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Flash Builder 4. Acrobat X Pro system requirements Windows 1. CS6 Design Standard system requirements. CS6 Design and Web Premium system requirements. CS6 Production Premium system requirements.
CS6 Master Collection system requirements. Recommended specifications. Operating system. Microsoft Windows 10 64 bit versions and later. Hard disk space. Monitor resolution. More system requirements Hardware acceleration system requirements.
VR system requirements. Head Mounted display. Other requirements. Oculus Rift. Windows HTC Vive. Windows Mixed Reality. 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.
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