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Adobe Certified Professional: After Effects.Using and applying blend modes
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Show what you know. Review the available versions and languages. Download version. Official guidelines 1. Determine whether content is relevant to the purpose, the audience, and their needs.
Key Terms: client goals, target audience, demographics, accessibility, etc. Key Terms: Email file size limits, compression, codec and architecture, input and output file formats, aspect ratio ii. Demonstrate knowledge of techniques for communicating ideas about project plans with peers and clients.
Key Terms: Pre-production: planning, shot list, script writing, storyboarding, design compositions or sketches, style guides, and animatics b. Demonstrate knowledge of basic project management concepts.
Identify legal and ethical considerations for using third-party content. Identify when and how to obtain permissions to use images, audio, or footage.
Key Terms: model release, location permitting, property release, rights, permissions, licensing ii. Demonstrate knowledge of digital video and audio terminology. Demonstrate knowledge of how color is represented in digital video.
Key Concepts: Choosing the right color space c. Understand and use key terms related to video and audio post-production. Key Terms: editing, transitions, audio levels, waveforms, effects, etc. Demonstrate knowledge of common animation terms and principles.
Key Terms: easing, squashing, stretching, anticipation, staging, straight-ahead action and pose-to-pose, follow through and overlapping action, slow in and slow out, arc, secondary action, timing, exaggeration, solid drawing, appeal, etc. Demonstrate knowledge of standard compositing techniques.
Key Terms: lighting, color, scale and perspective, working in 3D space, rotoscoping, masking, blending modes, match moving, etc.
Define common cinematic composition terms and principles. Key Terms: aspect ratio, rule of thirds, foreground, background, color, tone, contrast, cropping, depth of field, field of view, etc.
Identify general design principles and guidelines for motion graphics. Official guidelines 2. Choose appropriate project settings to meet requirements. Create and modify compositions to match the delivery requirements. Key Concepts: frame rate, resolution, duration, dimensions, aspect ratio, presets, adjusting the work area, background color, naming compositions, composition from footage, etc.
Identify, navigate, and manipulate elements of the After Effects interface. Key Concepts: menus, toolbars, panels, navigating, and zooming, search within panels, etc. Customize and manage workspaces. Configure application preferences. Controlling and working with the timeline and media.
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. It is useful in the Hue versus Hue curve, where it can be tricky to judge the resulting hue.
For example: you want to fine-tune the orange color which looks like a pale yellow. You can use the Hue versus Hue curve to select a range of orange colors. With the center control point selected the vertical indicator shows you that pulling down shifts the pale yellow towards orange. Examples to illustrate the hue saturation curves. Hue versus Saturation - Adjust the saturation of pixels in a selected hue range.
Useful for saturating or desaturating specific colors. For example, in the image, this curve has been used to increase the saturation levels of the image making the girl look less pale. The saturation of the blue sky and the light has also been increased to make the image look warmer.
Hue versus Hue - Adjust the hue of pixels in a selected hue range. Useful for correcting colors, for example, the curve is used to change the hue of the dress of the girl.
This curve is useful for tasks like changing red to orange, or in fixing pale skin. Hue versus Luma - Adjust the luminance of pixels in a selected hue range. Useful for emphasizing or deemphasizing isolated colors, such as making blue skies darker or a purple flower brighter. In the example, the pale blue sky and its reflection in the water below has been darkened to add more drama to the image.
Luma versus Saturation - Adjust the saturation of pixels in a selected luminance range. Useful for saturating or desaturating highlights or shadows. In this example, this curve is used to slightly increase the blue tones within the luma. Saturation versus Saturation - Adjust the saturation of pixels in a selected saturation range. Useful for bringing colors into legal range, such as compressing highlights or shadows. Auto Color and Auto Contrast effects. These effects work with 8-bpc and bpc color.
Auto Levels effect. Broadcast Colors effect. This effect works with 8-bpc color. How to reduce signal amplitude:. Reduces the brightness of a pixel by moving it toward black. This setting is the default. Change Color effect. The Change Color effect adjusts the hue, lightness, and saturation of a range of colors.
The amount, in degrees, to adjust hue. Positive values brighten the matched pixels; negative values darken them. The central color in the range to be changed. How much colors can differ from Color To Change and still be matched. Inverts the mask that determines which colors to affect.
Change To Color effect. The center of the color range to change. Which channels the effect affects. Change By. Use the View Correction Matte option to better identify which pixels are matched and affected. Channel Mixer effect. Color Balance effect. Color Balance HLS effect. Color Link effect. Specifies what values are sampled and what operation is performed on them. The effect places a stencil of the original alpha channel of the layer over the new value. Color Stabilizer effect.
Set Frame. What to stabilize:. Brightness is stabilized using one sample point Black Point. Color is stabilized using two sample points Black Point and White Point. Black Point. Place this point on a dark area to stabilize. Mid Point. Place this point on a midtone area to stabilize. White Point. Place this point on a bright area to stabilize. Sample Size. Radius, in pixels, of sampled areas. Colorama effect. Input Phase controls.
The color attribute to use as input. Choose Zero to use a color attribute from another layer. Add Phase. The color attribute from the second layer to use as input. Add Mode. How input values are combined:. Phase Shift. Tip : Animate Phase Shift to cycle colors around the wheel. Output Cycle controls. To delete a triangle, drag it away from the wheel. Modify controls. The color attribute to modify.
Photoshop interpolates the frames between the two keyframes. Interpolation between keyframes can be used to animate movement, opacity, styles, and global lighting. In the Timeline panel, the appearance of a keyframe depends on the interpolation method you choose for the interval between keyframes.
Linear keyframe. Evenly changes the animated property from one keyframe to another. The one exception is the Layer Mask Position property which switches between enabled and disabled states abruptly.
Hold keyframe. Maintains the current property setting. This interpolation method is useful for strobe effects, or when you want layers to appear or disappear suddenly.
Right-click a selected keyframe and choose either Linear Interpolation or Hold Interpolation from the Context menu. After you set the initial keyframe for a property, Photoshop displays the keyframe navigator, which you can use to move from keyframe to keyframe or to set or remove keyframes. When the keyframe navigator diamond is active yellow , the current-time indicator lies precisely at a keyframe for that layer property. When the keyframe navigator diamond is inactive gray , the current-time indicator lies between keyframes.
When arrows appear on each side of the keyframe navigator box, other keyframes for that property exist on both sides of the current time. In the Timeline panel, click a keyframe navigator arrow. The arrow to the left moves the current-time indicator to the previous keyframe. The arrow to the right moves the current-time indicator to the next keyframe. To select multiple keyframes, Shift-click the keyframes or drag a selection marquee around the keyframes.
To select all keyframes for a layer property, click the layer property name next to the stopwatch icon. To expand or compress the spacing of multiple keyframes, Alt-drag Windows or Option-drag Mac OS the first or last keyframe in the selection.
The keyframe at the opposite end of the selection remains in place as you drag, slowing down or speeding up the animation. You can copy keyframes for a property such as Position to the same property in any layer. When you paste keyframes, they reflect the copied offset from the current-time indicator. You can copy keyframes from only one layer at a time.
When you paste keyframes into another layer, they appear in the corresponding property in the destination layer. The earliest keyframe appears at the current time, and the other keyframes follow in relative order.
The keyframes remain selected after pasting, so you can immediately move them in the timeline. In the Timeline panel containing the destination layer, move the current-time indicator to the point in time where you want the keyframes to appear.
You can add a blank video layer to your document when you want to create frame-by-frame hand-drawn animations. Adding a blank video layer above a video layer and then adjusting the opacity of the blank video layer allows you to see the contents of the video layer below.
You can then rotoscope the video layer content by painting or drawing on the blank video layer. See also Paint frames in video layers. Optional In the Timeline panel, choose Enable Onion Skins from the panel menu to enable the onion skin mode.
As you create more hand-drawn frames, you can either drag the current time indicator or use the playback controls to preview your animation.
A blank video frame can be added to or removed from a blank video layer. You can also duplicate existing painted frames in blank video layers. In the Timeline panel, select the blank video layer and then move the current-time indicator to the desired frame. Insert Blank Frame. Delete Frame. Duplicate Frame. Onion skin mode displays content drawn on the current frame plus content drawn on the surrounding frames.
These additional frames appear at the opacity you specify to distinguish them from the current frame. Onion skin mode is useful for drawing frame-by-frame animations because it gives you reference points for stroke positions and other edits. Onion skin settings specify how previous and later frames appear when onion skins are enabled. See Timeline panel overview. Onion Skin Count. Specifies how many previous and forward frames are displayed. Enter the Frames Before previous frames and Frames After forward frames values in the text boxes.
Frame Spacing. Specifies the number of frames between the displayed frames. For example, a value of 1 displays consecutive frames, and a value of 2 displays strokes that are two frames apart. Current frame with one frame after B. Current frame with both one frame before and after C. Current frame with one frame before. You can open animations that were saved in older versions of Photoshop as multilayer Photoshop PSD files.
The layers are placed in the Timeline panel in their stacking order, with the bottom layer becoming the first frame. In the Layers panel, select the layers you want for the animation, and choose Make Frames From Layers from the panel menu.
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