WWW.THESES.XLIBX.INFO
FREE ELECTRONIC LIBRARY - Theses, dissertations, documentation
 
<< HOME
CONTACTS



Pages:     | 1 |   ...   | 13 | 14 || 16 | 17 |   ...   | 103 |

«PROFESSIONAL USER GUIDE © 2007 Adobe Systems Incorporated. All rights reserved. Copyright Adobe® After Effects® CS3 User Guide for Windows® and ...»

-- [ Page 15 ] --

• Organize and name layers. If you change a layer name in a Photoshop file after you have imported it into After Effects, After Effects retains the link to the original layer. However, if you delete a layer, After Effects is unable to find the original layer and lists it as Missing in the Project panel.

• Make sure that each layer has a unique name. This is not a requirement of the software, but it will help to keep you from becoming confused.

See also “Layer styles” on page 168 “Working with Photoshop and After Effects” on page 32 Preparing and importing Illustrator files

Before you save an Illustrator file for importing into After Effects, consider doing the following:

• Crop the image so that you are only saving the portion that you want to import into After Effects.

• To ensure that Illustrator files appear correctly in After Effects, select Create PDF Compatible File in the Illustrator Options dialog box.

• To copy paths between Illustrator and After Effects, make sure that the AICB and Preserve Paths options are selected in the Files & Clipboard section of the Illustrator Preferences dialog box. If you don’t select AICB in Illustrator, After Effects prompts you when you attempt to paste the path.

• To ensure that files rasterize most faithfully in After Effects, save your file in AI format instead of Illustrator 8.x or

9.x EPS format.

When you import an Illustrator file, After Effects makes all empty areas transparent by converting them into an alpha channel.

Note: When you’ve imported an Illustrator file, you can specify whether anti-aliasing is to be performed at higher quality or at higher speed. Select the footage item in the Project panel and choose File Interpret Footage Main, and click the More Options button at the bottom of the dialog box.

After Effects does not read embedded color profiles from Illustrator files. To ensure color fidelity, assign an input color profile to the Illustrator footage item that matches the color profile with which the Illustrator file was created.

See also “Interpret a footage item by assigning an input color profile” on page 245 “Copy a path from Illustrator, Photoshop, or Fireworks” on page 324

–  –  –

Cineon files are commonly used to transfer motion-picture film to a digital format. To preserve the full dynamic range of motion-picture film, Cineon files are stored using logarithmic 10-bpc color. However, After Effects internally uses 8-bpc, 16-bpc, or 32-bpc color, depending on the color bit depth of the project. Work with Cineon files in a 16- or 32-bpc project—by default, After Effects stretches the logarithmic values to the full range of values available.

In most cases, you should use color management features to automatically interpret the colors of Cineon footage.

(See “Working with Cineon footage items” on page 251.) You can, though, use the Cineon Settings dialog box to control the conversion manually.

Manual settings in the Cineon Settings dialog box:

Converted Black Point Specifies the black point used for the layer in After Effects.

Converted White Point Specifies the white point used for the layer in After Effects.

10 Bit Black Point Specifies the black level (minimum density) for converting a 10-bit Cineon layer.

10 Bit White Point Specifies the white level (maximum density) for converting a 10-bit Cineon layer.

Current Gamma Specifies the target gamma value.

Highlight Rolloff Specifies the rolloff value used to correct bright highlights. To get over range values when working in 32 bpc, set the value to 0.

Logarithmic Conversion Converts the Cineon sequence from log color space to the target gamma specified by the Current Gamma setting. When you’re ready to produce output from the Cineon file, it is important that you reverse the conversion. (To convert from logarithmic to linear, set Current Gamma to 1.) Units Specifies the units After Effects uses to display dialog values.

See also “Set the color depth” on page 234 “Color management” on page 241 Introduction to Camera Raw Note: This document describes features of Photoshop Camera Raw 4.1.

–  –  –

When you shoot JPEG files with your camera, the camera automatically processes the JPEG to enhance and compress the image. You generally have little control over how this processing occurs. Shooting camera raw images with your camera gives you greater control than shooting JPEG images, because camera raw does not lock you into processing done by your camera. You can still edit JPEG and TIFF images in Camera Raw, but you will be editing pixels that were already processed by the camera. Camera raw files always contain the original, unprocessed pixels from the camera.

To shoot camera raw images, you need to set your camera to save files in its own camera raw file format.

Note: The Photoshop Raw format (.raw) is a file format for transferring images between applications and computer platforms. Don’t confuse Photoshop raw with camera raw file formats.

Digital cameras capture and store camera raw data with a linear tone response curve (gamma 1.0). Both film and the human eye have a nonlinear, logarithmic response to light (gamma greater than 2). An unprocessed camera raw image viewed as a grayscale image would seem very dark, because what appears twice as bright to the photosensor and computer seems less than twice as bright to the human eye.





About Camera Raw Camera Raw software is included as a plug-in with Adobe After Effects and Adobe Photoshop, and also adds functionality to Adobe Bridge. Camera Raw gives each of these applications the ability to import and work with camera raw files. You can also use Camera Raw to work with JPEG and TIFF files.

You must have Photoshop or After Effects installed to open files in the Camera Raw dialog box from Adobe Bridge.

However, if Photoshop or After Effects is not installed, you can still preview the images and see their metadata in Adobe Bridge. If another application is associated with the image file type, it’s possible to open the file in that application from Adobe Bridge.

Using Adobe Bridge, you can apply, copy, and clear image settings, and you can see previews and metadata for camera raw files without opening them in the Camera Raw dialog box. The preview in Adobe Bridge is a JPEG image generated using the current image settings; the preview is not the raw camera data itself, which would appear as a very dark grayscale image.

Note: A caution icon appears in the thumbnails and preview image in the Camera Raw dialog box while the preview is generated from the camera raw image.

You can modify the default settings that Camera Raw uses for a particular model of camera. For each camera model, you can also modify the defaults for a particular ISO setting or a particular camera (by serial number). You can modify and save image settings as presets for use with other images.

When you use Camera Raw to make adjustments (including straightening and cropping) to a camera raw image, the image’s original camera raw data is preserved. The adjustments are stored for each image in either the Camera Raw database, as metadata embedded in the image file, or in a sidecar XMP file (a metadata file that accompanies a camera raw file). For more information, see “Specify where Camera Raw settings are stored” on page 104.

After you process and edit a camera raw file using the Camera Raw plug-in, an icon appears in the image thumbnail in Adobe Bridge.

If you open a camera raw file in Photoshop, you can save the image in other image formats, such as PSD, JPEG, Large Document Format (PSB), TIFF, Cineon, Photoshop Raw, PNG, or PBM. From the Camera Raw dialog box in Photoshop, you can save the processed files in Digital Negative (DNG), JPEG, TIFF, or Photoshop (PSD) formats.

Although Photoshop Camera Raw software can open and edit a camera raw image file, it cannot save an image in a camera raw format.

AFTER EFFECTS CS3 88 User Guide Note: In Photoshop, the Camera Raw dialog box is automatically suppressed when you use a batch of files for a web photo gallery, picture package, or contact sheet.

As new versions of Camera Raw become available, you can update this software by installing a new version of the plug-in. You can check for updates to Adobe software by choosing Help Updates.

For up-to-date documentation for Camera Raw, go to the Adobe website at www.adobe.com/go/learn_ps_camerarawhelp.

Different camera models save camera raw images in many different formats, and the data must be interpreted differently for these formats. Camera Raw includes profiles for many camera models, and it can interpret many camera raw formats.

Note: For a list of supported cameras and for more information about Camera Raw, see www.adobe.com/go/learn_ps_cameraraw.

About the Digital Negative (DNG) format The Digital Negative (DNG) format is a non-proprietary, publicly documented, and widely supported format for storing raw camera data. Hardware and software developers use DNG because it results in a flexible workflow for processing and archiving camera raw data. You may also use DNG as an intermediate format for storing images that were originally captured using a proprietary camera raw format.

Because DNG metadata is publicly documented, software readers such as Camera Raw do not need camera-specific knowledge to decode and process files created by a camera that supports DNG. If support for a proprietary format is discontinued, users may not be able to access images stored in that format, and the images may be lost forever.

Because DNG is publicly documented, it is far more likely that raw images stored as DNG files will be readable by software in the distant future, making DNG a safer choice for archival storage.

DNG is an extension of the TIFF 6.0 format and is compatible with the TIFF-EP standard. It is possible (but not required) for a DNG file to simultaneously comply with both the Digital Negative specification and the TIFF-EP standard.

Metadata for adjustments made to images stored as DNG files can be embedded in the DNG file itself instead of in a sidecar XMP file or in the Camera Raw database.

You can convert camera raw files to the DNG format by using the Adobe DNG Converter or the Camera Raw dialog box. For more information on the DNG format and DNG Converter, see www.adobe.com/go/learn_ps_dng.

Processing images with Camera Raw

1. Copy camera raw files to your hard disk, organize them, and (optionally) convert them to DNG.

Before you do any work on the images that your camera raw files represent, transfer them from the camera’s memory card, organize them, give them useful names, and otherwise prepare them for use. Use the Get Photos From Camera command in Adobe Bridge to accomplish these tasks automatically.

–  –  –

3. Adjust color.

Color adjustments include white balance, tone, and saturation. You can make most adjustments on the Basic tab, and then use controls on the other tabs to fine-tune the results. If you want Camera Raw to analyze your image and apply approximate tonal adjustments, click Auto on the Basic tab.

To apply the settings used for the previous image, or to apply the default settings for the camera model, camera, or ISO settings, choose the appropriate command from the Camera Raw Settings menu. (See “Apply saved Camera Raw settings” on page 105.) To see a video tutorial on adjusting images with Camera Raw, go to the Adobe website at www.adobe.com/go/vid0006.

To see a video tutorial on adjusting multiple images with Camera Raw, go to the Adobe website at www.adobe.com/go/vid0007.

4. Make other adjustments and image corrections.

Use other tools and controls in the Camera Raw dialog box to perform such tasks as sharpening the image, reducing noise, correcting for lens defects, and retouching.

5. (Optional) Save image settings as a preset or as default image settings.

To apply the same adjustments to other images later, save the settings as a preset. To save the adjustments as the defaults to be applied to all images from a specific camera model, a specific camera, or a specific ISO setting, save the image settings as the new Camera Raw defaults. (See “Save, reset, and load Camera Raw settings” on page 104.)

6. Set workflow options for Photoshop.

Set options to specify how images are saved from Camera Raw and how Photoshop should open them. You can access the Workflow Options settings by clicking the link beneath the image preview in the Camera Raw dialog box.

7. Save the image, or open it in Photoshop or After Effects.

When you finish adjusting the image in Camera Raw, you can apply the adjustments to the camera raw file, open the adjusted image in Photoshop or After Effects, save the adjusted image to another format, or cancel and discard adjustments. If you open the Camera Raw dialog box from After Effects or Photoshop, the Save and Done buttons are unavailable.

Save Applies the Camera Raw settings to the images and saves copies of them in JPEG, PSD, TIFF, or DNG format.

Press Alt (Windows) or Option (Mac OS) to suppress the Camera Raw Save Options dialog box and save the files using the last set of save options. (See “Save a camera raw image in another format” on page 93.) Open or OK Opens copies of the camera raw image files (with the Camera Raw settings applied) in Photoshop or After Effects. The original camera raw image file remains unaltered. Press Shift while clicking Open to open the raw file in Photoshop as a Smart Object. At any time, you can double-click the Smart Object layer that contains the raw file to adjust the Camera Raw settings.

Done Closes the Camera Raw dialog box and stores file settings either in the camera raw database file, in the sidecar XMP file, or in the DNG file.

Cancel Cancels the adjustments specified in the Camera Raw dialog box.

–  –  –

After Effects applies the settings for the first camera raw image in the sequence to all of the images in the sequence that do not have their own XMP sidecar files. After Effects does not check the Camera Raw database for image settings.

Note: Camera raw files are uncompressed. Their large size may increase rendering time.

1 Choose File Import File.



Pages:     | 1 |   ...   | 13 | 14 || 16 | 17 |   ...   | 103 |


Similar works:

«LBNL-1649E Factors affecting the indoor concentrations of carbonaceous aerosols of outdoor origin 1∗ 1 2 Melissa M. Lunden, Thomas W. Kirchstetter, Tracy L. Thatcher, Susanne V. Hering, and Nancy J. Brown Environmental Energy Technologies Division, Lawrence Berkeley National Laboratory, 1 Cyclotron Rd., Berkeley, CA 94720, USA Department of Civil and Environmental Engineering, California Polytechnic State University, San Luis Obispo, CA 93407, USA Aerosol Dynamics Inc., 2329 4th Street,...»

«BEFORE THE ARKANSAS WORKERS’ COMPENSATION COMMISSION CLAIM NO. F812315 BETTY J. MCGEHEE, EMPLOYEE CLAIMANT PULASKI COUNTY SPECIAL SCHOOL DISTRICT, EMPLOYER RESPONDENT ARKANSAS SCHOOL BOARDS ASSOCIATION WCT, INSURANCE CARRIER/TPA RESPONDENT OPINION FILED MARCH 16, 2011 Hearing conducted before ADMINISTRATIVE LAW JUDGE MARK CHURCHWELL, in Little Rock, Pulaski County, Arkansas. The claimant was represented by HONORABLE LAURA BETH YORK, Attorney at Law, LITTLE ROCK, Arkansas. The respondent was...»

«Changes Afoot: Spousal Maintenance Legislation Pending in New York State Lydia S. Antoncic, Esq. Virginia A. LoPreto Esq. Lydia S. Antoncic, P.C. Virginia A. LoPreto, LLC Spousal Maintenance: How are Courts Making Decisions Now?•Temporary Maintenance Guidelines: DRL Section 236 B(5-a) Less-monied spouse has a presumptive entitlement to support •Change from Prior Law to “tide over the more needy spouse.” Temporary Maintenance: How are Courts Making Decisions Now? •The Formula: Two...»

«Actas del I Seminario Hispano-Marroquí de Especialización en Arqueología Edición Científica a cargo de Darío Bernal, Baraka Raissouni, José Ramos y Abdeljalil Bouzouggar In memoriam Dr. E. Ripoll Perelló ( 2006) Dr. X. Dupré i Raventós ( 2006) Cádiz, 2006 © D. Bernal, B. Raissouni, J. Ramos y A. Bouzouggar Edita: Servicio de Publicaciones de la Universidad de Cádiz C/ Doctor Marañón, 3. 11002 Cádiz www.uca.es/publicaciones Colaboran: Universidad Abdelmalek Essaadi e I.N.S.A.P....»

«C:\Documents and Settings\chew\My Documents\SHO conference\Materials\survey ethical opinions.doc MLAN MEMORANDUM M aryland L egal A s s is t a n c e N e t w o r k Informal National Survey of Ethical Opinions Related to “Discrete Task Lawyering” Updated November 2003 The following states have issued at least one ethical opinion on a topic related to “unbundled” legal services a/k/a discrete task lawyering: AL, AK, AZ, CA, CO, CT, DC, DE, FL, GA, IL, IA, IN, KS, ME, MD, MA, MI, MN, MO,...»

«PRACT I C E BRI E F ING : FI NA N C I AL A DVISE R S L E G I S L AT I ON IM P LIC ATIO N S FO R L AWY E RS INTRODUCTION All New Zealand lawyers will need a clear understanding of the 2008 Financial Advisers legislation in their daily practice. The intention of this Practice Briefing is to assist lawyers with their understanding of the practical application of the legislation. It is strongly recommended that lawyers seek professional advice where they are not certain whether an exemption applies...»

«2015 GREYSTANES HIGH SCHOOL Term 2 Issue 2 Mercury Inside this Issue: Principals Report Principals Report 1-3 It has been an action packed term so far. I hope that you have been able to keep up with events at Greystanes High School through the school website Deputy Principals Report 4 and Facebook. A team of committed staff work to keep these avenues of communication up to date with the latest developments. Many thanks to Alkira All Stars Challenge 5 Mrs Vella, Mrs Booth, Ms Lawton and Ms...»

«Tortifying Retaliation: Protected Activity at the Intersection of Fault, Duty, and Causation DEBORAH L. BRAKE* TABLE OF CONTENTS I. INTRODUCTION II. THE “TORT” OF RETALIATION: NASSAR AND TORT-BASED LIMITS ON CAUSATION III. PROTECTED ACTIVITY AND ITS INTERSECTION WITH TORT LAW A. The Reasonable Belief Doctrine: Unreasonable Plaintiffs in Tort and Retaliation B. The Manager Rule, Employer Duty, and Proximate Cause IV. TAKING TORTS SERIOUSLY IV. THE INTEGRATION OF EMPLOYER NON-DISCRIMINATION...»

«1990 EO CPE Text B. TAXATION OF REVOKED TAX-EXEMPT ORGANIZATIONS: THE SYNANON CASE 1. Background When attorney Paul Morantz discovered the hard way that a four-foot rattlesnake was residing in his mailbox one day in October 1978, he had more pressing concerns than to wonder about the possible income tax implications of the event. Although he immediately might have suspected that his representation of two former Synanon members in a lawsuit against the Synanon Church, then recognized as an IRC...»

«Top 5 Good Housekeeping Anti Aging Products Coleta Stewart Perfect Peels http://www.perfectpeels.com Top 5 Good Housekeeping Anti Aging Products NOTICE: You DO NOT Have the Right to Reprint, Edit, Copy or Resell this Report! This is a FREE Report. You DO have the Right to give away this report to others who may benefit from it, as long as you DO NOT alter it or misrepresent it.Share it With Others By: BLOGGING ABOUT IT POSTING IT ON FACEBOOK TWEET ABOUT IT Copyright © PerfectPeels.com...»

«BEFORE THE ARKANSAS WORKERS’ COMPENSATION COMMISSION CLAIM NO. F613701 YOLANDA E. COLEMAN CLAIMANT DILLARD’S, INC. RESPONDENT EMPLOYER FIDELITY & GUARANTY INSURANCE CO. RESPONDENT CARRIER ORDER AND OPINION FILED MARCH 29, 2010 Hearing before Administrative Law JUDGE LINDA K. MARSHALL. Claimant represented by the HONORABLE PHILIP M. WILSON, Attorney at Law, Little Rock, Arkansas. Respondents represented by the HONORABLE MICHAEL C. STILES, Attorney at Law, Little Rock, Arkansas. STATEMENT OF...»

«NOT DESIGNATED FOR PUBLICATION No. 113,060 IN THE COURT OF APPEALS OF THE STATE OF KANSAS DARIO LOZANO, Appellant, v. OSCAR ALVAREZ, ARACELY ALVAREZ, Appellees. MEMORANDUM OPINION Appeal from Ford District Court; VAN Z. HAMPTON, judge. Opinion filed October 2, 2015. Affirmed. Peter J. Antosh, of Garcia & Antosh, LLP, of Dodge City, for appellant. Andrew M. Stein, of Doll Law Firm, LLC, of Dodge City, for appellees. Before GREEN, P.J., HILL, J., and TIMOTHY G. LAHEY, District Judge, assigned....»





 
<<  HOME   |    CONTACTS
2016 www.theses.xlibx.info - Theses, dissertations, documentation

Materials of this site are available for review, all rights belong to their respective owners.
If you do not agree with the fact that your material is placed on this site, please, email us, we will within 1-2 business days delete him.