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

-- [ Page 28 ] --

Silhouette modes block out all layers below, so you can cut a hole through several layers at once. To keep the silhouette and stencil blending modes from cutting through or blocking all layers underneath, precompose the layers that you want to affect and nest them in your composition.

Stencil (left) shows all layers below through the frame of the stencil layer’s alpha channel; silhouette (right) cuts a hole through all layers below.

Normal The result color is the source color. This mode ignores the underlying color. This is the default mode.

Dissolve The result color for each pixel is either the source color or the underlying color. The probability that the result color is the source color depends on the opacity of the source. If opacity of the source is 100%, then the result color is the source color. If opacity of the source is 0%, then the result color is the underlying color. Dissolve and Dancing Dissolve do not work on 3D layers.

Dancing Dissolve Same as Dissolve, except that the probability function is recalculated for each frame, so the result varies over time.

Darken Each result color channel value is the lower (darker) of the source color channel value and the corresponding underlying color channel value.

Multiply For each color channel, multiplies source color channel value with underlying color channel value and divides by maximum value for 8-bpc, 16-bpc, or 32-bpc pixels, depending on the color depth of the project. The result color is never brighter than the original. If either input color is black, the result color is black. If either input color is white, the result color is the other input color. This blending mode simulates drawing with multiple marking pens on paper or placing multiple gels in front of a light. When blending with a color other than black or white, each layer or paint stroke with this blending mode results in a darker color.

Color Burn The result color is a darkening of the source color to reflect the underlying layer color by increasing the contrast. Pure white in the original layer does not change the underlying color.

Classic Color Burn The Color Burn mode from After Effects 5.0 and earlier, renamed Classic Color Burn. Use it to preserve compatibility with older projects; otherwise, use Color Burn.

Linear Burn The result color is a darkening of the source color to reflect the underlying color. Pure white produces no change.

Darker Color Each result pixel is the color of darker of the source color value and the corresponding underlying color value. This is similar to Darken, but Darker Color does not operate on individual color channels.

Add Each result color channel value is the sum of the corresponding color channel values of the source color and underlying color. The result color is never darker than either input color.

AFTER EFFECTS CS3 167 User Guide Lighten Each result color channel value is the higher (lighter) of the source color channel value and the corresponding underlying color channel value.

Screen Multiplies the complements of the channel values, and then takes the complement of the result. The result color is never darker than either input color. Using the Screen mode is similar to superimposing two different film negatives and printing the result.

Color Dodge The result color is a lightening of the source color to reflect the underlying layer color by decreasing the contrast. If the source color is pure black, the result color is the underlying color.

Classic Color Dodge The Color Dodge mode from After Effects 5.0 and earlier, renamed Classic Color Dodge. Use it to preserve compatibility with older projects; otherwise, use Color Dodge.

Linear Dodge The result color is a lightening of the source color to reflect the underlying color by increasing the brightness. If the source color is pure black, the result color is the underlying color.

Lighter Color Each result pixel is the color of lighter of the source color value and the corresponding underlying color value. This is similar to Lighten, but Lighter Color does not operate on individual color channels.

Overlay Multiplies or screens the input color channel values, depending on the underlying color. The result preserves highlights and shadows in the underlying layer.

Soft Light Darkens or lightens the color channel values of the underlying layer, depending on the source color. The result is similar to shining a diffused spotlight on the underlying layer. For each color channel value, if the source color is lighter than 50% gray, the result color is lighter than the underlying color, as if dodged. If the source color is darker than 50% gray, the result color is darker than the underlying color, as if burned. A layer with pure black or white becomes markedly darker or lighter, but does not become pure black or white.

Hard Light Multiplies or screens the input color channel value, depending on the original source color. The result is similar to shining a harsh spotlight on the layer. For each color channel value, if the underlying color is lighter than 50% gray, the layer lightens as if it were screened. If the underlying color is darker than 50% gray, the layer darkens as if it were multiplied. This mode is useful for creating the appearance of shadows on a layer.

Linear Light Burns or dodges the colors by decreasing or increasing the brightness, depending on the underlying color. If the underlying color is lighter than 50% gray, the layer is lightened because the brightness is increased. If the underlying color is darker than 50% gray, the layer is darkened because the brightness is decreased.





Vivid Light Burns or dodges the colors by increasing or decreasing the contrast, depending on the underlying color.

If the underlying color is lighter than 50% gray, the layer is lightened because the contrast is decreased. If the underlying color is darker than 50% gray, the layer is darkened because the contrast is increased.

Pin Light Replaces the colors, depending on the underlying color. If the underlying color is lighter than 50% gray, pixels darker than the underlying color are replaced, and pixels lighter than the underlying color do not change. If the underlying color is darker than 50% gray, pixels lighter than the underlying color are replaced, and pixels darker than the underlying color do not change.

Hard Mix Enhances the contrast of the underlying layer that is visible beneath a mask on the source layer. The mask size determines the contrasted area; the inverted source layer determines the center of the contrasted area.

Difference For each color channel, subtracts the darker of the input values from the lighter. Painting with white inverts the backdrop color; painting with black produces no change.

Classic Difference The Difference mode from After Effects 5.0 and earlier, renamed Classic Difference. Use it to preserve compatibility with older projects; otherwise, use Difference.

AFTER EFFECTS CS3 168 User Guide Exclusion Creates a result similar to but lower in contrast than the Difference mode. If the source color is white, the result color is the complement of the underlying color. If the source color is black, the result color is the underlying color.

Hue Result color has luminance and saturation of the underlying color, and the hue of the source color.

Saturation Result color has luminance and hue of the underlying color, and the saturation of the source color.

Color Result color has luminance of the underlying color, and hue and saturation of the source color. This preserves the gray levels in the underlying color. This is useful for coloring grayscale image and for tinting color images.

Luminosity Result color has hue and saturation of the underlying color, and luminance of the source color. This mode is the opposite of the Color mode.

Stencil Alpha Creates a stencil using the layer’s alpha channel.

Stencil Luma Creates a stencil using the layer’s luma values. The lighter pixels of the layer are more opaque than the darker pixels.

Silhouette Alpha Creates a silhouette using the layer’s alpha channel.

Silhouette Luma Creates a silhouette using the layer’s luma values. Creates transparency in painted areas of the layer, allowing you to see underlying layers or background. The luminance value of the blend color determines opacity in the result color. The lighter pixels of the source cause more transparency than the darker pixels. Painting with pure white creates 0% opacity. Painting with pure black produces no change.

Alpha Add Composites layers normally, but adds complementary alpha channels to create a seamless area of transparency. Useful for removing visible edges from two alpha channels that are inverted relative to each other or from the alpha channel edges of two touching layers that are being animated.

Luminescent Premul Prevents clipping of color values that exceed the alpha channel value after compositing by adding them to the composition. Useful for compositing rendered lens or light effects (such as lens flare) from footage with premultiplied alpha channels. May also improve results when compositing footage from other manufacturers’ matting software. When applying this mode, you may get the best results by changing interpretation of the premultiplied-alpha source footage to straight alpha.

Layer styles About layer styles Photoshop provides a variety of layer styles—such as shadows, glows, and bevels—that change the appearance of a layer. After Effects can preserve these layer styles when importing Photoshop layers. You can also apply layer styles in After Effects and animate their properties.

In addition to the layer styles that add visual elements—like a drop shadow or a color overlay—each layer’s Layer Styles property group contains a Blending Options property group. You can use the Blending Options settings for powerful and flexible control over blending operations.

Though layer styles are referred to as effects in Photoshop, they behave more like blending modes in After Effects.

Layer styles follow transformations in the standard render order, whereas effects precede transformations. Another difference is that each layer style blends directly with the underlying layers in the composition, whereas an effect is rendered on the layer to which it’s applied, the result of which then interacts with the underlying layers as a whole.

AFTER EFFECTS CS3 169 User Guide When you import a Photoshop file that includes layers as a composition, you can retain editable layer styles or merge layer styles into footage. When you import only one layer that includes layer styles, you can choose to ignore the layer styles or merge layer styles into footage. At any time, you can convert merged layer styles into editable layer styles for each After Effects layer based on a Photoshop footage item.

After Effects can preserve all layer styles in imported Photoshop files, but you can only add and modify some layer styles and controls within After Effects.

Layer styles that you can apply and edit in After Effects Drop Shadow Adds a shadow that falls behind the layer.

Inner Shadow Adds a shadow that falls inside the layer’s contents, giving the layer a recessed appearance.

Outer Glow Adds a glow that emanates outward from the layer’s contents.

Inner Glow Adds a glow that emanates inward from the layer’s contents.

Bevel And Emboss Adds various combinations of highlights and shadows.

Satin Applies interior shading that creates a satiny finish.

Color Overlay Fills the layer’s contents with a color.

Gradient Overlay Fills the layer’s contents with a gradient.

Stroke Outlines the layer’s contents.

See also “Preparing and importing Photoshop files” on page 83 “Render order and collapsing transformations” on page 115 “How render order and collapsed transformations affect 3D layers” on page 175 Work with layer styles

• To convert merged layer styles into editable layer styles, select one or more layers and choose Layer Layer Styles Convert To Editable Styles.

• To add a layer style to selected layers, choose Layer Layer Styles, and choose a layer style from the menu.

• To remove a layer style, select it in the Timeline panel and press Delete.

• To remove all layer styles from selected layers, choose Layer Layer Styles Remove All.

When a layer style is applied to a vector layer—such as a text layer, a shape layer, or a layer based on an Illustrator footage item—visual elements that apply to the edges of the layer’s contents apply to the outlines of the vector objects, such as text characters or shapes. When a layer style is applied to a layer based on a non-vector footage item, the layer style applies to the edges of the layer’s bounds or masks.

You can apply a layer style to a 3D layer, but a layer with a layer style can’t intersect with other 3D layers or interact with other 3D layers for casting and receiving shadows. 3D layers on either side of a layer with a layer style can’t intersect one another or cast shadows on one another.

When you use the Layer Convert To Editable Text command on a text layer from a Photoshop file, any layer styles on that layer are also converted to editable layer styles.

AFTER EFFECTS CS3 170 User Guide See also “Preparing and importing Photoshop files” on page 83 “Render order and collapsing transformations” on page 115 “How render order and collapsed transformations affect 3D layers” on page 175 Layer style settings Each layer style has its own collection of properties in the Timeline panel.

Align With Layer Uses the bounding box of the layer to calculate the gradient fill.

Altitude For the Bevel And Emboss layer style, the elevation of the light source above the layer, in degrees.

Choke Shrinks the boundaries of the matte of an Inner Shadow or Inner Glow prior to blurring.

Distance The offset distance for a Shadow or Satin layer style Highlight Mode, Shadow Mode Specifies the blending mode of a bevel or emboss highlight or shadow.

Jitter Varies the application of a gradient’s color and opacity.

Layer Knocks Out Drop Shadow Controls the drop shadow’s visibility in a semitransparent layer.

Reverse Flips the orientation of a gradient.

Scale Resizes the gradient.

Spread Expands the boundaries of the matte prior to blurring.



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