Channel Offset

Source Layer

This displays the unaltered input layer of Channel Offset. The input layer is the layer on which the effect is applied. This View Mode actually just passes the input layer through the effect and is practically the same as turning the effect off. This mode is useful when placing the Anchor Point, since the layer remains fixed in the same position.

Red, Green, Blue and Alpha Channel

Each of these View Modes will display the selected channel. This temporarily disables the other channel controls to help you see more clearly what you are doing and speed up rendering.

Composite

Choose this View Mode to see the final result of Channel Offset. All the controls will be enabled in this mode.

Time Offset

Time Offset shifts the current time forward or backwards. The value is measured in whole frames. For example, a value of -10 will mean that the current time rendered will be 10 frames earlier than in the Timeline Window. This is useful to create a delay between channels.

Anchor Point

The Anchor Point determines the center point of the layer. All movement is oriented by the the anchor point. When setting the anchor, it is helpful to use the Source Layer View Mode, so that the layer does not move as you are trying to set it.

Position

This controls the position of the layer. The location of the layer in relation to Position is controlled by the Anchor Point.

Scale

The Scale group provides uniform and nonuniform scaling of the layer. Scale is measured in percentage just as in the Timeline Window.

Uniform Scale

When this checkbox is on, the Scale value will affect both the horizontal and vertical size of the layer the same. When Uniform Scale is off, independent X and Y sliders will be provided for scaling.

Rotation

This value rotates the layer about the Anchor Point. Rotation works the same as it does for layers in the Timeline Window.

Shear X %

This slider will skew the layer on the horizontal access, causing the top and bottom portions of the image to stretch in opposite directions along the x axis.

Shear Y %

This slider will skew the layer on the vertical access, causing the left and right portions of the image to stretch in opposite directions along the y axis.

Blur

Blur can also be applied to the channels individually and through the Master controls. Blur is only rendered when the amount is greater than 0.

Uniform Blur

This checkbox controls whether the blur is applied equally in the horizontal and vertical directions. If it is turned off, separate sliders for Blur X and Blur Y will become available.

Convergence

Convergence scales all individual channel transformations towards the Master settings. This is very helpful to transition in and out of Channel Offset. At a Convergence value of 100% all of the channel layers will match up perfectly, while with a value of 0 each channel will be fully transformed.

Edge Behavior

This controls how areas outside the layer are handled.

Blur Quality

This menu allows you to decide what type of blur is used. You can choose from Fast Blur or Gaussian. When set to Automatic, the effect will render the Gaussian Blur for best quality and Fast Blur for draft quality.

Motion Blur Samples

When motion blur is enabled for the layer, this value determines how many samples are used in the blur. The more samples, the higher the quality but the longer the rendering time. The default value of 16 matches the internal rendering of After Effects.

To enable motion blur, you must turn on the motion blur switches in the Timeline Window. There is a checkbox next to each layer listed under the 'M' column, and there is a toggle button with the letter 'M'. Both must be enabled. Note that it is not necessary to turn on Best Quality in order for motion blur to render.

Enable Offset

This mode enables transformation of the channel. When this mode is not selected, none of the channel controls will be available.

Pass Thru

Pass Thru will render the channel value, but will not modify it in any way. This is useful if you do not want a channel to be transformed and will save rendering time.

Off

This mode will effectively turn the channel off and render it solid black.

Enable Offset

You can treat the Alpha just like the other channels and transform it using an independent set of controls. Keep in mind that the alpha will continue to act as the layer's transparency.

Pass Thru

This will render the original alpha channel unmodified.

Distribute

The Distribute mode splits the alpha proportionally among the Red, Green and Blue channels. This produces a very natural looking separation. And when the channel values converge back together, they fit perfectly to form the original alpha. This mode is generally the best to use with transparent layers.

Premultiply

This mode will premultiply the channels with the alpha value of the layer. If you do not need the result of Channel Offset to be transparent, the Premultiply mode is most likely the best choice.

Each Channel

With this mode, the alpha will be duplicated for each channel. This allows each to maintain intensity and transparency while being transformed. However, when the channels converge, the alpha will be brighter than the original. In order to preserve the original alpha, try using the Distribute option.

Off

Turning the Alpha Mode Off will simply render out solid white for the alpha. If the input layer has no transparency, this option is the most efficient.