Game Development Reference
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Now turn on the Channel Combiner effect here, which is
mapping the saturation values to the lightness values. This cre-
ates a much more intense car (Fig. 5.31).
Figure 5.31 The result of
remapping saturation to lightness.
The results have much more punch and fl ash (and other
Hollywood-esque adjectives) to them than the original. But if
this is really for Hollywood, we can't let this alone without adding
some more intensity. The top layer is already in the Overlay blend
mode in the Timeline panel. Turn on the duplicate layer under-
neath it to combine these two layers in the Overlay blend mode,
making a very fl ashy fi nal product. Now the car is ready for
Mr. DeMille's proverbial close-up (Fig. 5.32).
Figure 5.32 The fi nal result with
the Channel Combiner effect.
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