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From the course: After Effects Guru: Color Grading Footage

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Adding vibrance - After Effects Tutorial

From the course: After Effects Guru: Color Grading Footage

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Adding vibrance

“

- The vibrance adjustment is one of the best things about After Effects, because it allows you to target the color that needs it the most. Now, you may find vibrance in some third-party tools, or built into the Lumetri effect, but it is just an essential adjustment that's worth exploring. I also suggest that you consider blending vibrance. It goes a long way into producing natural-looking results. So, if we look at this here, you'll see two different options. In this case, we actually have a couple of things happening. So, we've got the use of vibrance adjustment layers, applying a change, and the use of a track matte. This allowed me to really go after the color quite aggressively. Let me show you what this looks like. So, first up, let's add a new simple adjustment layer. And I'll toss on the Lumetri effect and increase the amount of vibrancy. That really helps bring out the color. Now, while we're at it, we can…

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Contents

• Introduction Introduction
  • Color grading footage in After Effects 44s
  • Exercise files 33s
  • Moving from Final Cut Pro X to After Effects 2m 2s
  • Moving from Premiere Pro to After Effects 2m 24s
  • Using the Media Browser 3m 33s
  • Strategies to improve file naming and timecode 1m 52s
• 1. The Color Grading Workflow 1. The Color Grading Workflow
  • (Locked) Evaluating the shot 2m 25s
  • (Locked) Fixing white balance 4m 29s
  • (Locked) Fixing exposure and tone 2m 28s
  • (Locked) Adjusting color 4m 24s
  • (Locked) Applying enhancements 3m 58s
  • (Locked) Reusing adjustments 2m 2s
• 2. Essential Techniques 2. Essential Techniques
  • (Locked) Using adjustment layers 5m 28s
  • (Locked) Applying LUTs with the Lumetri effect 3m 59s
  • Saving animation presets 3m 5s
  • (Locked) Strategies for tough white balance: Levels and curves 7m 33s
  • (Locked) Strategies for tough white balance: Neutralizing, part 1 4m 58s
  • (Locked) Strategies for tough white balance: Neutralizing, part 2 2m 36s
  • (Locked) Comparing effects 3m 11s
• 3. Fixing Exposure and Tone 3. Fixing Exposure and Tone
  • (Locked) Fixing tone with the Lumetri effect 3m 54s
  • (Locked) Fixing exposure and tone with Curves 4m 8s
  • (Locked) Using auto adjustments 3m 11s
  • (Locked) The Shadow or Highlights adjustment 3m 45s
  • (Locked) Using the Black & White effect for contrast 3m 23s
  • (Locked) Using the Equalize command 2m 45s
• 4. Primary Color Correction 4. Primary Color Correction
  • (Locked) Fixing color cast with tint and white balance 5m 25s
  • (Locked) Using the color stabilizer effect 2m 48s
  • (Locked) Fixing color with primary color correction 2m 48s
  • (Locked) Adding vibrance 5m 6s
  • (Locked) Using photo filters 2m 6s
  • (Locked) Using a reference color checker 6m 1s
  • (Locked) Using blending modes 2m 44s
• 5. Secondary Color Correction 5. Secondary Color Correction
  • (Locked) Creating spot colors with the Black & White effect 3m 22s
  • Using the Leave Color effect 4m 36s
  • (Locked) Adjusting a single color with the Change Color effect 4m 59s
  • (Locked) Adding masks and mattes to adjustment layers 9m 16s
  • (Locked) Secondary color correction with Curves 5m 53s
• 6. Black and White and Color Toning 6. Black and White and Color Toning
  • (Locked) Black and white conversion method 1 2m 54s
  • (Locked) Black and white conversion method 2 2m 28s
  • (Locked) Black and white conversion method 3 3m 25s
  • Creating duotone, tritone, and pentone effects 4m 23s
  • (Locked) Enhancing with the Colorama effect 3m 53s
  • (Locked) Creating custom gradients 4m 37s
• 7. Finishing Touches 7. Finishing Touches
  • Creating a film look 4m 48s
  • (Locked) Adding a power window 3m 49s
  • (Locked) Adding texture 2m 23s
  • (Locked) Using the creative controls in the Lumetri Color effect 2m 39s
• 8. Working with Third-Party Tools 8. Working with Third-Party Tools
  • Creating a LUT with Photoshop 5m 42s
  • (Locked) Creating a LUT with IWLTBAP 5m 5s
  • (Locked) Creating a LUT with 3D LUT Creator 5m 30s
• Conclusion Conclusion
  • (Locked) Conclusion 42s

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