In the following descriptions, these terms are used:

• The source color is the color of the layer or paint stroke to which the blending mode is applied.

• The underlying color is the color of the composited layers below the source layer or paint stroke in the layer stacking order in the Timeline panel.

• The result color is the output of the blending operation; the color of the composite.

The stencil and silhouette blending modes use either a layer’s alpha channel or its luma values to affect the alpha channel of all layers beneath the layer. This differs from a track matte, which affects only one layer. Stencil modes cut through all layers, so that you can, for example, show multiple layers through the stencil layer’s alpha channel. Silhouette modes block out all layers below, so you can cut a hole through several layers at once. To keep the silhouette and stencil blending modes from cutting through or blocking all layers underneath, precompose the layers that you want to affect and nest them in your composition.

Normal

The result color is the source color. This mode ignores the underlying color. This is the default mode.

Dissolve

The result color for each pixel is either the source color or the underlying color. The probability that the result color is the source color depends on the opacity of the source. If opacity of the source is 100%, then the result color is the source color. If opacity of the source is 0%, then the result color is the underlying color. Dissolve and Dancing Dissolve do not work on 3D layers.

Dancing Dissolve

Same as Dissolve, except that the probability function is recalculated for each frame, so the result varies over time.

Darken

Each result color channel value is the lower (darker) of the source color channel value and the corresponding underlying color channel value.

Multiply

For each color channel, multiplies source color channel value with underlying color channel value and divides by maximum value for 8-bpc, 16-bpc, or 32-bpc pixels, depending on the color depth of the project. The result color is never brighter than the original. If either input color is black, the result color is black. If either input color is white, the result color is the other input color. This blending mode simulates drawing with multiple marking pens on paper or placing multiple gels in front of a light. When blending with a color other than black or white, each layer or paint stroke with this blending mode results in a darker color.

Linear Burn

The result color is a darkening of the source color to reflect the underlying color. Pure white produces no change.

Color Burn

The result color is a darkening of the source color to reflect the underlying layer color by increasing the contrast. Pure white in the original layer does not change the underlying color.

Classic Color Burn

The Color Burn mode from After Effects 5.0 and earlier, renamed Classic Color Burn. Use it to preserve compatibility with older projects; otherwise, use Color Burn.

Add

Each result color channel value is the sum of the corresponding color channel values of the source color and underlying color. The result color is never darker than either input color.

Lighten

Each result color channel value is the higher (lighter) of the source color channel value and the corresponding underlying color channel value.

Screen

Multiplies the complements of the channel values, and then takes the complement of the result. The result color is never darker than either input color. Using the Screen mode is similar to superimposing two different film negatives and printing the result.

Linear Dodge

The result color is a lightening of the source color to reflect the underlying color by increasing the brightness. If the source color is pure black, the result color is the underlying color.

Color Dodge

The result color is a lightening of the source color to reflect the underlying layer color by decreasing the contrast. If the source color is pure black, the result color is the underlying color.

Classic Color Dodge

The Color Dodge mode from After Effects 5.0 and earlier, renamed Classic Color Dodge. Use it to preserve compatibility with older projects; otherwise, use Color Dodge.

Overlay

Multiplies or screens the input color channel values, depending on the underlying color. 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.

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.

Hue

Result color has luminance and saturation of the underlying color, and the hue of the source color.

Saturation

Result color has luminance and hue of the underlying color, and the saturation of the source color.

Color

Result color has luminance of the underlying color, and hue and saturation of the source color. This preserves the gray levels in the underlying color. This is useful for coloring grayscale image and for tinting color images.

Luminosity

Result color has hue and saturation of the underlying color, and luminance of the source color. This mode is the opposite of the Color mode.

Darker Color

Each result pixel is the color of darker of the source color value and the corresponding underlying color value. This is similar to Darken, but Darker Color does not operate on individual color channels.

Lighter Color

Each result pixel is the color of lighter of the source color value and the corresponding underlying color value. This is similar to Lighten, but Lighter Color does not operate on individual color channels.

Stencil Alpha

Creates a stencil using the layer’s alpha channel.

Stencil Luma

Creates a stencil using the layer’s luma values. The lighter pixels of the layer are more opaque than the darker pixels.

Silhouette Alpha

Creates a silhouette using the layer’s alpha channel.

Silhouette Luma

Creates a silhouette using the layer’s luma values. 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.

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 other manufacturers’ matting software. When applying this mode, you may get the best results by changing interpretation of the premultiplied-alpha source footage to straight alpha.