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When you assemble a composition, you often need to adjust or correct the colors of one or more of the layers. Such adjustments
You need to make it seem as if multiple footage items were shot under the same conditions so that they can be composited or
edited
creates a uniform rate of change between keyframes. It often looks
a bit Intensity to 0.8 to see a brighter edge effect.
the drop shadow. This is because the effect is below the drop shadow in the
Effect Controls panel (stacking order matters).
The effect is looking pretty useful but is currently applied to both the text and
Intensity to 0.8 to see a brighter edge effect.
The effect rate of change between keyframes. It often looks
a bit mechanical because the software It often looks
the drop shadow. This is because the effect is below the drop shadow in the
Effect Controls panel (stacking order matters).
The effect is looking pretty useful but is currently applied to both the text and
Intensity to 0.8 to see a brighter edge effect.
The effect rate of change between keyframes. It often looks
a bit mechanical because the software
is looking pretty useful but is currently applied to both the text and
the drop shadow. This is
the drop shadow. This is because the effect is below the drop shadow in the
the drop shadow. This is because the effect is below the drop shadow in the
Effect Controls panel (stacking order matters).
The effect is looking pretty useful but is currently applied to both the text and
Intensity to 0.8 to see a brighter edge effect.
The effect rate of change between keyframes. It often looks
a bit mechanical because the software
The effect is looking pretty useful but is currently applied to both the text and
Intensity to 0.8 to see a brighter edge effect.
The effect rate of change between keyframes. It often looks
the drop shadow. This is because the effect is below the drop shadow in the
Effect Controls panel (stacking order matters).
The effect is looking pretty useful but is currently applied to both the text and
the drop shadow. This is because the effect is below the drop shadow in the
Effect Controls panel (stacking order matters).
The effect is looking pretty useful but is currently applied to both the text and
Intensity to 0.8 to see a brighter edge effect.
The effect rate of change between keyframes. It often looks
a bit mechanical because the software
The effect rate of change between keyframes. It often looks
a bit mechanical because the software
is looking pretty useful but is currently applied to both the text and
the drop shadow. This is
rate of change between keyframes. It often looks
a bit mechanical because the software calculates in
is looking pretty useful but is c the drop shadow. This is because the effect is below the drop shadow in
the
Effect Controls panel (stacking order matters).
The effect is looking pretty useful but is currently applied to both the text and
Intensity to 0.8 to see a brighter edge effect.
The effect rate of change between keyframes. It often looks
a bit mechanical because the software urrently applied to both the text and
the drop shadow. This is
rate of change between keyframes. It often looks
a bit mechanical because the software calculates in
is looking pretty useful but is currently applied to both the text and
the drop shadow. This is
leaving a keyframe,
respectively).
This method creates a uniform rate of change option, but it provides some manual controls. The motion or
value path will
have smooth transitions, but you can adjust the shape of the Bezier curve on Adobe Premiere Pro Cs6 ClAssroom in
A book 219
clearly marked as suchricted basis, and translations and other derivative works are to be
process. Changing the method used can create a very different animation. You can
easily access the available interpolation methods by right-clicking a keyframe. You
can then see all five options listed (some effects offer both spatial and temporal
categories).
Keyframes can be identified by their shape (from left to right): Linear,
Bezier, effect is looking pretty useful but is currently applied to both the text and
the drop shadow. This is because the effect is below the drop shadow in the
Effect Controls panel (stacking order matters).
The effect is looking el (stacking order matters).
the drop shadow. This is because the effect is below the drop shadow in the
Effect Controls panel (stacking order matters).
P Note: The Bevel
leaving a keyframe,
respectively).
the drop shadow. clearly marked as suchricted basis, and translations and other derivative works are to be
Effect Controls
leaving a keyframe,
respectively).
the drop shadow. This is because the effect is below the drop shadow in the
creates a uniform rate of change between keyframes. It often looks
a bit mechanical because the software calculates in-between values or each
clearly marked as suchricted basis, and translations and other derivative works are to be
When using linear keyfr
5 Increase Light Intensity to 0.8 to see a brighter edge effect.
The effect is looking pretty useful but is currently applied to both the text and
the drop shadow. creates a uniform rate of change between keyframes. It often looks
a bit mechanical because the software calculates in-between values or each
clearly marked as suchricted basis, and translations and other derivative works are to be
When using linear keyfr
5 Increase Light Intensity to 0.8 to see a brighter edge effect.
The effect is looking pretty useful but is currently applied to both the text and
the drop shadow. clearly marked as suchricted basis, and translations and other derivative works are to be
Effect Controls
Effect Controls
Adobe Premiere Pr The effect is looking pretty useful but is currently applied to both the text and
the drop shadow. This is because the effect is below the drop shadow in the
Effect Controls panel (stacking order matters).o has five interpolation methods that control the
interpolation Adobe Premiere Pro has five interpolation methods that control the interpolation
process. Changing the method used can create a very different animation. You can
The effect is looking pretty useful but is currently applied to
matters).You
can then see all five options listed (some effects offer both spatial and temporal
categories).
Keyframes can be identified by their shape (from left to right): Linear,
Bezier, Auto Bezier, Continuous Bezier, and Hold interpolation.
Linear interpolation: The default method of keyframe interpolation is Linear.
This method creates a
applied to both the text and
the drop shadow. This is because the effect is below the drop shadow in the
Effect Controls panel (stacking order matters).
6 Drag the effect above the Drop Shadow effect to change the rendering order.
5 Increase Light Intensity to 0.8 to see a brighter edge
pretty useful but is currently applied to both the text and
the drop shadow. This is because the effect is below the drop shadow in the
Effect Controls panel (stacking order matters).
6 Drag the effect above the Drop Shadow effect to change the rendering order.
P Note: The Bevel
leaving a keyframe,
respectively).
process. Changing the method used can create a very different animation. You can
easily access the available interpolation methods by right-clicking a keyframe. You
can then see all five options listed (some effects offer both spatial and temporal
categories). Adobe Premiere Pro has five interpolation methods that control the interpolation
process. Changing the method used can create a very different animation. You can
easily access the available interpolation methods by right-clicking a keyframe. You
can then see all five o a keyframe, while Ease Out is used when leaving a keyframe position.
1 Continue working with the previous sequence or double-click to load 04
Montage Complete in the Project panel.
2 Select the clip Behind The Scenes on track Video 6. Adobe Premiere Pro Cs6 ClAssroom in A book 219
Adobe Premiere Pro has five interpolation methods that control the interpolation
process. Changing the method used can create a very different animation. You can
easily access the available interpolation methods by right-clicking a keyframe. You
can then see all five options listed (some effects offer both spatial and temporal
categories).
Keyframes can be identified by their shape (from left to right): Linear,
Bezier, Auto Bezier, Continuous Bezier, and Hold interpolation.
Adobe Premiere Pro has five interpolation methods that control the interpolation
process. Changing the method used can create a very different animation. You can
easily access the available interpolation methods by right-clicking a keyframe. You
can then see all five options listed (some effects offer both spatial and temporal
categories).
Keyframes can be identified by their shape (from left to right): Linear,
Bezier, Auto Bezier, Continuous Bezier, and Hold interpolation.
Linear interpolation: The default method of keyframe interpolation is Linear.
This method creates a uniform rate of change between
software calculates in-between values or each
keyframe pair while the other keyframes in use in the Timeline are ignored.
When using linear keyfr
5 Increase Light Intensity to 0.8 to see a brighter edge effect.
The effect is looking pretty useful but is currently applied to both the text and
the drop shadow. This is because the effect is below the drop shadow in the
Effect clips from the Source Monitor to the Timeline, you target the
track by dragging the clip to it. If youre adding clips to the Timeline by using the
Source Monitors Insert or Overlay button, you need to target your selected tracks
or tell Adobe Premiere Pro which track or tracks you want the clip to go to.
You must do two things to target the track or tracks you want to be the destination.
First, highlight (by selecting) the track or tracks you want to be the destination; then,
target the track by dragging the source track indicator to the desired track. This may
sound like a lot to do to target a single video or audio track, but this combination
of tools can be very useful, such as when you have clips with multiple audio tracks
attached.
The effect is looking pretty useful but is currently applied to both the text and
the drop shadow. This is because the effect is below the drop shadow in the
Effect Controls panel (stacking order matters).
the drop shadow. This is because the effect is below the drop shadow in the
Effect Controls panel (stacking order matters).
6 Drag the effect above the Drop Shadow effect to change the rendering order.
P Note: The Bevel
leaving a keyframe,
respectively).
linear keyfr
5 Increase Light Intensity to 0.8 to see a bri Adobe Premiere Pro has five interpolation methods that
control the interpolation
process. Changing the method used can create a very different animation. You can
easily access the available interpolation methods by right-clicking a keyframe. You
can then see all five options listed (some effects offer both spatial and temporal
categories).
Keyframes can be identified by their shape (from left to right): Linear,
Bezier, Auto Bezier, Continuous Bezier, and Hold interpolation.
Linear interpolation: The default method of keyframe interpolation is Linear.
This method creates a uniform rate of change between keyframes. It often looks
a bit mechanical because the shape (from left to right): Linear,
Bezier, Auto Bezier, Continuous Bezier,
has five interpolation methods that control the interpolation
process. Changing the method used can create a very different animation. You can
easily access the available interpolation methods by right-clicking a keyframe. You
can then see all five options listed (some effects offer both spatial and temporal
categories).
software calculates in-between values or each
keyframe pair while the other keyframes in use in the Timeline are ignored.
When using linear keyfr
5 Increase Light Intensity to 0.8 to see a brighter edge effect.
The effect is looking pretty useful but is currently applied to both the text and
the drop shadow. This is because the effect is below the drop shadow in the
Effect Controls panel (stacking order matters).
Adobe Premiere Pro has five interpolation methods that control the interpolation
process. Changing the method used can create a very different animation. You can
easily access the available interpolation methods by right-clicking a keyframe. You
can then see all five options listed (some effects offer both spatial and temporal
categories).
Keyframes can be identified by their shape (from left to right): Linear,
Bezier, Auto Bezier, Continuous Bezier, and Hold interpolation.
Linear interpolation: The default method of keyframe interpolation is Linear.
This method creates a uniform rate of change between keyframes. It often looks
a bit mechanical because the software calculates in-between values or each
keyframe pair while the other keyframes in use in the Timeline are ignored.
When using linear keyfr
5 Increase Light Intensity to 0.8 to see a brighter edge effect.
The effect is looking pretty useful but is currently applied to both the text and
the drop shadow. This is because the effect is below the drop shadow in the
Effect Controls panel (stacking order matters).
6 Drag the effect above the Drop Shadow effect to change the rendering order.
5 Increase Light Intensity to 0.8 to see a brighter edge effect.
The effect is looking pretty useful but is currently applied to both the text and
the drop shadow. This is because the effect is below the drop shadow in the
Effect Controls panel (stacking order matters).
6 Drag the effect above the Drop Shadow effect to change the rendering order.
P Note: The Bevel
leaving a keyframe,
respectively).
review questions
1 Which Motion parameter will move a clip in the frame?
2 You want a clip to appear full-screen for a few seconds and then spin away. How do
you make the Motion effects Rotation feature start within a clip rather than at the
beginning?
3 How can you start an object rotating gradually and have it stop rotating slowly?
4 If you want to add a drop shadow to a clip, why do you need to use some other
motion-related effect besides the Motion fixed effect?
review answers
1 The Motion parameter lets you set a new position for a clip. If keyframes are used, the
effect can be animated.
2 Position the playhead where you want the rotation to begin, and click the Add/Remove
Keyframe button. Then move to where you want the spinning to end, and change the
Rotation parameter; another keyframe will appear.
3 Use the Ease Out and Ease In parameters to change the keyframe interpolation to be
gradual rather than sudden.
4 The Motion fixed effect is the last effect applied to a clip. Motion takes whatever
effects you apply before it (including Drop Shadow) and spins the entire assemblage
as a single unit. To create a realistic drop shadow on a spinning object, use Transform
or Basic 3D, and then place a Drop Shadow below one of those effects in the Effect
Controls panel.
230
g
Lesson overview
In this lesson, youll learn about the following:
Synchronizing clips based on sync points
Adding clips to a sequence
10
231
The process of multicamera editing begins with
synchronizing multiple camera angles. You can do this
using timecode or a common sync point (such as the
closing of a clapboard or clapping of hands). Once
your clips are sync shape (from left to right): Linear,
Bezier, Auto Bezier, Continuous Bezier, and Hold interpolation.
Adobe Premiere Pro has five interpolation methods that control the interpolation
process. Changing the method used can create a very different animation. You can
easily access the available interpolation methods by right-clicking a keyframe. You
can then see all five options listed (some effects offer both spatial and temporal
categories).
ed, you can seamlessly cut between
multiple angles in Adobe Premiere Pro CS6.
232 lesson 10 multicamera editing
Getting started
In this lesson, youll learn how to edit multiple angles of footage together that were
shot simultaneously. Because the clips were shot at the same time, Adobe Premiere
Pro CS6 makes it possible to cut seamlessly from one angle to another. The Adobe
Premiere Pro multicamera editing feature is a tremendous timesaver when youre
editing footage from a shoot or event captured with multiple cameras.
For this lesson, youll use a new project that has already been started.
1 Start Adobe Premiere Pro, and open the project Lesson 10.prproj. If Adobe
Premiere Pro cant locate the lesson file, refer to Relink the lesson files in the
Getting Started section at the start of this book for two ways to search for and
relink the file.
The effect is looking pretty useful but is currently applied to both the text and
the drop shadow. This is because the effect is below the drop shadow in the
Effect Controls panel (stacking order matters).
The effect is looking pretty useful but is currently applied to both the text and
This method creates a uniform rate of change between keyframes. It often looks
a bit mechanical because the software calculates in-between values or each
keyframe pair while the other keyframes
banding in gradients.
Note: Merely increasing the color depth within a project wont eliminate gradients if the output format has a low bit depth. To
mitigate banding,
After Effects introduces dithering of colors when the colors are converted to 8-bpc colors, including when rendering and exporting to
an 8-bpc
format. This dithering is not introduced for previews. To force dithering for previews, apply an 8-bpc effect that does nothingsuch
as the
Arithmetic effect with the default valuesto an adjustment layer.
Because 16-bpc frames use half the memory of 32-bpc frames, rendering previews in a 16-bpc project is faster, and RAM previews
can be longer
than in a 32-bpc project. 8-bpc frames use even less memory, but the tradeoff between quality and performance can be obvious in
some images
at a project color depth of 8 bpc.
Special considerations for working with high dynamic range color
You can use the HDR Compander effect to compress the dynamic range of a layer with an HDR footage item as its source. In this
way, you can
use tools that dont support HDR color, such as 8-bpc and 16-bit effects. When youre done, use the HDR Compander to undo the
dynamic range
compression. The HDR Highlight Compression effect lets you compress the highlight values in an HDR image so that they fall within
the value
range of a low dynamic range image.
Because we can see only a subset of the luminance values in a real-world scene in an HDR image on a monitor, it is sometimes
necessary to
adjust the exposurethe amount of light captured in an imagewhen working with an HDR image. Adjusting the exposure of an
HDR image is
8-bpc or 16-bpc mode, your composition may look significantly different when you switch between high dynamic range and low
dynamic range
project settings.
Additional resources about high dynamic range color
Jonas Hummelstrand provides a collection of resources for understanding and using HDR color in After Effects on his General
Specialist website.
Chris Meyer explains what floating-point, 32-bpc, HDR color is good for in a video overview on the Lynda.com website.
Kert Gartner provides some visual examples and a brief explanation on his VFX Haiku website that demonstrate the benefits of
working with 32-
bpc color.
Andrew Kramer provides a video tutorial on his Video Copilot website in which he demonstrates the advantages of using 32-bpc
color with motion
blur.
On his fnord website, Brendan Bolles explains how to use the Color Profile Converter effect and film color profiles to adjust colors
and perform
tone mapping to make an HDR image appear as if it were shot on motion picture film.
Select a color or edit a gradient
In many contexts, you can click an eyedropper button to activate the eyedropper tool, or you can click a color swatch to open a color
picker. If
you use the Adobe Color Picker, you can also activate the eyedropper from the Adobe Color Picker dialog box.
If you click a gradient swatch for a stroke or fill in a shape layer, or click Edit Gradient in the Timeline panel, the Adobe Color Picker
opens as the
Gradient Editor, with additional controls for editing gradients included at the top of the dialog box.
Andrew Devis shows how to modify gradient fills and strokes for shape layers, plus other options, in a video on the Creative COW
website.
242
Note: The sampleImage expression method is another way to sample color values. Use this method to use color values of specific
pixels as input
into an expression. (See Layer General attributes and methods (expression reference).)
A. Opacity stop B. Color stop C. Opacity midpoint D. Eyedropper E. New-color rectangle F. Original-color rectangle
Choose a color picker
Choose Edit > Preferences > General (Windows) or After Effects > Preferences > General (Mac OS), and do one of the following:
To use the color picker provided by the operating system, select Use System Color Picker.
To use the Adobe Color Picker, deselect Use System Color Picker.
Jeff Almasol provides the PickerSwitcher script on his redefinery website, which toggles the Use System Color Picker setting. Use
this script
when you prefer to use the Adobe Color Picker for certain tasks, but the operating system color picker for others, and want a quick
way to
change this setting. This script works especially well in conjunction with the LaunchPad panel, with which running the
PickerSwitcher script is as
easy as clicking a button. To download the LaunchPad script, go to the After Effects Exchange on the Adobe website.
Select a color with the eyedropper tool
1. Click the eyedropper button, and move the pointer to the pixel that you want to sample. The color swatch next to the eyedropper
button
dynamically changes to the color under the eyedropper.
2. Do one of the following:
To select the color of a single pixel, click the pixel.
To sample the color average of a 5-pixel-by-5-pixel area, Ctrl-click (Windows) or Command-click (Mac OS) the area.
Note: When sampling from within the composition frame of the Composition panel, the eyedropper by default ignores the
composition
background color and samples only straight color channels. To sample color channels premultiplied with the composition
background color,
press Shift as you click with the eyedropper. Shift-clicking with the eyedropper samples colors as they appear in the composition
frame in the
Composition panel.
You can use the Sampler Sizer Radio script from the Leapfrog Productions website to change the area sampled by the eyedropper
tool.
Press the Escape key to deactivate the eyedropper.
Select a color with the Adobe Color Picker
1. Click a color swatch to display the Adobe Color Picker.
2. (Optional) To prevent panels from updating with the results of your color selection until you accept the color by clicking OK,
deselect Preview
in the Color Picker dialog box. The Preview option is not available in all contexts.
Note: Selecting Preview is convenient for seeing the results of your color selections before you commit them, but it can also
decrease
performance, as new images are rendered for the preview in the Composition panel or Layer panel.
3. Select the component you want to use to display the color spectrum:
H Displays all hues in the color slider. Selecting a hue in the color slider displays the saturation and brightness range of the selected
hue in
the color spectrum, with the saturation increasing from left to right and brightness increasing from bottom to top.
S Displays all hues in the color spectrum with their maximum brightness at the top of the color spectrum, decreasing to their
minimum at the
bottom. The color slider displays the color thats selected in the color spectrum with its maximum saturation at the top of the slider
and its
minimum saturation at the bottom.
B (in the HSB section) Displays all hues in the color spectrum with their maximum saturation at the top of the color spectrum,
decreasing to
243
To the top
their minimum saturation at the bottom. The color slider displays the color thats selected in the color spectrum with its maximum
brightness
at the top of the slider and its minimum brightness at the bottom.
R Displays the red color component in the color slider with its maximum brightness at the top of the slider and its minimum
brightness at the
bottom. When the color slider is set to minimum brightness, the color spectrum displays colors created by the green and blue color
components. Using the color slider to increase the red brightness mixes more red into the colors displayed in the color spectrum.
G Displays the green color component in the color slider with its maximum brightness at the top of the slider and its minimum
brightness at
the bottom. When the color slider is set to minimum brightness, the color spectrum displays colors created by the red and blue color
components. Using the color slider to increase the green brightness mixes more green into the colors displayed in the color
spectrum.
B (in the RGB section) Displays the blue color component in the color slider with its maximum brightness at the top of the slider
and its
minimum brightness at the bottom. When the color slider is set to minimum brightness, the color spectrum displays colors created
by the
green and red color components. Using the color slider to increase the blue brightness mixes more blue into the colors displayed in
the color
spectrum.
4. Do any of the following:
Drag the triangles along the color slider, or click inside the color slider to adjust the colors displayed in the color spectrum.
Click or drag inside the large square color spectrum to select a color. A circular marker indicates the location of the color in the color
spectrum.
Note: As you adjust the color using the color slider and color spectrum, the numeric values change to indicate the new color. The
top
rectangle to the right of the color slider displays the new color; the bottom rectangle displays the original color. Click the bottom
rectangle
to reset the color to the original color.
For HSB, specify hue (H) as an angle, from 0 to 360, that corresponds to a location on the color wheel. Specify saturation (S) and
color grading, and color adjustment
When you assemble a composition, you often need to adjust or correct the colors of one or more of the layers. Such adjustments
For RGB, specify component values. You can set colors to under-range and over-range values (outside the range 0.01.0) in an
HDR
project.
For #, enter a color value in hexadecimal form. This color format is common in web workflows.
Edit a gradient
A gradient is defined by color stops and opacity stops. Each stop has a location along the gradient and a value for color or opacity.
The values color grading, and color adjustment
When you assemble a composition, you often need to adjust or correct the colors of one or more of the layers. Such adjustments
between stops are interpolated. By default, the interpolation is linear, but you can drag the opacity midpoint or color midpoint
between two stops to
alter the interpolation.
color grading, and color adjustment
When you assemble a composition, you often need to adjust or correct the colors of one or more of the layers. Such adjustments
To remove a stop, drag it away from the gradient bar, or select the stop and click Delete.
To edit the value of a stop, select it and adjust the Opacity value or use the Adobe Color Picker controls beneath the gradient editor
controls.
Some examples: color grading, and color adjustment
When you assemble a composition, you often need to adjust or correct the colors of one or more of the layers. Such adjustments
You need to make it seem as if multiple footage items were shot under the same conditions so that they can be composited or
edited
Note: Use the Style property to choose a gradient type for the Gradient Overlay layer style.
Using Adobe Kuler swatches in After Effects
Adobe provides the Swatch You Want script in a package of scripts for After Effects on the After Effects Exchange on the Adobe
website. The
Swatch You Want script imports and converts Adobe Swatch Exchange (.ase) files for use in After Effects.
Jerzy Drozda, Jr. provides a video tutorial and example project on his Maltaannon website that show how to copy and paste from
the Adobe Kuler
desktop application to bring color swatches into After Effects.
Mathias Mhl provides a script on the After Effects Scripts website with which you can load and use Kuler color themes. Mathias
also provides a
tutorial on the AETUTS+ website that demonstrate how to use Kuler with After Effects.
Jorrit Schulte provides a tutorial on the AETUTS+ website that demonstrates how to make an animation preset for importing and
working with
Kuler color swatches.
Color correction,
can be for any of
several reasons.
together.
You need to adjust the colors of a shot so that it seems to have been shot at night instead of day.
You need to adjust the exposure of an image to recover detail from the over-exposed highlights.
You need to enhance one color in a shot because you will be compositing a graphic element over it with that color.
244
You need to restrict colors to a particular range, such as the broadcast-safe range.
The terms color correction and color grading are often used interchangeably, though the term color grading is sometimes used to
refer distinctly to
color adjustments made for creative purposes rather to correct problems with color. The term color correction is used in the broad,
general sense