Which version of Knoll Light Factory for Photoshop 3 should you buy?

Photographs of lit stages don't always look to the camera the same way that they look to the naked eye. If photographed from too far away, the subjects on the stage can be drowned out by the overwhelming light. Close-up photos are more accurate, but there's still the issue of focusing in on the stage, which can cause the stage lights to look different than they did when viewed live.

In the examples in 10 and 11 , I'll use the Rock Concert preset in Knoll Light Factory to adjust the appearance of stage lighting. A concert stage with stage lights that have lost their color and glow. The stage lights after fine-tuning their look with Knoll Light Factory. Note that I also created three new lights: Users of video-editing software should note that a powerful motion version of Knoll Light Factory is available for many Windows and Macintosh video editors, see the Red Giant website for details.

Update Version 3. The 3. The Light Editor has been integrated into a single interface that can be moved and re-sized to your work space, a real-time interactive preview is now available, along with bit color support, for smoother gradients and glows. Plus, an additional 50 new presets give you more ready to work with effects that range from natural to surreal. Knoll Lens Factory 3. Digital Anarchy creates plug-ins for Adobe, Apple, and Autodesk products.

Anthony Celeste appreciates feedback from his readers. The flare will follow this path, no matter what layer the flare is applied.

It also seems to be helpful to place this location layer on the bottom-most part of the composition. This way, the location layer is obscured by the other video tracks, but it stills controls the path of the flare. Obscuration Layer: If you have a multi-layered composition, and you want the flare to appear to go behind a foreground object, or appear from behind an object, then you need to make use of this featur.

Select a video layer in this box. This clip will now act as the layer that the effect hides behind, or appears from behind. This is a powerful feature of this filter. As an object starts to obscure the flare, the flare can be manipulated to look like it doesn't simply disappear, but gets gradually hidden.

Light behaves differently than a solid object; the way it can look as though it bends around the edges of the object it is starting to be obscured by. The amount of this reaction at the edges can be adjusted by the Source Size. Obscuration and Location Layer in AE select your video layer in these boxes To select a Location or Obscuration Layer for FCP, you will need to drop a video layer from the timeline on to one of these "wells". These wells are similar to wells used by other plug-ins or filters for FCP that use multiple video layers for their effects.

Obscuration Type: For a flare that would disappear behind a solid object, you would choose Alpha. For a flare that becomes partially obscured behind an object, and even takes on the color of the foreground object, then use RGB. John Knoll uses a sun shining through a multi-colored stained glass window in one tutorial to show an example of how this works.

The sun created here is a flare created by the filter. As the sun moves across the sky behind the stained glass, it "filters" through this opaque surface, taking on the color of the glass that is shining through! It creates an incredible integrated effect. Source Size: Determines the size for the Obscuration Layer. The Knoll Light Factory plug-ins will work with a single video clip. But to get the richest effects, a several layer video composition works wonders.

This can create effects that can blend with the elements of a shot. Here, it seems best to work with at the least: Although a Location Layer and an Obscuration Layer can be applied, they don't seem to work. I contacted Pinnacle about this, and they verified my results. They mentioned that these features worked with previous versions of FCP, but apparently do not now. They said that they would work on this. I hope that these things do get worked out, as it would make it much more functional in FCP.

This demonstration comes from one of the tutorials included on the CD. Layer 1: The manual notes that John Knoll often applies the flare to a solid layer, instead of one of the video layers, giving more flexibility for the effect.

This can be easily done in After Effects by creating a black solid. Lay this solid in the time layout window on the top video layer of the comp. Apply the Light Factory filter to this clip. Then apply the Unmult filer to this clip. The Unmult filter comes with the Light Factory plug-ins. When applied, this filter will create alpha information from any black pixels.

Subsequently, anything that was previously black, is now transparent.

Which version of Knoll Light Factory for Photoshop 3 should you buy?

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