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Adobe tutorial after effects cs6 free

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. Modifies alpha channel values. Pixel Selection, Masking, and other controls. Mask Layer. Curves effect. You can load and save arbitrary maps and curves to use with the Curves effect.

To change the size of the graph, click the different resize buttons above the graph. Use the Curves effect. Use the Bezier tool and the Pencil tool to modify or draw a curve. To activate a tool, click the Bezier button or the Pencil button.

Equalize effect. Exposure effect. Adjust all channels simultaneously. Adjust channels individually. Darkens or brightens the shadows and midtones with minimal change to the highlights. The color channel you want to adjust. Choose Master to adjust all colors at once. Master Hue. From the Channel Control menu, choose which colors to adjust:. For Hue, type a value or drag the dial. For Saturation, type a value or drag the slider. The color shifts away from or toward the center of the color wheel, relative to the beginning color values of the selected pixels.

For Lightness, type a value or drag the slider. Colorize an image or create a monotone result. Select Colorize. The image is converted to the hue of the current foreground color. Drag the Colorize Hue dial to select a new color if desired. Drag the Colorize Saturation and Colorize Lightness sliders. From the Channel Control menu, choose an individual color. Setting the fall-off too low can produce dithering in the image. Do any of the following:. Leave Color effect.

The softness of the color boundaries. 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. Artists Premium is an artistic and event agency specializing in artistic production and organization of shows.

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Become a client. Learn about what technologies are transforming your industry. Gain exclusive perspectives from top industry leaders. Find more download and install solutions. Sign in to your Adobe account.

Then click Change for Current password and follow the onscreen instructions. Forgot your password? Learn how to reset and change it. Follow these Update your credit card and billing information. Switching Creative Cloud plans is easy. Follow these step-by-step instructions to upgrade or change your plan.

Converting your trial to a paid membership is easy. Follow these step-by-step instructions to upgrade and start your membership. If you cancel your membership, you still have access to Creative Cloud member free benefits and any files you saved to your device.

You won't have access to apps or most services and your cloud storage will be reduced to 2 GB. Learn how to Cancel your Creative Cloud membership and understand the Adobe subscription terms. Find more account, billing, and plan answers. For step-by-step instructions, see Stabilize shaky video footage. Realistic motion is more than simply moving an object.

In this short video series, learn how to add special effects to blur motion, correct color and shadows, and simulate camera movement. Adobe Character Animator, captures facial expressions and movement from your webcam, and animates a character based on your performance. See the Character Animator User Guide to learn more. Learn the basics of animating text in After Effects in this three-part video tutorial, Animate a logo for video.

Track dependencies of a watch-folder render.Adobe tutorial after effects cs6 free

Follow these Update your credit card and billing information. Switching Creative Cloud plans is easy. Follow these step-by-step instructions to upgrade or change your plan. Converting your trial to a paid membership is easy. Follow these step-by-step instructions to upgrade and start your membership. If you cancel your membership, you still have access to Creative Cloud member free benefits and any files you saved to your device. You won't have access to apps or most services and your cloud storage will be reduced to 2 GB.

Learn how to Cancel your Creative Cloud membership and understand the Adobe subscription terms. Find more account, billing, and plan answers. For step-by-step instructions, see Stabilize shaky video footage. Realistic motion is more than simply moving an object. In this short video series, learn how to add special effects to blur motion, correct color and shadows, and simulate camera movement.

Adobe Character Animator, captures facial expressions and movement from your webcam, and animates a character based on your performance. See the Character Animator User Guide to learn more. Learn the basics of animating text in After Effects in this three-part video tutorial, Animate a logo for video. You mask an object so that other footage can appear within it. See this article to learn more about creating shapes and masks.

When you render and export a movie, the default settings create uncompressed or losslessly compressed files. Such files are huge and intended for post-production work, not playback. For smooth playback on your computer, compress the file. Learn more about encoding and compression options for movies.

QuickTime includes a preference for encoding legacy codecs. If the setting is not enabled, some codecs will not be available in After Effects. For more information, see Publish to YouTube and Vimeo. Use Adobe Media Encoder to export to these formats. Explore what Insider Intelligence can provide for your industry. Become a client. Learn about what technologies are transforming your industry.

Gain exclusive perspectives from top industry leaders. Access thousands of data sets and forecasts via our iconic charts. Develop your strategy, empower your teams, and win new business. Insider Intelligence. Media Services. Free Content. Newsletters Articles. Sales Inquiries ii-sales insiderintelligence. 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. 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.

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.

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