Game Development Reference
In-Depth Information
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This chapter, along with the few to follow, can best be thought
of as an appendix to the topic. Here, I just want to underscore
some of the concepts that we've lightly breezed through in the
book that deserve greater emphasis.
In this chapter, we're going to be looking at using multiple
effects together. No matter which effect you're going for, the fi nal
results are almost always enhanced by another effect. Throughout
this topic, we've seen numerous examples of this. We've used the
Strobe Light effect with the Advanced Lightning effect to create
lightning strikes. We've used the Roughen Edges effect with the
Fractal Noise effect to create a fi reball. But we don't have to apply
just two. We can apply as many effects to a layer as our system can
handle. Let's look a little more closely at using effects together.
Using Multiple Effects for Utility
The possibilities are endless when we use effects together. But
it's not only a matter of creative possibilities—the quality of effects
is also greatly increased when using them together. The quality
(and photorealism) of effects is often increased a great deal by
adding one of the Color Correction effects. When keying footage,
the Minimax effect or one of the Matte effects can often help you
fi x edge problems. When creating maps for other effects (as we'll
discuss in the next chapter), many of the grayscale pattern gener-
ators—such as Ramp, Fractal Noise, or Wave World—can save you
from having to go back to Photoshop to create those maps.
Using Multiple Effects for Creativity
There are so many times as a motion graphics artist when
you are asked to create an original background or texture in an
instant. When using effects for creative and artistic purposes,
using multiple effects is critical. To help you create artsy textures,
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