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In After Effects CS5 Essential Training, author Chad Perkins discusses the basic tools, effects, and need-to-know techniques in Adobe After Effects CS5, the professional standard for motion graphics, compositing, and visual effects for video. The course provides an overview of the entire workflow, from import to export, as well as detailed coverage of each stage, including animating text and artwork, adding effects to compositions, working in 3D, and rendering and compressing footage. Exercise files are included with the course.
As we saw earlier in Chapter 6, there is lot of times like with Fractal Noise and a few other effects where you have a grayscale pattern, and you need to add some color to it. So, I kind of want to give you a whiz bang tour through several ways to do that, and I am going to kind of feel like Wizard of Oz here because you've had the "power to colorize" all along. Well, let's first start with Hue/ Saturation and apply that to-- what do we have here? And basically, this is Cell Pattern effect what you're seeing here. This is very much like Fractal Noise. We have the Evolution property. You can click and drag on this and that brings these cells to life, kind of like what we saw with Fractal Noise, again via similar properties.
And with the Hue/Saturation, if we play with Master Hue and Saturation, there aren't any hues here. There is no saturation here so it won't have much of an effect. So, we need to do is check the Colorize box down at the bottom and that allows us to add one color into the mix. So, we could change what that color is by changing the Colorize Hue value. And we can adjust the saturation of that color by using the Colorize Saturation value. And then we also have the Colorize Lightness and I don't recommend using this because it's for the same reason why we don't use Master Lightness, because it brightens every pixel and darkens every pixel, and even with the grayscale pattern a lot of time you don't want to do that.
You're probably better off using Levels or something like that, but that's one way to colorize. I am going to select Hue/ Saturation, delete that. Another way to colorize is by using another effect we've been using. That's Color Balance. We could apply that. We don't have direct control over the colors of blacks and whites. It's same as Hue/Saturation, but we can control those colors in the middle. All the grayscale colors. We can use these Balance values to change the midtone colors. So, again, white and black see the same, but we could colorize those mid values.
I am going to select Color Balance and hit Delete to get rid of that. Think about some new effects. Tint is the simple one. If I apply the Tint effect, basically what it allows us to do is change what black is mapped to and change what white is mapped to. Very simple effect. So, let's say we wanted black to be mapped to-- I'll just click on that color swatch and let's say red, and then we could map white to some other color. Maybe black or a different shade of red, or maybe a blue or what have you. Spiderman's DNA or something.
So, we have some different choices here of how white and black are mapped together. Now I am just going to go ahead and select Tint and hit Delete on that. A little bit more powerful than Tint is an effect called Tritone and that allows us to adjust, the same thing as Tint, the highlights and the shadows. It also gives us midtone values as well that we can play with. So, we'll click on the color swatch for Highlights. And we can take that to something very extreme, maybe like a vibrant green I guess.
And then we could go to the Midtones color swatch, the brown swatch, and we could play around with that color, maybe take this to a deep blue, open up Cell Pattern here, and as we adjust the Evolution you could see how now that kind of looks like cells under some kind of radioactive microscope. I don't know. I am not a scientist, but it looks kind of cool. Now the final colorizing effect that I want to show you is one that we have looked at briefly before and it is very powerful, but I want to cover it a little bit better and that is Colorama.
Go ahead and apply Colorama to these cells and watch them freak out a little bit, 60s style, and then open up the Output Cycle area in Colorama. And we'll get the Use Preset palette dropdown, where there is a series of preset colors. And basically, I didn't mention this before, but essentially what the very complex Colorama does is that it converts all colors of your original layer to black and white and then remaps those color values to a different color.
Now it's all based on this Output Cycle wheel so we could actually grab these values and move them around manually. And we could click and add new colors, but again, this is a very powerful complex deal here. So, for new users I recommend just using this Preset palette. A lot of cool stuff here. You've looked at fire before where it remaps the colors to these cool fiery colors and again, as we move these Evolution values for Cell Pattern, we could see fiery cells coming to life. We could also change this to something like Old Glory.
There is more intense color schemes like Caribbean and the Golden ones. There is also like Moldy and Mossy and stuff like that, so these would go good for mold and fungus, that type of stuff that you can create with the Cell Pattern effect, but in a nutshell those are the four or five ways to colorize. We have Hue/Saturation, Color Balance, Tint, Tritone and Colorama. I am sure there are others, but those are the five that I use primarily.
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