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



Pages:     | 1 |   ...   | 14 | 15 || 17 | 18 |   ...   | 103 |

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

-- [ Page 16 ] --

2 Select the camera raw file, and click Open.

3 Make any necessary adjustments in the Camera Raw dialog box, and click OK.

You can adjust a camera raw image after importing it. To open the image in the Camera Raw dialog box, select the footage item in the Project panel, choose File Interpret Footage Main, and click More Options.

Note: You can’t assign an input color profile to a camera raw image for use in a color-managed project. For information on how colors are automatically interpreted, see “Interpret a footage item by assigning an input color profile” on page 245.

See also “Import a single still image or a still-image sequence” on page 81 “Color management” on page 241

–  –  –

Note: Some controls, such as the Workflow Options link, that are available when you open the Camera Raw dialog box from Adobe Bridge or Photoshop are not available when you open the Camera Raw dialog box from After Effects.

Camera Raw Settings menu To open the Camera Raw Settings menu, click the button in the upper-right corner of any of the image adjustment tabs. Several of the commands in this menu are also available from the Edit Develop Settings menu in Adobe Bridge.

Camera Raw view controls Sets the preview zoom to the next higher preset value when you click the preview image. Alt-click Zoom tool (Windows) or Option-click (Mac OS) to use the next lower zoom value. Drag the Zoom tool in the preview image to zoom in on a selected area. To return to 100%, double-click the Zoom tool.

Hand tool Moves the image in the preview window if the preview image is set at a zoom level higher than 100%.

Hold down the spacebar to temporarily activate the Hand tool while using another tool. Double-click the Hand tool to fit the preview image to the window.

Select Zoom Level Choose a magnification setting from the menu or click the Select Zoom Level buttons.

Preview Displays a preview of the image adjustments made in the current tab, combined with the settings in the other tabs. Deselect to show the image with the original settings of the current tab combined with the settings in the other tabs.

RGB Shows the red, green, and blue values of the pixel under the pointer in the preview image.

Shadows and Highlights Displays shadow and highlight clipping. Clipped shadows appear in blue, and clipped highlights appear in red. Highlight clipping is shown if any one of the three RGB channels is clipped (fully saturated with no detail). Shadow clipping is shown if all three RGB channels are clipped (black with no detail).

Image adjustment tabs Basic Adjust white balance, color saturation, and tonality.

Tone Curve Fine-tune tonality using a Parametric curve and a Point curve.

Detail Sharpen images or reduce noise.

HSL / Grayscale Fine-tune colors using Hue, Saturation, and Luminance adjustments.

Split Toning Color monochrome images or create special effects with color images.

Lens Corrections Compensate for chromatic aberration and vignetting caused by the camera lens.

Camera Calibration Correct a color cast in the shadows and adjust non-neutral colors to compensate for the difference between the behavior of your camera and the Camera Raw profile for your camera model.

Presets Save and apply sets of image adjustment settings as presets.

–  –  –

Note: The Camera Raw cache holds data for about 200 images for each gigabyte of disk storage allocated to it. By default, the Camera Raw cache is set to a maximum size of 1 GB. You can increase its limit in the Camera Raw preferences.

1 In Adobe Bridge, choose Edit Camera Raw Preferences (Windows) or Bridge Camera Raw Preferences (Mac OS), or, with the Camera Raw dialog box open, click the Open Preferences Dialog button.

2 Do any of the following:

• To change the cache size, enter a Maximum Size value.

• To purge the camera raw cache, click the Purge Cache button.

• To change the location of the camera raw cache, click Select Location.

Navigating, opening, and saving images with Camera Raw Process, compare, and rate multiple images in Camera Raw The most convenient way to work with multiple camera raw images is to use the Filmstrip view in Camera Raw, which opens by default when you open multiple images in Camera Raw from Adobe Bridge.

Images can have three states in Filmstrip view: deselected, selected (but not active), and active (also selected). In general, adjustments are applied to all selected images.

You can also synchronize settings to apply settings from the active image to all selected images. You can quickly apply a set of adjustments to an entire set of images—such as all shots taken under the same conditions—and then do finetuning on the individual shots later, after you’ve determined which you’ll use for your final output.

• To select an image, click its thumbnail. To select a range of images, Shift-click two thumbnails. To add an image to a selection, Ctrl-click (Windows) or Command-click (Mac OS) its thumbnail.

• To change which image is active without changing which images are selected, click a navigation arrow at the bottom of the preview pane.

• To apply settings from the active image to all selected images, click the Synchronize button at the top of the Filmstrip pane and choose which settings to synchronize.





• To apply a star rating, click a rating under the image thumbnail.

• To mark selected images for deletion, click Mark For Deletion.

A red cross appears in the thumbnail of an image marked for deletion. The file is sent to the Recycle Bin (Windows) or Trash (Mac OS) when you close the Camera Raw dialog box. (If you decide to keep an image that you marked for deletion, select it in the Thumbnail pane and click Mark For Deletion again, before you close the Camera Raw dialog box.)

–  –  –

• To process JPEG or TIFF images in Camera Raw, select one or more JPEG or TIFF files in Adobe Bridge, and then choose File Open In Camera Raw or press Ctrl+R (Windows) or Command+R (Mac OS). When you finish making adjustments in the Camera Raw dialog box, click Done to accept changes and close the dialog box. You can specify whether JPEG or TIFF images with Camera Raw settings are always opened in Camera Raw in the JPEG and TIFF Handling section of the Camera Raw preferences. You can also specify that JPEG and TIFF images are opened in Camera Raw in the Thumbnail section of the Bridge preferences and the File Handling section of the Photoshop preferences.

• To import camera raw images in Photoshop, select one or more camera raw files in Adobe Bridge, and then choose File Open With Photoshop CS3. (You can also choose File Open In Photoshop, and browse to select camera raw files.) When you finish making adjustments in the Camera Raw dialog box, click Open to accept changes.

Press Shift while clicking Open to open the image as a Smart Object in Photoshop. At any time, you can doubleclick the Smart Object layer that contains the raw file to adjust the Camera Raw settings.

Shift-double-click a thumbnail in Adobe Bridge to open a camera raw image in Photoshop without opening the Camera Raw dialog box. Hold down Shift while choosing File Open to open multiple selected images.

• To import camera raw images in After Effects using Adobe Bridge, select one or more camera raw files in Adobe Bridge, and then choose File Place In After Effects. (You can also choose a File Import command in After Effects and browse to select camera raw files.) When you finish making adjustments in the Camera Raw dialog box, click OK to accept changes.

• To import TIFF and JPEG files into After Effects using Camera Raw, select File Import in After Effects, select All Files from the Enable menu (Mac OS) or Files of Type menu (Windows) in the After Effects Import dialog box.

Select the file to import, select Camera Raw from the Format menu, and click Open.

• Placing or dragging image stacks from Adobe Bridge into After Effects imports them as an image sequence. Add an extra bullet specific to importing camera raw files as a sequence into After Effects. Camera Raw settings applied to the first camera raw file upon import are applied to the remaining files in the sequence unless an XMP sidecar file is present for any subsequent file in the sequence. In that case, the settings in the XMP file or in the DNG file are applied to that specific frame in the sequence, all other frames use the settings that the first file in the sequence specifies.

Save a camera raw image in another format You can save camera raw files from the Camera Raw dialog box in PSD, TIFF, JPEG, or DNG formats.

When you use the Save command in the Camera Raw dialog box, files are placed in a queue to be processed and saved. This is useful if you are processing several files in the Camera Raw dialog box and saving them in the same format.

1 In the Camera Raw dialog box, click the Save button in the lower-left corner of the dialog box.

Alt-click (Windows) or Option-click (Mac OS) Save to suppress the Camera Raw Save Options dialog box when saving a file.

2 In the Save Options dialog box, specify the following options:

Destination Specifies where to save the file. If necessary, click the Select Folder button and navigate to the location.

–  –  –

Format options Digital Negative Saves a copy of the camera raw file in the DNG file format.

• Compressed (lossless) Uses lossless compression, meaning that no information is lost while reducing the file size.

• Convert To Linear Image Stores the image data in an interpolated (demosaiced) format. The resulting interpolated image can be interpreted by other software even if that software does not have a profile for the digital camera that captured the image.

• Embed Original Raw File Stores all of the original camera raw image data in the DNG file.

• JPEG Preview Embeds a JPEG preview in the DNG file. If you decide to embed a JPEG preview, you can choose the preview size. If you embed JPEG previews, other applications can view the contents of the DNG file without parsing the camera raw data.

JPEG Saves copies of the camera raw files in JPEG (Joint Photographic Experts Group) format. To specify the amount of compression, enter a value from 0 to 12 or choose from the menu. Entering a higher value, or choosing High or Maximum, applies less compression and increases file size and image quality. JPEG format is commonly used to display photographs and other continuous-tone images in web photo galleries, slideshows, presentations, and other online services.

TIFF Saves copies of the camera raw files as TIFF (Tagged-Image File Format) files. Specify whether to apply no compression, or LZW or ZIP file compression. TIFF is a flexible bitmap image format supported by virtually all paint, image-editing, and page-layout applications. TIFF provides greater compression and compatibility with other applications than does PSD format.

Photoshop Saves copies of the camera raw files in the PSD file format. You can specify whether to preserve cropped pixel data in the PSD file.

Adjusting color in Camera Raw Using histogram and RGB levels in Camera Raw A histogram is a representation of the number of pixels at each luminance value in an image. A histogram that has nonzero values for each luminance value indicates an image that takes advantage of the full tonal scale. A histogram that doesn’t use the full tonal range corresponds to a dull image that lacks contrast. A histogram with a spike at the left side indicates shadow clipping; a histogram with a spike on the right side indicates highlight clipping.

Select Shadows or Highlights to see, in the preview image, which pixels are being clipped. For more information, see “Preview highlight and shadow clipping in Camera Raw” on page 95.

–  –  –

Note: You can also use the Color Sampler tool to place up to nine color samplers in the preview image. The RGB values appear above the preview image. To remove a color sampler, Alt-click (Windows) or Option-click (Mac OS) it. To clear the color samplers, click Clear Samplers.

The Camera Raw dialog box displays the RGB values of the pixel under the pointer.

Preview highlight and shadow clipping in Camera Raw Clipping occurs when a pixel’s color values are higher than the highest value or lower than the lowest value that can be represented in the image; overbright values are clipped to output white, and overdark values are clipped to output black. The result is a loss of image detail.

• To see which pixels are being clipped with the rest of the preview image, select Shadows or Highlights options beneath the histogram.

• To see only the pixels that are being clipped, press Alt (Windows) or Option (Mac OS) while dragging the Exposure, Recovery, or Black sliders.

For highlights, pixels that are clipped in all color channels appear white. For shadows, pixels that are clipped in all color channels appear black. Clipping in one or two channels is shown by the primary color (red, green, blue) or a combined color (cyan, magenta, yellow).

Note: In some cases, clipping occurs because the color space that you are working has a gamut that is too small. If your colors are being clipped, consider working in a color space with a large gamut, such as ProPhoto RGB.

–  –  –

The Basic tab in the Camera Raw dialog box has three controls for correcting a color cast in an image:

White Balance Camera Raw applies the white balance setting and changes the Temperature and Tint properties in the Basic tab accordingly. Use these controls to fine-tune the color balance.

• As Shot Uses the camera’s white balance settings, if they are available.

• Auto Calculates the white balance based on the image data.

Note: If Camera Raw doesn’t recognize the white balance setting of a camera, choosing As Shot is the same as choosing Auto.



Pages:     | 1 |   ...   | 14 | 15 || 17 | 18 |   ...   | 103 |


Similar works:

«Adjunct Hiring Guide This document was prepared and is maintained by the Office of Academic Affairs Administration Effective Date: November 29, 2011 Introduction This document serves as a reference guide regarding procedures and other requirements to hire adjuncts following state and federal law, university regulations and policies, and other rules. It is updated routinely as new changes are implemented. In that regard, please download the most recent version of the guide, as noted by the...»

«Headquarters, Department of the Army Department of the Army Pamphlet 27-50-378 November 2004 In Memoriam: Chief Warrant Officer Five Sharon T. Swartworth In Memoriam: Sergeant Major Cornell W. Gilmore Article Security Reviews of Media Reports on Military Operations: A Response to Professor Lee Lieutenant Colonel William A. Wilcox, Jr., U.S. Army Reserve TJAGLCS Practice Notes Labor Law Note De Minimis Conditions of Employment: Must Management Always Bargain? Major John N. Ohlweiler Survivor...»

«Metrication Standard Note: SN/SC/4928 Last updated: 18 May 2010 Author: Louise Smith Section Science and Environment Section Units of measurement are subject to European law in order to ensure consistency of measurement across member states and to ensure that the use of different units does not create a barrier to trade or restrict the free movement of goods and services across the European Community. Originally, it was intended that the use of all imperial measures would be phased out, but the...»

«113A AMERICAN BAR ASSOCIATION ADOPTED BY THE HOUSE OF DELEGATES AUGUST 8-9, 2011 RESOLUTION RESOLVED, That the American Bar Association opposes federal or state laws that impose blanket prohibitions on consideration or use by courts or arbitral tribunals of foreign or international law. FURTHER RESOLVED, That the American Bar Association opposes federal or state laws that impose blanket prohibitions on consideration or use by courts or arbitral tribunals of the entire body of law or doctrine of...»

«Am J Crim Just (2015) 40:199–203 DOI 10.1007/s12103-014-9254-6 Current Issues and Controversies in Capital Punishment Tara N. Richards & M. Dwayne Smith Received: 6 June 2014 / Accepted: 6 June 2014 / Published online: 24 June 2014 # Southern Criminal Justice Association 2014 Editorial Introduction It is our pleasure to introduce you to our special issue on “Current Issues and Controversies in Capital Punishment”. Capital punishment continues to be one of the most highly debated and...»

«Legal Protection of the Archeological Cultural Heritage in Mexico María de Lourdes Nicolás Vásquez, Chief Attorney, Legal Section, Monte Alban Archeological Zone, INAH-Centro Regional Oaxaca, Pino Suarez 715, Oaxaca, Oaxaca, 68000 Mexico Abstract (Español; English) En México el estatus legal de áreas protegidas se define por las leyes nacionales y los compromisos operacionales de dependencias federales. A diferencia de EE.UU, México divide la responsibilidad de proteger recursos...»

«Page 1 of 10 Summary of Answ ers to the Essay Part of February 2010 Virginia Bar Exam Prepared by Eric D. Chason, Susan S. Grover, John Levy & J. R. Zepkin of W illiam & M ary Law School, Eric DeGroff & C. Scott Pryor of Regent University School of Law. After each bar exam, the Virginia Board of Bar Exam iners invites representatives from each of the law schools in Virginia to m eet with the Board for a review and discussion of the range of answers the Board will accept for each essay...»

«Do Freedom of Information Laws Decrease Corruption? Samia Costa* December 17, 2009 International organizations have encouraged countries to adopt Freedom of Information (FOI) laws as a means to increase transparency and thus combat corruption. This paper uses the recent introduction of FOI laws in several countries as a natural experiment to determine their effect on corruption perceptions and the quality of governance. Using different corruption perception indices, both at the macroand...»

«IRAN The Cost of Faith Persecution of Christian Protestants and Converts in Iran www.iranhumanrights.org The Cost of Faith Persecution of Christian Protestants and Converts in Iran Copyright © International Campaign for Human Rights in Iran 2013 International Campaign for Human Rights in Iran New York Headquarters Tel: +1 347-463-9517 Fax: +1 347-463-9466 www.iranhumanrights.org The Cost of Faith Persecution of Christian Protestants and Converts in Iran www.iranhumanrights.org The...»

«Save As Prairie Style Gardens Capturing Essence Of American Wherever You Live with easy. Then You can Read eBook Prairie Style Gardens Capturing Essence Of American Wherever You Live file for free PRAIRIE STYLE GARDENS CAPTURING ESSENCE OF AMERICAN WHEREVER YOU LIVE PDF Download: PRAIRIE STYLE GARDENS CAPTURING ESSENCE OF AMERICAN WHEREVER YOU LIVE PDF Digital document prairie style gardens capturing essence of american wherever you live PDF update. So you are person who likes to download...»

«Hoover Press : Berkowitz/Laws hberlw ch3 Mp_69_rev1_page 69 3. Enemy Combatants and the Problem of Judicial Competence John Yoo from the initial returns, one might believe that the 2003–2004 October term of the Supreme Court dealt the Bush administration a defeat in the war on terrorism. Rasul v. Bush held that the federal courts—for the first time—will review the grounds for detaining alien enemy combatants held outside the United States.1 In Hamdi v. Rumsfeld, the justices required...»

«CO-OPERATIVES IN ONTARIO LEGAL REQUIREMENTS Financial Services Commission of Ontario Licensing and Market Conduct Division 5160 Yonge Street, 4th floor P.O. Box 85 Toronto, ON M2N 6L9 Tel: (416) 226-7776 Fax: (416) 226-7838 This guide contains information to help your co-op meet the legal requirements of the Co-operative Corporations Act. It will interest all members, but is especially important for directors. This guide is intended only as a resource for your co-op; it is not meant to replace...»





 
<<  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.