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Adobe after effects cs4 manual pdf free download
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A color depth of 32 bpc also reduces quantization errors during calculations in your compositions, reducing the possibility of unwanted artifacts in the final rendered file. Choosing a working space allows you to composite footage and graphics using a common color space that is different from the color characteristics of your monitor.
Select Linearize Working Space. The Linearize Working Space option allows the project working space to have a tone response of 1. This option is only recommended for bpc or bpc projects, as specified in the Depth menu.
The Blend Colors Using 1. Check Compensate For Scene-referred Profiles. You are now ready to import footage and create compositions using a color-managed project in After Effects. Step 2: Import footage, including graphics After you have created your After Effects project, you are ready to import and work with footage from other sources.
In some cases, footage that you import will have embedded ICC color profiles. Examples of this case may be film sequences encoded in the TIFF format.
In other cases, footage will not have an embedded ICC profile. In these cases, you can assign an ICC profile in the Interpret Footage dialog box to define the color and tone characteristics of the footage, and then bring that footage into the After Effects project for accurate color viewing and compositing.
Click the Color Management tab. The Interpret Footage dialog box allows you to select an ICC profile to define the color and tone of your footage. You may choose one of the film stock-specific profiles available in the Assign Profile menu.
These profiles may provide a more accurate re of colors captured on specific film stocks. However, color conversions from film stock specific profiles may produce color-channel crosstalk and negative values.
For non-cineon raster and vector files: If the file has an embedded profile, that profile is the default profile used by After Effects when the file is imported into the After Effects project. If the file does not have an embedded profile, choose a profile that is appropriate for the image. A common choice for 8-bit images without embedded profiles is srgb IEC For more information on color spaces, see Appendix A: Color spaces and color management.
Figure 3 – Interpret Footage Cineon files scanned from negative film stock Step 3: Simulate output for theater projection As mentioned above, After Effects uses color management to compensate for the unique color characteristics of your monitor, displaying the color values in your compositions accurately. Color management also allows you to preview how colors will appear when they reach their final device. This kind of output simulation of final color can be executed using Simulate Output commands in the View menu.
Once you have selected Universal Camera Film to Kodak from the Simulate Output menu, After Effects uses this setting to adjust display colors to approximate colors as they will look when filmed out and projected.
The Custom Output Simulation dialog box allows you to select a wider range of commonly-used film stocks to use for simulation. Choose the negative film stock from the Output Profile menu that represents the film stock used to capture scenes. This film stock will be used as a basis for colors sent to the film recorder during film-out.
Choose the print stock you will be using for final theatrical distribution from the Simulation Profile menu. Note that the Preserve RGB option is selected. Colors are not converted from the output profile to the simulation profile; output colors are reinterpreted using the simulation profile.
After choosing these film and print stocks, type a name appropriate for this setup in the Name box. The name of this custom output simulation setup appears above the Custom command in the Simulate Output menu. Figure 6 – Custom Output Simulation dialog box settings for film-out workflow Step 4: Optional Edit imported footage and graphics in Photoshop In some cases, imported graphics may require editing in Photoshop.
Select North America General Purpose 2 from the Settings menu this setting is the default, so it should be selected already. This Color Setting recognizes ICC profiles already embedded in images and embeds profiles when saving to file formats that support embedding ICC profiles.
Select the footage you would like to edit in the After Effects Project panel. This should be the same profile you selected in the After Effects Interpret Footage dialog box see step 2 of this workflow, above.
This allows you to use the Universal Camera Film Printing Density profile without the time-consuming step of assigning the profile to each file in your image sequence.
This is expected. The maximum luminance in your Cineon image is being scaled to the maximum luminance value of your monitor, as defined by your monitor s ICC profile. This luminance scaling preserves highlight tones but makes non-overbright values relatively dark.
Use the Photoshop proofing controls to enable a more realistic and usable rendering of the image to screen.
Choose Absolute Colorimetric from the Rendering Intent menu. The absolute colorimetric rendering to the ProPhoto RGB color space will render mid-tone values more accurately. However, highlight values may be clipped to your monitor color space and may not appear as they will when printed back to negative film stock. If you wish to save this proofing condition for later use, you can do so by clicking Save, naming the proof condition, and saving it to disk.
If the file you open in Photoshop does not have an embedded profile, Photoshop will use its working space srgb IEC for the North America General Purpose 2 color setting to define the color appearance of the RGB values.
Make sure that the Embed Color Profile option is selected in the Save dialog box. Note: If you are using formats that do not support embedded ICC profiles, it may be difficult to create an appearance match with After Effects for those files.
See the sidebar for more details. Step 5: Output files After you have made compositions in After Effects, it s time to output files using the render queue. The compositions are now in the linear-encoded working color space defined in the Project Settings dialog box. However, you probably don t want to output files with this linear encoding. You likely want to output to the log-encoded Cineon format for film-out or to highdefinition TV colors for video dailies or video distribution.
This will be the default. This will leave color values unchanged on output. For HD video dailies, use the Color Profile Converter effect to bake in film looks and convert colors for accurate playback of those film looks on HD monitors. See Step 6: Use the Color Profile Converter effect for color transforms for a description of this workflow.
This format and color space have been specified by the DCI Digital Cinema Initiative for the distribution of digital content for digital projection. An example of this kind of transform is adjusting Cineon files to colors that approximate the appearance of final filmed-out files that are printed and shown in the theater.
It would be helpful to bake this type of look into files being used for high-definition HD digital dailies or the distribution of digital content for digital projection. These types of color transforms can be achieved using the Color Profile Converter effect in After Effects. Apply the Color Profile Converter effect to the new adjustment layer. The second effect interprets these values as they would appear printed on theatrical distribution film stock Kodak and converted back to your project working space.
The appearance of the projected film in the theater is now baked into your footage. Figure 1 – Animation color workflow using Flash output formats This workflow uses the srgb IEC color space as the common color space for compositing animated layers.
On a calibrated and profiled monitor, you can accurately view srgb IEC colors to ensure that colors are correctly rendered using the srgb IEC color space. Workflow overview This workflow takes you through the following steps: 1 Setting up the After Effects project. Even though a project may be rendered and output to 8 bits per channel, the additional pixel information will protect against unwanted and unnecessary quality loss in final output.
This option can also be set in the Color Settings dialog box in Photoshop to create an appearance match with After Effects. Enter 1. Choosing a working color space allows you to convert the colors of imported graphics into a common color space for compositing.
In most cases, the imported graphics will have been created using the srgb IEC color space and have an embedded srgb IEC profile. In this case, the color values will not be converted into the working space, because they are already defined using the srgb IEC profile. In cases where the embedded color profile for an imported graphic differs from the project working space, colors will be converted from the color space of the embedded profile to the project working space. This preserves the color appearance of the imported graphic.
You are now ready to import graphics and create compositions using a color-managed project in After Effects. Step 2: Import footage, including graphics After you have created your After Effects project, you are ready to import and work with raster images or vector graphics from other sources.
In some cases, files that you import will have embedded ICC profiles; examples of this case may be still images created or edited using Photoshop. In these cases, you can import the graphics confident that you will see colors as the producer of the graphics originally intended. In these cases, you can assign an ICC profile in the Interpret Footage dialog box and bring that graphic into the After Effects project for accurate color viewing and compositing.
After Effects will assign the srgb IEC profile to graphics that do not have an embedded profile, so direct assignment of the profile in the Interpret Footage dialog box is not necessary in this particular workflow.
The Interpret Footage dialog box allows you to assign an ICC profile to define the color appearance of your footage, independent from the color characteristics of your monitor or working space. Step 3: Optional Edit imported images in Photoshop In some cases, imported image files may require editing in Photoshop. Using color management allows you to maintain color appearance as you switch between After Effects and Photoshop. Photoshop color settings The Photoshop CS4 color settings may not be in the default state on your computer.
The default setting is North America General Purpose 2. Figure 4 – Photoshop Save dialog box with Embed Color Profile option selected Step 4: Optional Simulate final output In some cases, you may want to create a Flash animation project and output to different types of display technologies, like standard-definition TV or computer monitors.
Output simulation options allow you to preview colors as they will appear in these output conditions. In addition to previewing output to different display technologies, the output simulation options also allow you to preview how a composition will appear on Macintosh systems using a tone response gamma of 1.
This preset is helpful if you wish to view how colors will appear in non-color-managed applications using a display with a 1. This is a common condition for web pages displayed on Macintosh computers. This preset is helpful if you wish to view how colors will appear in non-color-managed applications using a display with a 2.
This is a common condition for web pages displayed on computers running Windows. You will not see much change if you choose this option. This workflow uses the srgb IEC working space, which has a gamma of 2. This option turns off color transformations from your working color space to your monitor.
It is normally useful to have color management convert colors to your monitor color space; this conversion corrects for the unique characteristics of your display, allowing you to view color consistently with colleagues who may have monitors whose characteristics differ from your own. Prepare it renders in adobe manual is filled with that?
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