The Auto Color, Auto Contrast, and Auto Levels effectsmake quick global adjustments to a clip. Auto Color adjusts contrastand color by neutralizing the midtones and clipping the white andblack pixels. Auto Contrast adjusts the overall contrast and mixtureof colors, without introducing or removing color casts. Auto Levelsautomatically corrects the highlights and shadows. Because AutoLevels adjusts each color channel individually, it may remove orintroduce color casts.Each effect has one or more of the following settings. How much of the shadows and highlights are clipped to thenew extreme shadow and highlight colors in the image.

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Be carefulof setting the clipping values too large, as doing so reduces detailin the shadows or highlights. A value between 0.0% and 1% is recommended.By default, shadow and highlight pixels are clipped by 0.1%—thatis, the first 0.1% of either extreme is ignored when the darkestand lightest pixels in the image are identified; those pixels arethen mapped to output black and output white. This clipping ensures thatinput black and input white values are based on representative ratherthan extreme pixel values.

The Convolution Kernel effect changes the brightnessvalues of each pixel in the clip according to a mathematical operationknown as a convolution. A convolution overlays a matrixof numbers onto a matrix of pixels, multiplies each underlying pixel'svalue by the number that overlays it, and replaces the central pixel's valuewith the sum of all of these multiplications. This is performedfor each pixel in the image.The Convolution Kernel Settings include a set of controls thatrepresent cells in a 3x3 grid of pixel brightness multipliers. Labelson the controls, which begin with the letter “M,” indicate theirposition in the matrix. The M11 control, for example, affects thecell in the first row and first column of the grid; the M32 controlaffects the cell in the third row and second column. The pixel beingevaluated falls in the center of the grid, at the M22 location.Use this effect for fine control over the properties of variousemboss, blur, and sharpen effects. For a given effect, it is easierto apply one of the Convolution Kernel presets and to modify it,than to create the effect from scratch using the Convolution Kerneleffect itself.

The range of adjustable tones in the shadows and highlights.Lower values restrict the adjustable range to only the darkest andlightest regions, respectively. Higher values expand the adjustablerange. These controls are useful for isolating regions to adjust.For example, to lighten a dark area without affecting the midtones,set a low Shadow Tonal Width value so that when you adjust the ShadowAmount, you are lightening only the darkest areas of an image. Specifyinga value that is too large for a given image might introduce halosaround strong dark to light edges. The default settings attemptto reduce these artifacts. They can be further reduced by decreasingthese values.

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The amount of color correction that the effect applies to the adjusted shadows and highlights. For example, if you increase the Shadow Amount value, you bring out colors that were dark in the original image; you may want these colors to be more vivid. The higher the Color Correction value, the more saturated these colors become.

The more significant the correction that you make to the shadows and highlights, the greater the range of color correction available.Note: If you want to change the color over the whole image, use the Hue/Saturation effect after applying the Shadow/Highlight effect. How much of the shadows and highlights are clipped to thenew extreme shadow and highlight colors in the image. Be carefulof setting the clipping values too large, as doing so reduces detailin the shadows or highlights. A value between 0.0% and 1% is recommended.By default, shadow and highlight pixels are clipped by 0.1%—thatis, the first 0.1% of either extreme is ignored when the darkestand lightest pixels in the image are identified. These are thenmapped to output black and output white, ensuring that input black andinput white values are based on representative rather than extremepixel values.

The Channel Blur effect blurs a clip’s red, green, blue,or alpha channels individually. You can specify that the blur ishorizontal, vertical, or both.Repeat Edge Pixels blurs the pixels beyond the edge of the clipas though they have the same values as the edge pixels. This effectkeeps edges sharp, preventing the edges from darkening and becomingmore transparent—which would result from them being averaged withmany zeroes. Deselect this option to make the blur algorithm operateas if the pixel values beyond the edge of the clip are zero.

The Compound Blur effect blurs pixels based on the luminancevalues of a control clip, also known as a blur layer or blurringmap. By default, bright values in the blur layer correspondto more blurring of the effect clip. Dark values correspond to lessblurring. Select Invert Blur for light values to correspond to less blurring.This effect is useful for simulating smudges and fingerprints.Also, it can simulate changes in visibility caused by smoke or heat,especially when used with animated blur layers.

Blend mode:. Crossfade fades out the original image while the secondary image fades in. Color Only colorizes each pixel in the original image based on the color of each corresponding pixel in the secondary image. Tint Only is similar to Color Only but tints pixels in the original image only if they are already colored. Darken Only darkens each pixel in the original image that is lighter than the corresponding pixel in the secondary image. Lighten Only lightens each pixel in the original image that is darker than the corresponding pixel in the secondary image.

Map the black point and white point input level sliders to specifiedvalues. By default, the Output sliders are at level 0, where theshadows are completely black, and level 255, where the highlightsare completely white. So, in the default position for the Outputsliders, moving the black input slider maps the shadow value tolevel 0, and moving the white point slider maps the highlight valueto level 255. The remaining levels are redistributed between levels0 and 255.

This redistribution decreases the tonal range of theimage, in effect reducing the overall contrast of the image. Controls hue and saturation adjustments using three colorwheels for the shadows (left wheel), midtones (middle wheel), andhighlights (right wheel). A single master wheel appears when Masteris chosen from the Tonal Range menu. A circular thumb moves aboutthe center of the wheel and controls the hue (UV) translation.

Aperpendicular handle on the thumb controls the balance magnitude,which affects the relative coarseness or fineness of the control.The outer ring of the wheel controls hue rotation. Map the black point and white point input level sliders to specified values. By default, the Output sliders are at level 0, where the shadows are completely black, and level 255, where the highlights are completely white. So, in the default position for the Output sliders, moving the black input slider maps the shadow value to level 0, and moving the white point slider maps the highlight value to level 255. The remaining levels are redistributed between levels 0 and 255. This redistribution increases the tonal range of the image, in effect increasing the overall contrast of the image. The Video Limiter effect has the following options:.

Clip Level: Specifies the max output value in IRE units. The default is 103 IRE. Corresponding ranges in IRE, 8-bit RGB and Y are as follows:. 100 = IRE 0 to 100, RGB 0 to 255, Y 16 to 235. SMPTE limited range.

103 = IRE -3 to 103, RGB -8 to 263, Y 9 to 242. 105 = IRE -5 to 105, RGB -13 to 268, Y 5 to 246. EBU R103 'Preferred'.

109 = IRE -7 to 109, RGB -17 to 277, Y 1 to 254. SDI limits. Compression before clipping: Applies a knee starting at 3%, 5%, 10%, or 20% below the clip level, moving colors into range before the hard clip. Gamut Warning: When gamut warning is enabled, the colors that are compressed or outside of the color range are shaded or highlighted, respectively. The Gamut warning option is not available in Export Effects settings. A gamut warning enabled on the timeline is also active during export. Gamut Warning Color: Specifies the gamut warning color.

The Difference Matte effect creates transparency by comparing a source clip with a difference clip, and then keying out pixels in the source image that match both the position and color in the difference image. Typically, it’s used to key out a static background behind a moving object, which is then placed on a different background. Often the difference clip is simply a frame of background footage (before the moving object has entered the scene). For this reason, the Difference Matte effect is best used for scenes that have been shot with a stationary camera and an unmoving background. The Difference Matte creates transparencyby comparing a specified still image with a specified clip and theneliminating areas in the clip that match those in the image. Thiskey can be used to create special effects.

Depending on the clip,it’s possible to use Difference Matte to key out a static backgroundand replace it with another still or moving image.You cancreate the matte by saving a frame from a clip that shows the static backgroundbefore the moving object enters the scene. For best results, neither thecamera nor anything in the background should move.The followingDifference Matte settings are adjusted in the Effect Controls panel. The Image Matte Key determines transparent areas based on a matte image’s alpha channel or brightness values. To get the most predictable results, choose a grayscale image for your image matte, unless you want to alter colors in the clip.

Any color in the image matte removes the same level of color from the clip you are keying. For example, white areas in the clip that correspond to red areas in the image matte appear blue-green (since white in an RGB image is composed of 100% red, 100% blue, and 100% green); because red also becomes transparent in the clip, only blue and green colors remain at their original values.Note: You can use the Titler to create shapes and text to use as mattes. The Non Red Key effect creates transparency from greenor blue backgrounds. This key is similar to the Blue Screen Keyeffect, but it also lets you blend two clips. In addition, the NonRed Key effect helps reduce fringing around the edges of nontransparentobjects. Yung nation all gold everything free mp3 download. Use the Non Red Key effect to key out green screens whenyou need to control blending, or when the Blue Screen Key effectdoesn’t produce satisfactory results.The following Non Red Key effect settings are adjusted in theEffect Controls panel.

The Remove Matte effect removes color fringes from clipsthat are premultiplied with a color. It is useful when combiningalpha channels with fill textures from separate files. If you importfootage with a premultiplied alpha channel, or if you create alphachannels with After Effects, you may need to remove halos from an image.Halos are caused by a large contrast between the image's color andthe background, or matte, color. Removing or changing the colorof the matte can remove the halos.Use Background Color to specify the new background color whenyou want to change the color of a matte. The Track Matte Key reveals one clip (backgroundclip) through another (superimposed clip), using a third file asa matte that creates transparent areas in the superimposed clip.This effect requires two clips and a matte, each placed on its owntrack. White areas in the matte are opaque in the superimposed clip, preventingunderlying clips from showing through.

Black areas in the matteare transparent, and gray areas are partially transparent.Amatte containing motion is called a traveling matte or movingmatte. This matte consists of either motion footage, suchas a green-screen silhouette, or a still image matte that has beenanimated.

You can animate a still by applying the Motion effectto the matte. If you animate a still image, consider making the matteframe size larger than the sequence frame size so that the edgesof the matte don’t come into view when you animate the matte. The Basic 3D effect manipulates a clip in 3D space. You can rotate an image around horizontal and vertical axes and move it toward or away from you. With Basic 3D, you can also create a specular highlight to give the appearance of light reflecting off a rotated surface.

The light source for the specular highlight is always above, behind, and to the left of the viewer. Because the light comes from above, the image must be tilted backward to see this reflection. Specular highlights can enhance the realism of the 3D appearance. The Posterize Time effect locks a clip to a specificframe rate. Posterize Time is useful on its own as a special effect,but it also has more subtle uses. For example, 60-field video footagecan be locked to 24 fps (and then field rendered at 60 fields persecond) to give a filmlike look. This effect is sometimes calledStrobe in hardware devices.Animating the value of the Frame Rate slider can give unpredictableresults.

For this reason, the only interpolation method allowedfor the frame rate is Hold. The Gradient Wipe effect causes pixels in the clip to become transparent based on the luminance values of corresponding pixels in another video track, called the gradient layer. Dark pixels in the gradient layer cause the corresponding pixels to become transparent at a lower Transition Completion value. For example, a simple grayscale gradient layer that goes from black on the left to white on the right causes the underlying clip to be revealed from left to right as Transition Completion increases.For more information about using and creating a Gradient Wipe transition, by Dennis Radeke.

The Cineon Converter effect provides a high degree of control over color conversions of Cineon frames. To use the Cineon Converter effect, import a Cineon file and add the clip to a sequence. You can then apply the Cineon Converter effect to the clip and precisely adjust the colors while interactively viewing the results in the Program monitor. Set keyframes to adjust for changes in tone over time—use keyframe interpolation and ease handles to precisely match the most irregular lighting changes, or leave the file in its default state and use the converter.The 10 bits of data available in each Cineon channel for each pixel make it easier to enhance an important range of tones while preserving overall tonal balance. By carefully specifying the range, you can create a version of the image that faithfully resembles the original.

The Clip Name effect overlays the clip name display on your video to make pinpointing scenes and collaborating with team members and clients easier. Settings in the Clip Name effect let you control the display position, size, and opacity, as well as display and sound track.Position Adjusts the horizontal and vertical position of the clip name.Size Specifies the size of text.Opacity Specifies the opacity of the black box behind the timecode.Display Specifies whether to display sequence clip name, project clip name, or the clip file name.Sound Track Specifies which video track name should be displayed.

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