• Viewing an image’s size and resolutionViewing an image’s size and resolution

    1 Click on the tab of the image of the barn, ps0401.psd, to make it active. Press Alt (Windows) or Option (Mac OS) and click the file information area in the status bar, located in the lower-left corner of the document window. The dimensions of the barn image is displayed as 885 pixels wide by 542 pixels tall and the Resolution is 72 Pixels/inch. 2...

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  • Adobe Creative Suite 5 Design Premium Digtal ClassroomAdobe Creative Suite 5 Design Premium Digtal Classroom

    Table of Contents Starting Up Bridge Lesson 1: Using Adobe Bridge Photoshop Lesson 1: Exploring Photoshop Photoshop Lesson 2: Getting to Know the Workspace Photoshop Lesson 3: The Basics of Working with Photoshop Photoshop Lesson 4: Making the Best Selections Photoshop Lesson 5: Painting and Retouching Photoshop Lesson 6: Creating a Good Image Drea...

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  • Climate and the EnvironmentClimate and the Environment

    Smoke Trails, Plumes, and More Many effects, including smoke trails, don’t require particle generation in order to be re-created faithfully. This example shows how, with a little creativity, you can combine techniques in After Effects to create effects that you might think require extra tools. Initial setup of such an effect is simply a matter of s...

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  • Appendix Scripting CS5Appendix Scripting CS5

    User Interface When you want to provide control over the behavior of a script, some form of a user interface is needed. It can be a fl oating panel with settings to customize, or simply a prompt dialog with OK and Cancel buttons. This section gives an overview of ScriptUI, the module that provides user interface controls and functionality for a scr...

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  • Color Fidelity: Management, Depth, LUTsColor Fidelity: Management, Depth, LUTs

    Color and light would seem to be arbitrary, and the idea that they could be measured and made consistent as a source image works its way from camera to output seems ludicrous and even undesirable. While it’s true that your goal is rarely if ever the one set out at the beginning of the chapter—to make output match source exactly—there are stages alo...

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  • Effects Compositing EssentialsEffects Compositing Essentials

    Note that the boundaries don’t really matter here. Capturing most of the foreground monitor, including its edges and even a bit of what’s behind it, is fi ne. 6. Now track the shot, fi rst forward to the end of the clip, then drag back to the beginning of the blue line of tracked frames and track backward to the opening of the shot. Note that mocha...

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  • ExpressionsExpressions

    Expressions are cool. You can use them to create amazing procedural effects that would otherwise be impossible (or at least impractical). You can also use them to create complex relationships between various parameters. Unfortunately, many After Effects users are afraid of expressions. Don’t be. The fact that you’re reading this chapter indicates t...

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  • Color KeyingColor Keying

    The clip from Figure 6.27 can be garbage matted procedurally in this manner. Just as with the cmatte, create a hard, chewy matte that pushes all of the background pixels to black and the foreground to white. Now spread that matte using one of the following methods. Simple Choker allows you to spread the alpha channel using a negative number. You ca...

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  • Eff ects Compositing EssentialsEff ects Compositing Essentials

    Midtones and highlights pink (light red). If, instead, you adjust Input Black or Output White inward, the tinting moves in the opposite direction—toward cyan—in the corresponding shadows and highlights. As you probably know, each primary on the digital wheel of color (red, green, or blue) has an opposite (cyan, magenta, or yellow, respectively). As...

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  • Selections: The Key to CompositingSelections: The Key to Compositing

    When you ask After Effects to “guess” how to interpret the footage (on import, by choosing Guess in the Interpret Footage dialog, or pressing Ctrl+Alt+G/Cmd+Opt+G), it looks for sections of uniform color that are mixed into edge pixels, indicating that the correct setting is Premultiplied. Back in Chapter 1, Figure 1.13 presented the same foregroun...

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