![]() When converting automatically, you simply drag the 16-bit effect into your composition and the values below 0 and above 1.0 are simply clipped. This can happen either automatically or by using the HDR Compander. To work with an 8-bit filter the software needs to convert the bit depth of the imagery from 32-bit to 8-bit. When you place an 8 or 16-bit effect into a 32-bit composition, a yellow triangle warning sign appears in the effects palette, letting you know that some kind of conversion is taking place. However, not all effects in the processing pipeline in After Effects are 32-bit native - just as not all effects were 16-bit native in prior versions. ![]() The ability to pass imagery through several color correction processes and still be able to regain image information makes things quite flexible. This is evident when dealing with combining bright graphics and glows in a much more photographic nature…or introducing more contrast range (traditionally losing black and white detail) and then bringing back to normal. ![]() Motion graphic design also tends to benefit a great deal from 32-bit support. Highlights bloom out beautifully when color correcting in 32-bit and then outputting in 8-bit for broadcast. Color correction - especially when dealing with highlights - is much more flexible and filmic in nature. Certainly the product has been used for such work in the past, but with built-in support for higher bit depth imagery it really opens up the potential for the product.Įven if you’re not working on feature films, the addition of 32-bit support is truly welcomed. This greatly opens up the potential of using After Effects for compositing operations for feature films and other high end output. You can import and export 32-bit OpenEXR, TIFF, and Photoshop files to work with in compositions, as well as import camera RAW files. The Professional edition of After Effects now supports 32-bit processing in compositions, in addition to 16-bit color support. Let’s dive into the major parts of the release….taking a look at it on Apple’s Quad G5 workstation…. While it would have been nice to see new creative features such as improved text handing, better 3D support, and improved masking - yes, I know what I wrote a paragraph earlier but can’t we have it all? - the release is certainly very solid and a big step forward for the application. Integration improvements with Adobe Apps (Bridge and Dynamic Link).32-bit floating point workflow (Professional version).Its not to say there aren’t new creative features in the software, but this release is a major overhaul in both the underlying architecture as well as the user interface. The release of After Effects 7.0 (AE7) is heavily centered on improving workflow and capability for artists. Click on the link to the right to listen. They walk us through the new features, which includes new 32-bit floating point compositing capabilities. ![]() Product Manager for After Effects and David Simons who is the After Effects Engineering Manager. This week’s fxpodcast is with Steve Kilisky, Sr. In this week’s podcast and story, we take a look at the new release of Adobe After Effects and how they bucked this trend. Workflow changes and fixes which help artists get their work done often get left behind. Software developers try to cram as many new effects as possible into their product -after all, it’s those features which lead to sales. ![]()
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