Color depth (or bit depth) is the number of bits per channel (bpc) used to represent the color of a pixel. The more bits for each RGB channel (red, green, and blue), the more colors each pixel can represent. In After Effects, you can work in 8-bpc, 16-bpc, or 32-bpc color.

In addition to color bit depth, a separate characteristic of the numbers used to represent pixel values is whether the numbers are integers or floating-point numbers. Floating-point numbers can represent a much larger range of numbers with the same number of bits. In After Effects, 32-bpc pixel values are floating-point values.

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8-bpc pixels can have values for each color channel from 0 (black) to 255 (pure, saturated color). 16-bpc pixels can have values for each color channel from 0 (black) to 32,768 (pure, saturated color). If all three color channels have the maximum, pure-color value, the result is white. 32-bpc pixels can have values under 0.0 and values over 1. Install Microsoft Arc Mouse here. 0 (pure, saturated color), so 32-bpc color in After Effects is also high dynamic range (HDR) color. HDR values can be much brighter than white. The dynamic range (ratio between dark and bright regions) in the physical world far exceeds the range of human vision and of images that are printed on paper or displayed on a monitor. Low dynamic range 8-bpc and 16-bpc color values can represent RGB levels only from black to white, which is only a small segment of the dynamic range in the real world.

High dynamic range (HDR), 32-bpc floating-point color values can represent brightness levels much greater than white, including objects as bright as a flame or the Sun. Set the project color depth to 32 bpc to work with HDR footage or to work with over-range values—values above 1. Lego Creator Game Mac. 0 (white) that aren’t supported in 8- or 16-bpc mode. Over-range values preserve the intensity of highlights, which is as useful for synthetic effects such as lights, blurs, and glows as it is for working with HDR footage.

The headroom provided by working in 32 bpc prevents many kinds of data loss during operations such as color correction and color profile conversion. Even if you’re using 8-bpc footage and are creating movies in 8-bpc formats, you can obtain better results by having the project color depth set to 16 bpc or 32 bpc. Working in a higher bit depth provides higher precision for calculations and greatly reduces quantization artifacts, such as banding in gradients. You can use the HDR Compander effect to compress the dynamic range of a layer with an HDR footage item as its source. In this way, you can use tools that don’t support HDR color, such as 8-bpc and 16-bit effects. When you’re done, use the HDR Compander to undo the dynamic range compression. The HDR Highlight Compression effect lets you compress the highlight values in an HDR image so that they fall within the value range of a low dynamic range image.

Because we can see only a subset of the luminance values in a real-world scene in an HDR image on a monitor, it is sometimes necessary to adjust the exposure—the amount of light captured in an image—when working with an HDR image. Adjusting the exposure of an HDR image is like adjusting the exposure when photographing a scene in the real world, allowing you to bring detail out of dark or bright areas. You can use the Exposure effect to change the color values of a layer for final output, or you can just adjust the exposure in a specific viewer for preview purposes. In many contexts, you can click an eyedropper button to activate the eyedropper tool, or you can click a color swatch to open a color picker.

If you use the Adobe Color Picker, you can also activate the eyedropper from the Adobe Color Picker dialog box. If you click a gradient swatch ( Linear Gradient or Fill Gradient) for a stroke or fill in a shape layer, the Adobe Color Picker opens as the Gradient Editor, with additional controls for editing gradients included at the top of the dialog box. You can also click Edit Gradient in the Timeline panel to open the Gradient Editor. Andrew Devis shows how to modify gradient fills and strokes for shape layers, plus other options, in a video on the. • You need to make it seem as if multiple footage items were shot under the same conditions so that they can be composited or edited together. • You need to adjust the colors of a shot so that it seems to have been shot at night instead of day.