After Effects: Insight into Effects
Illustration by John Hersey

After Effects: Insight into Effects

with Chris Meyer and Trish Meyer

Video: Hue/Saturation tips

Hue/Saturation may seem like one of the most obvious effects in After Effects: adjust the hue and the saturation of a layer in addition to its lightness. However, there are two additional uses for Hue/Saturation you may not have been aware of. One, you can use it to colorize an image, give it a color tint. Secondly, you can select a specific range of colors to adjust the hue or saturation of, rather than do the whole image. You can do selective color correction with this effect. It's also not the most obvious thing to keyframe.
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  1. 2m 6s
    1. Welcome
      2m 6s
  2. 7m 27s
    1. The Effects & Presets panel: finding effects
      2m 42s
    2. The Effects & Presets panel: animation presets
      4m 45s
  3. 1h 24m
    1. Bilateral Blur
      5m 30s
    2. Box Blur
      5m 33s
    3. CC Vector Blur
      6m 18s
    4. Creative Channel Blur
      2m 2s
    5. Corrective Channel Blur
      1m 47s
    6. The pros of Compound Blur
      4m 35s
    7. The cons of Compound Blur
      3m 3s
    8. Directional Blur
      2m 35s
    9. Fast Blur and Gaussian Blur
      5m 16s
    10. Lens Blur: iris effects
      6m 17s
    11. Lens Blur: depth maps
      4m 41s
    12. Overview of Radial Blurs
      4m 16s
    13. Radial Blurs shootout
      3m 29s
    14. Reduce Interlace Flicker
      4m 12s
    15. Corrective Smart Blur
      4m 26s
    16. Creative Smart Blur
      7m 40s
    17. Unsharp Mask theory
      5m 5s
    18. Unsharp Mask and Sharpen
      3m 59s
    19. Unsharp Mask power tips
      4m 14s
  4. 41m 5s
    1. Overview of Calculations
      3m 55s
    2. Creative Calculations
      3m 32s
    3. CC Composite
      4m 54s
    4. Overview of Channel Combiner
      2m 49s
    5. Channel Combiner and color space
      3m 56s
    6. Channel Combiner and transparency
      4m 0s
    7. Remove Color Matting
      4m 24s
    8. Set Matte vs. Track Mattes
      6m 45s
    9. Set Channels and Shift Channels
      2m 0s
    10. Solid Composite
      4m 50s
  5. 1h 1m
    1. Auto Color vs. Auto Levels
      6m 21s
    2. Auto Contrast vs. Auto Levels
      4m 44s
    3. Channel Mixer
      5m 34s
    4. Corrective Color Balance
      8m 15s
    5. Creative Color Balance
      3m 19s
    6. Color Stabilizer
      4m 51s
    7. Overview of Colorama
      7m 40s
    8. Tinting with Colorama
      5m 48s
    9. Colorama and color cycling
      3m 12s
    10. Hue/Saturation tips
      5m 4s
    11. Hue/Saturation vs. Color Balance
      2m 17s
    12. Tint vs. Tritone
      4m 34s
  6. 14m 40s
    1. Compound effects
      5m 43s
    2. Repeat Edge Pixels
      2m 12s
    3. Grayscale shootout
      6m 45s

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Watch the Online Video Course After Effects: Insight into Effects
3h 31m Intermediate Jul 30, 2009

Viewers: in countries Watching now:

After Effects: Insight into Effects was created and produced by Trish and Chris Meyer. We are honored to host their material in the lynda.com Online Training Library®.

After Effects gurus Chris and Trish Meyer share their real-world insight into how to get the most out of the effects that come bundled with this popular software. After Effects: Insight into Effects covers their favorite effects, hidden gems, optimal parameter ranges, "gotchas" to avoid, and alternative effects to consider. Among other tidbits, this course also contains "special topic" movies that pertain to more than one effect, demonstrate how to use After Effects more efficiently, and compare different effects to try in order to achieve a desired creative result. After Effects: Insight into Effects is recommended for all After Effects users, regardless of which version they use. This ongoing series that will be updated with new movies on a regular basis.

This course was recorded using After Effects CS4, but it contains many timeless concepts and effects. After Effects: Insight into Effects is recommended for all After Effects users, regardless of which version they use. This is an ongoing series that will be updated with new movies on a regular basis.

Subject:
Video
Software:
After Effects
Authors:
Chris Meyer Trish Meyer

Hue/Saturation tips

Hue/Saturation may seem like one of the most obvious effects in After Effects: adjust the hue and the saturation of a layer in addition to its lightness. However, there are two additional uses for Hue/Saturation you may not have been aware of. One, you can use it to colorize an image, give it a color tint. Secondly, you can select a specific range of colors to adjust the hue or saturation of, rather than do the whole image. You can do selective color correction with this effect. It's also not the most obvious thing to keyframe.

I'll show you that as well. So let's dive in. Here's a colorful piece of footage that I'll apply Hue/Saturation to. Effect > Color Correction > Hue/Saturation. Initially, it's very straightforward. You could Hue-Shift the entire image. Take it to like an alien landscape. You can add saturation to the whole thing, making a very beautiful blue sky, very deep red rocks or desaturate it to a more of a black and white image.

We'll discuss ways of creating black and white in a separate special topics movie and of less use there is indeed a Master Lightness control. This kind of brightens or darkens the whole thing as a group. It's not as nice of an adjustment as using Levels and particularly Gamma. So we'll leave that alone. However, there is more that this effect can do. For one there is this Colorize checkbox. When you colorize, you are no longer Hue-Shifting the image; you're picking a hue to tint the image.

So this becomes sort of a tritone or a tint or some form of color filter. There is saturation amount or desaturated, and again you still have some lightness and darkness, while it's not of much use. So it becomes another way of colorizing your footage to give it more of a monochromatic but not black and white look. I'll turn Colorize off. Another great hidden feature inside Hue/ Saturation is this Channel Control popup. Normally, you're adjusting the Master, all of the colors together; however, you can isolate a Color Range change.

For example, say that we just wanted to alter this sky. I'll pick the Blues and you'll now see I have little triangles and marks saying I'm going to adjust the colors just between these two vertical bars, feathering off to the color range off to where these triangles are. One of the first things you'll notice is what you call blue may not necessarily be blue. This is actually more of a cyan color range for the sky. Now that I have the sky isolated, I can add saturation just to the sky to get a much richer, more intense sky without altering the red of the rocks, before and after or I can Hue-Shift just that sky.

I can take into much more purple-y tones, for example. Again, without altering the other colors, the green trees or the red rocks. I'll reset and let's say I want to adjust just the red rocks. So I'll pick the red range, and again, increase just their saturation and maybe give them a little bit of color shift, either more towards a yellowish sand or more towards a very intense red, almost Mars landscape. I'll zero out the Hue-Shift for now. Now you can adjust the color range yourself.

You don't need to rely on just this popup. For example, say that I wanted to extend my saturation increase to include the green trees as well. I'll go ahead and pull this feather region off so that it fades out by the time I get to the blue sky and say include all those trees and all that yellowish foliage in with the rocks. I can desaturate them, keep just the blue sky and desaturate the rest of the image. We'll add saturation to these elements while leaving the sky the same, before and after.

So I find Hue/Saturation and its Channel Control to be absolutely essential when it comes time to color correct footage selectively. It's one of my favorite, most versatile effects. One of the things we want to throw in keyframing this effect is there is no areas in stopwatches for Lightness, Saturation or Hue. Does that mean you can't keyframe this effect? Well, not exactly. By keyframing Channel Range, you're actually keyframing all of these parameters underneath, one keyframe for the entire effect.

In some ways, that's handy. In a lot of ways, it's not. You don't have quite such a fine control to keyframe them individually,and more importantly, you cannot reach these individual parameters with expressions. They are all bundled into one mega effect. So this is a little bit disappointing, but if you ever wanted to know how to keyframe it, there is indeed the stopwatch. It's Channel Range. It controls the whole effect. Now you might have noticed, there is another effect with Hue, Lightness and Saturation in its name. Is it the same? Is it better? Not really.

I'll cover that in the next movie.

There are currently no FAQs about After Effects: Insight into Effects.

 
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