Layer Styles - Adobe 12040118 - After Effects Standard Tutorial

Overlay Multiplies or screens the input color channel values, depending on whether or not the underlying color is lighter than 50% gray. The
result preserves highlights and shadows in the underlying layer.
Soft Light Darkens or lightens the color channel values of the underlying layer, depending on the source color. The result is similar to shining a
diffused spotlight on the underlying layer. For each color channel value, if the source color is lighter than 50% gray, the result color is lighter than
the underlying color, as if dodged. If the source color is darker 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.
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.
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.
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 blending 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.
Classic Difference The Difference mode from After Effects 5.0 and earlier, renamed Classic Difference. Use it to preserve compatibility with older
projects; otherwise, use Difference.
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 color from the underlying color. 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. 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 blending mode preserves the gray
levels in the underlying color. This blending 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.
Stencil Alpha Creates a stencil using the alpha channel of the layer.
Stencil Luma Creates a stencil using the luma values of the layer. The lighter pixels of the layer are more opaque than the darker pixels.
Silhouette Alpha Creates a silhouette using the alpha channel of the layer.
Silhouette Luma Creates a silhouette using the luma values of the layer. Creates transparency in painted areas of the layer, allowing you to see
underlying layers or background. The luminance value of the blend color determines opacity in the result color. The lighter pixels of the source
cause more transparency than the darker pixels. Painting with pure white creates 0% opacity. Painting with pure black produces no change.
Alpha Add Composites layers normally, but adds complementary alpha channels to create a seamless area of transparency. Useful for removing
visible edges from two alpha channels that are inverted relative to each other or from the alpha channel edges of two touching layers that are
being animated.
Note: Sometimes, when layers are aligned edge-to-edge, seams can appear between the layers. This is especially an issue with 3D layers that
are joined to one another at the edges to build a 3D object. When the edges of a layer are anti-aliased, there's some partial transparency at the
edges. When two areas of 50% transparency overlap, the result is not 100% opacity but 75% opacity, because the default operation is
multiplication. (50% of the light gets through one layer, and then 50% of the remainder gets through the next layer, so 25% gets through the
system.) This is like partial transparency in the real world. But, in some cases, you don't want this default blending. You want the two 50% opacity
areas to combine to make a seamless, opaque join. You want the alpha values to be added. In these cases, use the Alpha Add blending mode.
Luminescent Premul Prevents clipping of color values that exceed the alpha channel value after compositing by adding them to the composition.
Useful for compositing rendered lens or light effects (such as lens flare) from footage with premultiplied alpha channels. May also improve results
when compositing footage from matting software from other manufacturers. When applying this mode, you may get the best results by changing
interpretation of the premultiplied-alpha source footage to straight alpha.

Layer styles

Photoshop provides a variety of layer styles—such as shadows, glows, and bevels—that change the appearance of a layer. After Effects can
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