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For more information, see End of support for Adobe Color Themes panel. For general information about color correction and color adjustment, including links to tutorials and other resources, see Color correction, color grading, and color adjustment. See Third-party plug-ins included with After Effects. After Effects provides you professional-quality Lumetri Color grading and color correction tools that let you grade your footage directly on your timeline.

Lumetri Color is GPU-accelerated for faster performance. Using these tools, you can adjust color, contrast, and light in your sequences in new and innovative ways. With editing and color grading working hand in hand, you can freely move between editing and grading tasks without the need to export or launch a separate grading application. The Color workspace is designed not just for experienced colorists but also for editors who are new to color grading.

You can apply simple color corrections or complex Lumetri Looks using intuitive sliders and controls. Or you can easily adjust cuts or fine-tune grades using advanced color correction tools like curves and color wheels. As an editor or colorist, the selective color adjustment curves enable you to have targeted and precise control over correction of specific color ranges.

You can access these curves in the Lumetri Color effect panel. For example, the Hue vs Luma and Hue vs Hue curves allow you to quickly and accurately control the brightness and specific hue color of any precise color in your video.

For example, you have a pack of crayons – red, green, and light blue and you want a darker blue to match your color palette.

You can pick the light blue and use the Hue versus Luma curve to change it to dark blue. This change does not affect the other colors in your image. The five hue and saturation curves provide complete control for color correcting your videos and images.

You can pick a color in your video and adjust the hue, saturation, and brightness. You can also adjust the saturation for a range of brightness or a range of saturation in a video. In the Timeline panel, select the clip to correct. After Effects displays two options:. Twirl open the Hue Saturation curves. All the color curves display under this option. Follow the steps in the Set up Hue Saturation curves section. In the Composition panel, click the color in your clip that you want to adjust.

When you select a color with the eyedropper, it adds three points on the curve. One point represents the color you select, and the other two control points restrict the selection to a narrow range.

The Curves group of the Lumetri Color effect includes curve adjustment tools to make selective color grading simple. You can use the two-axis graphs to adjust the following:. The Auto Color effect adjusts the contrast and color of an image after analyzing the shadows, midtones, and highlights of the image. The Auto Contrast effect adjusts the overall contrast and mixture of colors.

Each effect maps the lightest and darkest pixels in the image to white and black, and then redistributes the intermediate pixels. The result is that highlights appear lighter and shadows appear darker.

A quick way to remove or at least reduce the flicker caused by fluctuations in exposure and color from one frame to the next is to apply the Auto Color effect. This is useful, for example, in reducing the flicker of old film or for correcting for the flickering color of a light source.

Temporal Smoothing. The range of adjacent frames, in seconds, analyzed to determine the amount of correction needed for each frame, relative to its surrounding frames. If Temporal Smoothing is 0, each frame is analyzed independently, without regard for surrounding frames.

Temporal Smoothing can result in smoother looking corrections over time. Scene Detect. If selected, frames beyond a scene change are ignored when surrounding frames are analyzed for temporal smoothing. Black Clip, White Clip. How much of the shadows and highlights are clipped to the new extreme shadow and highlight colors in the image.

Setting the clipping values too high reduces detail in the shadows or highlights. A value in the range from 0. By default, shadow and highlight pixels are clipped by 0.

The lowest and highest values within the range after clipping are then mapped to output black and output white.

This method ensures that input black and input white values are based on representative rather than extreme pixel values. Snap Neutral Midtones Auto Color only. Identifies an average nearly neutral color in the frame and then adjusts the gamma values to make the color neutral. Blend With Original. The transparency of the effect. The result of the effect is blended with the original image, with the effect result composited on top. The higher you set this value, the less the effect affects the layer.

The Auto Levels effect maps the lightest and darkest values in each color channel in the image to white and black, and then redistributes the intermediate values. As a result, highlights appear lighter and shadows appear darker. Because Auto Levels adjusts each color channel individually, it may remove or introduce color casts. See Auto Color and Auto Contrast effects for explanations of the controls for this effect. A quick way to remove or at least reduce the flicker caused by fluctuations in exposure from one frame to the next is to apply the Auto Levels effect.

This is useful, for example, in reducing the flicker of old film. Decrease or increase the property value for each color component to convert that color channel to a darker or lighter shade of gray. To tint the image with a color, select Tint and click the color swatch or eyedropper to specify a color. The default value of 0. It adjusts all pixel values in the image at once—highlights, shadows, and midtones. The Color Finesse plug-in included with After Effects includes excellent tools that can help you keep your colors within the broadcast-safe range.

For more information, see the Color Finesse documentation in the Color Finesse subfolder in the Plug-ins folder. See Plug-ins. The Broadcast Colors effect alters pixel color values to keep signal amplitudes within the range allowed for broadcast television. A more reliable way to keep colors within the broadcast-safe range for your output type is to use color management features to set the output color profile accordingly, such as to SDTV Rec.

This method ensures that color values in the range 0. See Broadcast-safe colors. Broadcast Locale. The broadcast standard for your intended output.

How To Make Color Safe. Reduce Luminance. Reduce Saturation. Moves the color of a pixel toward a gray of similar brightness, making the pixel less colorful. For the same IRE level, reducing saturation alters the image more noticeably than does reducing luminance. The maximum amplitude of the signal in IRE units.

A pixel with a magnitude above this value is altered. The default is Lower values affect the image more noticeably; higher values are more risky. Corrected Layer shows the results of the Change Color effect.

Color Correction Mask shows a grayscale matte that indicates the areas of the layer that will be changed. White areas in the color correction mask are changed the most, and dark areas are changed the least. Hue Transform. Lightness Transform. Saturation Transform. Positive values increase saturation of matched pixels moving toward pure color ; negative values decrease saturation of matched pixels moving toward gray.

Color To Change. Matching Tolerance. Matching Softness. The amount that the effect affects unmatched pixels, in proportion to their similarity to Color To Change. Match Colors.

Determines the color space in which to compare colors to determine similarity. Hue compares the hues of colors, ignoring saturation and brightness—so bright red and light pink match, for example. Chroma uses the two chrominance components to determine similarity, ignoring luminance lightness.

Invert Color Correction Mask. Change To Color offers flexibility and options unavailable in the Change Color effect.