in which they were selected in the Project panel. Hold Shift while dragging to snap the layer to the center or edges of the composition. You can trim a moving-image footage item in the Footage panel before inserting a layer based on that footage item into a composition. Double-click a footage item in the Project panel to open it in the Footage panel.
See View footage items in the Footage panel. Move the current-time indicator in the Footage panel to the frame that you want to use as the In point of the layer, and click the Set In Point button at the bottom of the Footage panel. Overlay Edit. Creates the layer at the top of the layer stacking order, with the In point set at the current time in the Timeline panel.
Ripple Insert Edit. Also creates the layer at the top of the layer stacking order, with the In point set at the current time in the Timeline panel, but splits all other layers. Newly created split layers are moved later in time so that their In points are at the same time as the Out point of the inserted layer. You can create layers of any solid color and any size up to 30,x30, pixels. Solid-color layers have solid-color footage items as their sources.
Solid-color layers and solid-color footage items are both usually called solids. Solids work just like any other footage item: You can add masks, modify transform properties, and apply effects to a layer that has a solid as its source footage item. Use solids to color a background, as the basis of a control layer for a compound effect, or to create simple graphic images.
To learn how to modify solids folder for better project organization, see Enhanced solids folder organization. Jeff Almasol provides a script on his redefinery website with which you can rename the selected solid footage items in the Project panel.
You can use this script to, for example, include the pixel dimensions, aspect ratio, and RGB color values in the name. To create a layer that fits the composition when you create a solid-color layer, choose Make Comp Size. When you apply an effect to a layer, the effect applies only to that layer and no others.
However, an effect can exist independently if you create an adjustment layer for it. Any effects applied to an adjustment layer affect all layers below it in the layer stacking order.
An adjustment layer at the bottom of the layer stacking order has no visible result. Because effects on adjustment layers apply to all layers beneath them, they are useful for applying effects to many layers at once. In other respects, an adjustment layer behaves like other layers; for example, you can use keyframes or expressions with any adjustment layer property.
A more accurate description is that the adjustment layer applies the effect to the composite created from all layers below the adjustment layer in the layer stacking order. For this reason, applying an effect to an adjustment layer improves rendering performance compared with applying the same effect separately to each of the underlying layers.
If you want to apply an effect or transformation to a collection of layers, you can precompose the layers and then apply the effect or transformation to the precomposition layer. See Precompose layers. Use masks on an adjustment layer to apply an effect to only parts of the underlying layers. You can animate masks to follow moving subjects in the underlying layers.
Subscribe to:
Post Comments (Atom)
Microsoft visual studio 2010 professional system requirements free download. Microsoft Visual Studio 2010 Professional
Looking for: Microsoft Visual Studio Ultimate - Free download and software reviews - CNET Download.Visual Studio Professional Free Downlo...
-
Looking for: Windows 95 screensavers download free.18 Best Free Screensavers for Windows 10 {Updated 2020} Click here to DOWNLOAD ...
-
Looking for: ‘First Wives Club’ Season 2 Recap: Hazel Gets a New Boo | TVLine - Quick Links Click here to DOWNLOAD - Hazel 3 prem...
-
Looking for: Download and install Photoshop Elements 8 - Adobe Support Community - - Power-back Features of Adobe Photoshop Elements Cl...
No comments:
Post a Comment