![]() Adjust it over the gradient and notice that you can push the grays in the image brighter (by moving it to the left) or darker (to the right) without changing the black and white levels at all. This is the Gamma control, affecting midtones (the middle gray point in the gradient) at the highest proportion. Brightness: GammaĪs you adjust the Input Black and Input White values, you may have noticed the third caret that maintains its place between them. Combined with the Gamma control, they offer more precision than is possible with the effect called Brightness & Contrast.įigure 7 Black and white levels crushed by adjusting the Input controls are not brought back by the Output controls, which instead simply limit the overall dynamic range of the image, raising the darkest possible black level and lowering the brightest possible white. Contrast: Input and Output Levelsįour of the five Levels controls-Input Black, Input White, Output Black and Output White-determine brightness and contrast ( see Figure 1). The latter is the more typical method for experienced users. There are two different ways to adjust these controls: via their numerical sliders or by dragging their respective carat sliders on the histogram. It consists of five basic controls:Įach of these controls can be adjusted in five separate contexts (the four individual image channels R, G, B, and A-as well as all three color channels, RGB, at once). Levels may be the most-used tool in After Effects, and yet it's rare to find detailed descriptions of how best to use it. A related term, clean plate, refers to the background with any moving foreground elements removed. The term plate stretches back to the earliest days of optical compositing (and indeed, of photography itself) and refers to the source footage, typically the background onto which foreground elements will be composited. As an example, we'll balance brightness and contrast of a plate image, with no foreground layers to match. What constitutes an "optimized" clip? What makes a color-corrected image correct? Let's look at what's typically "wrong" with source-footage levels and the usual methods for correcting them, laying the groundwork for color matching. The goal is to move you away from hacking, to building skills that eliminate some of the guesswork and enable artistry. First, we'll look at optimizing a given image by using these tools, and then move into matching a foreground layer to the optimized background, balancing colors. ![]() This article holds the answers to these and many more questions.
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