Game Development Reference
In-Depth Information
What's in This Chapter
Before we plunge into the study of these effects, I want to give
you an idea of what's coming up. Many of you might not want to
read such a large chapter straight through. You may be somewhat
new to After Effects or color adjustment, and may want to know
which color effects perform simple tasks quickly. Or, you may be
more experienced with After Effects, and might want to know the
most powerful tools that you can use here. In this little intro sec-
tion, we'll also look at which effects are virtually useless in my
The Simple and the Complex
The fi rst effects in this category all begin with the term “auto”,
which means that they make the corrections for you. For high-
end projects, these effects might not cut it. But, if you're fac-
ing tight deadlines, or if you're just looking for something quick
and easy, the auto color correction effects are a lifesaver. If
you're looking for a quick way to edit shadows and highlights,
the Shadow/Highlight effect is simple, works well, and also has
some auto settings. If you're looking for the utmost power when it
comes to correcting brightness issues, Levels and Curves are the
most common, fairly easy to use, and produce some great results.
What about colorizing? The Tint effect is the simplest tool for
the job, but the Tritone effect is a little more powerful and pro-
duces effects very similar to the Tint effect. The Colorama effect
is the most complex and powerful tool in this chapter by far,
and it is also the most advanced tool for colorizing footage in
After Effects. I also frequently turn to Hue/Saturation and Color
Balance to add or shift colors.
The (Nearly) Worthless Effects
When it comes to the effects in After Effects, I'm fully aware
that beauty is in the eye of the beholder. I've heard After Effects
instructors or authors say an effect is useless, when I couldn't live
without it. I've also been guilty of saying an effect was worthless,
until a colleague pointed out an innovative way to use it that I
had never thought of.
So, with that disclaimer, I'm going to share with you some of
the effects in this chapter that I haven't found innovative ways to
use yet; effects that you might be able to live without.
The Color Balance effects option is one of my all-time favor-
ite effects. But, in this section, there is also an effect called
Color Balance (HLS), which I think is useless when you have the
32-bit Hue/Saturation provision at your convenience. I'm also
not a big fan of the anti-intuitive Gamma/Pedestal/Gain effect.
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