Adobe 25520388 User Guide - Page 439

USING ADOBE PREMIERE PRO 434 Compositing than 50% gray, the result color is darker than the underlying color, as if burned. A layer with pure black or white becomes markedly darker or lighter, but does not become pure black or white. Hard Light Multiplies or screens the input color channel value, depending on the original source color. The result is similar to shining a harsh spotlight on the layer. For each color channel value, if the underlying color is lighter than 50% gray, the layer lightens as if it were screened. If the underlying color is darker than 50% gray, the layer darkens as if it were multiplied. This mode is useful for creating the appearance of shadows on a layer. Vivid Light Burns or dodges the colors by increasing or decreasing the contrast, depending on the underlying color. If the underlying color is lighter than 50% gray, the layer is lightened because the contrast is decreased. If the underlying color is darker than 50% gray, the layer is darkened because the contrast is increased. Linear Light Burns or dodges the colors by decreasing or increasing the brightness, depending on the underlying color. If the underlying color is lighter than 50% gray, the layer is lightened because the brightness is increased. If the underlying color is darker than 50% gray, the layer is darkened because the brightness is decreased. Pin Light Replaces the colors, depending on the underlying color. If the underlying color is lighter than 50% gray, pixels darker than the underlying color are replaced, and pixels lighter than the underlying color do not change. If the underlying color is darker than 50% gray, pixels lighter than the underlying color are replaced, and pixels darker than the underlying color do not change. Hard Mix Enhances the contrast of the underlying layer that is visible beneath a mask on the source layer. The mask size determines the contrasted area; the inverted source layer determines the center of the contrasted area. Difference For each color channel, subtracts the darker of the input values from the lighter. Painting with white inverts the backdrop color; painting with black produces no change. If you have two layers with an identical visual element that you want to align, place one layer on top of the other and set the blend mode of the top layer to Difference. Then, you can move one layer or the other until the pixels of the visual element that you want to line up are all black-meaning that the differences between the pixels are zero and therefore the elements are stacked exactly on top of one another. Exclusion Creates a result similar to but lower in contrast than the Difference mode. If the source color is white, the result color is the complement of the underlying color. If the source color is black, the result color is the underlying color. Subtract Subtracts the source file from the underlying color (CS5.5 and later). If the source color is black, the result color is the underlying color. Result color values can be less than 0 in 32-bpc projects. Divide Divides underlying color by source color (CS5.5 and later). If the source color is white, the result color is the underlying color. Result color values can be greater than 1.0 in 32-bpc projects. Hue Result color has luminosity and saturation of the underlying color, and the hue of the source color. Saturation Result color has luminosity and hue of the underlying color, and the saturation of the source color. Color Result color has luminosity of the underlying color, and hue and saturation of the source color. This blend mode preserves the gray levels in the underlying color. This blend mode is useful for coloring grayscale images and for tinting color images. Luminosity Result color has hue and saturation of the underlying color, and luminosity of the source color. This mode is the opposite of the Color mode. Last updated 1/16/2012