Game Development Reference
trying to remove here. Because of this, the noisy red pixels have
also turned yellow, which doesn't look all that great. And, actu-
ally, if it's not noise, there will probably be something else in your
footage that has a color similar to the one you're trying to change.
I f y o u fi nd that, as this case, there are pixels in the From color
that you don't want to change, you can duplicate the layer and
create a mask on the duplicate (top) layer. You don't have to cre-
ate a mask that tightly encircles the object whose color you want
to change. For instance, I quickly created a simple elliptical
mask and placed it loosely around the bird's head. Such a tech-
nique gives us a lot more fl exibility, and a greatly improved result.
Particularly, notice how much cleaner both the black bar in the
background as well as the bird's body appear (Fig. 6.18).
Figure 6.18 The result of
duplicating the layer, creating
a sloppy mask around the bird's
head, and changing the color of
the spot on the bird's face with
the Change to Color effect.
The Channel Mixer Effect
The Channel Mixer is great if you really know a lot about how
colors work, and very challenging and unintuitive if you don't.
The Channel Mixer effect allows you to blend channels, which in
turn alters the colors of footage. This is great for making precise
color adjustments, or for color grading.
Before we get into a practical application of this effect, we're
going to take a step back and see exactly what this effect does.
That way, we'll know what we have to do when using the Channel
Mixer effect to adjust the colors of real footage.
Open the Channel Mixer.aep project from the Chapter 6 folder
of the exercise fi les. In the Channel Mixer comp, you'll fi nd two
layers—a simple shape layer, and an Artbeats video clip. We'll
fi rst look at the shape layer, which already has the Channel Mixer