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Adjustment layers

From: Up and Running with CINEMA 4D Lite for After Effects

Video: Adjustment layers

Another great way of applying effects in After Effects, particularly when you're working with (UNKNOWN) files is to use adjustment layers. And that's what we're going to do here. If you want to follow along, we're in chapter 13 cu05.aep and I'm going to go to layer new. Adjustment layer. And an Adjustment Layer is a layer that carries effects and applies them to all the layers underneath them in a comb. It's kind of a, we have applied a combined effect, if you like, that's applied to several other layers.

Adjustment layers

Another great way of applying effects in After Effects, particularly when you're working with (UNKNOWN) files is to use adjustment layers. And that's what we're going to do here. If you want to follow along, we're in chapter 13 cu05.aep and I'm going to go to layer new. Adjustment layer. And an Adjustment Layer is a layer that carries effects and applies them to all the layers underneath them in a comb. It's kind of a, we have applied a combined effect, if you like, that's applied to several other layers.

So we're going to use this to create a vignette type effect. So let's bring out curves first of all. Okay, so I'm going to bring up curves. And I'm going to apply that just to the main robots. And you'll see that as I do that, it's only affecting the robot layers. It's not affecting any of the other layers obviously. So, I'll just make a slight adjustment to my curves just to get a little bit more contrast in there. Now the difference is, when we apply it to an adjustment layer, so I'm just going to apply levels, notice that any changes that I make are applied to all the layers, not just the little bot there, so if I maybe darken it a little bit, either by jugging the gamma or the black input slider then it affects all of the layers so everything is being darkened down, but the good thing about an adjustments layer is it's also affecting all the layers underneath like watch this, if I drag it underneath main robot.

They are no longer affected. When I drag it above, they are affected. The other nice thing about them is I can apply a mask to them, so I could double-click the elipse tool with that layer selected and it'll create an elipse the size of my layer. And then I can invert it so that we're creating like a vignette type of thing, so it'll be darker out here. And lighter in the middle. Now, I can increase that, make it even darker, exaggerate it. We can feather it as well so that we're getting a nice soft edged vignette.

I can adjust the expansion, so we'll bring it further in or out. Okay. Maybe bring the feather value down a little bit. And adjust the gamma just to darken those mids down a little bit more. So, you get the idea. It gives you a lot of control over how to apply effects to certain parts of your image. So it really allows us to kind of highlight the robots a little bit more, and as I said, if I only want to apply it to the background, I can drag it behind the main robots, but I actually quite like it darkening down the robots as well at the edge.

We have a vignette, so let's call that vignette. I'll select the adjustment layer. Hit Return on the keyboard type in vignette. I'm then going to create another adjustment layer this one I'm not going to mask and I'm going to use it to add some noise. If I don't want to see the mask every time I select the vignette layer I can just click on this button here to hide my mask. And then, select this adjustment layer. And I'm just going to type in Noise. Now, that are some very good third party noise effects, but I'm just going to use this one here, the built-in 32 bit noise.

Now, if you want to make sure you're only selecting 32 bit capable effects, because, of course, we're working in a linear work flow. Make sure to select that in the one menu here of the Effects and Presets panel. And I'm just going to give it, maybe 5% noise. And it will apply it to everything. Now if we zoom up to 100% You'll be able to see how that looks a little bit better. So we can maybe even go a little bit higher, maybe up to ten percent to add some noise to our scene.

Just helps pull the whole thing together by adding overall noise to the whole scene. So let's just go back up to fit up to 100. And we'll rename this noise. So we've now got an adjustment layer that adds noise and an adjustment layer that adds a vignette to our scene. The vignette's a little over the top, so I'm going to select it again and just adjust those levels back a little bit. They're a little bit too OTT as we say.

And that's a little bit more subtle. So that's a little bit about how you can use adjustment layers on all the layers within your composition, just to bring the whole thing together. Of course, you can also use them to apply color safe effects as well. That's another good use for adjustment layers.

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This video is part of

Image for Up and Running with CINEMA 4D Lite for After Effects
Up and Running with CINEMA 4D Lite for After Effects

104 video lessons · 8523 viewers

Angie Taylor
Author

 
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  1. 2m 22s
    1. Welcome
      2m 22s
  2. 38m 14s
    1. What is CINEMA 4D Lite?
      4m 23s
    2. What CINEMA 4D Lite can't do
      6m 54s
    3. Opening CINEMA 4D Lite in After Effects
      2m 38s
    4. Quick interface tour
      8m 46s
    5. Navigation tips for CINEMA 4D Lite
      8m 5s
    6. CINEMA 4D Lite preferences and settings
      7m 28s
  3. 22m 34s
    1. Importing CINEMA 4D files in After Effects
      1m 5s
    2. The CINEWARE plugin settings
      4m 42s
    3. CINEMA 4D Lite render settings
      6m 15s
    4. After Effects project settings
      1m 23s
    5. After Effects previewing tips
      3m 50s
    6. Using the Picture Viewer in CINEMA 4D
      5m 19s
  4. 1h 14m
    1. Editing primitive objects
      5m 18s
    2. The Move and Scale tools
      7m 18s
    3. The Rotate tool
      4m 24s
    4. Axis limitations
      1m 46s
    5. Working cylinders
      7m 15s
    6. Linking body parts using object hierarchy
      9m 49s
    7. Spline modeling with Sweep NURBS
      7m 22s
    8. Adjusting NURBS settings
      4m 6s
    9. Using nulls as controllers
      3m 33s
    10. Creating copies with the Instance array
      6m 44s
    11. Carving shapes with the Boole array
      10m 28s
    12. Reshaping objects with deformers
      3m 14s
    13. Adding surface detail with a Relief object
      2m 55s
  5. 55m 41s
    1. Understanding coordinates
      5m 0s
    2. Understanding rotation
      2m 39s
    3. Timeline shortcuts
      3m 1s
    4. Basic keyframing of properties
      4m 31s
    5. Copying keyframes
      2m 3s
    6. Keyframe interpolation
      5m 20s
    7. Adjusting F-Curves
      5m 45s
    8. Holding values
      5m 8s
    9. Using XPresso to link properties: Part one
      4m 17s
    10. Using XPresso to link properties: Part two
      2m 27s
    11. Importing existing animations into CINEMA 4D Lite
      6m 21s
    12. Animating cameras in CINEMA 4D Lite
      4m 37s
    13. Animating using presets
      4m 32s
  6. 46m 30s
    1. Importing music and soundtracks
      4m 12s
    2. Customizing commands and shortcuts
      6m 7s
    3. Adding markers
      4m 25s
    4. Creating multiple cameras in CINEMA 4D Lite
      8m 17s
    5. Cutting between CINEMA 4D cameras with CINEWARE
      4m 23s
    6. Creating cameras in After Effects
      5m 30s
    7. Merging 3D camera data into CINEMA 4D Lite
      3m 10s
    8. Animating cameras with Stage objects
      4m 27s
    9. Extracting cameras from CINEMA 4D files
      5m 59s
  7. 43m 49s
    1. Adding CINEMA 4D text to After Effects comps
      5m 4s
    2. Formatting text in CINEMA 4D
      5m 47s
    3. Creating CINEMA 4D text or logos in Illustrator
      6m 9s
    4. Importing Illustrator text into CINEMA 4D Lite
      4m 38s
    5. Applying material presets to text
      7m 51s
    6. Merging CINEMA 4D files
      5m 51s
    7. Registering CINEMA 4D Lite for MoGraph features
      1m 8s
    8. Using MoGraph Fracture on text
      3m 25s
    9. The MoGraph Random Effector
      3m 56s
  8. 12m 8s
    1. Creating a wiggle expression
      7m 49s
    2. The Reset Position script
      4m 19s
  9. 30m 56s
    1. Applying a custom material
      6m 32s
    2. Making a metallic material
      6m 15s
    3. Adding an environment channel
      2m 20s
    4. Adding texture with shaders
      4m 21s
    5. Built-in material presets
      3m 52s
    6. Combining materials
      2m 41s
    7. Using selection sets to isolate surfaces
      4m 55s
  10. 27m 42s
    1. 3D camera tracking in After Effects
      6m 3s
    2. Creating nulls from tracking points
      2m 40s
    3. Adjusting the Shadow Catcher for CINEMA 4D
      3m 31s
    4. Importing a CINEMA 4D file into a scene
      4m 21s
    5. Exporting CINEMA 4D files from After Effects comps
      3m 42s
    6. Merging objects from CINEMA 4D files
      3m 23s
    7. Manually adjusting scenes between apps
      4m 2s
  11. 19m 18s
    1. Setting up layers in CINEMA 4D
      6m 11s
    2. Compositing CINEMA 4D layers in After Effects
      3m 28s
    3. Casting shadows on layers in CINEWARE
      4m 56s
    4. Adding reflections in CINEMA 4D
      4m 43s
  12. 36m 10s
    1. Using preset lighting setups
      6m 24s
    2. Light types in CINEMA 4D Lite
      6m 38s
    3. Creating visible lights
      7m 56s
    4. Adding ambient occlusion effects
      6m 55s
    5. Optimizing your CINEMA 4D scenes
      8m 17s
  13. 34m 39s
    1. Multipass compositing explained
      2m 28s
    2. Adding passes to render settings
      2m 8s
    3. Viewing passes in the Picture Viewer
      2m 35s
    4. Adding object buffers
      4m 51s
    5. External compositing tags in CINEMA 4D Lite
      3m 8s
    6. Previewing and experimenting with passes
      4m 30s
    7. CINEWARE multipass options
      7m 8s
    8. Adjusting reflections
      3m 2s
    9. Isolating elements with object buffers
      4m 49s
  14. 53m 2s
    1. Extracting 3D scene data
      8m 11s
    2. Adding video elements to a CINEMA 4D scene
      5m 49s
    3. Working with proxies
      10m 2s
    4. Color correction of shadows
      4m 10s
    5. Layer styles
      3m 50s
    6. Adjustment layers
      4m 58s
    7. Setting up depth of field in CINEMA 4D Lite
      3m 10s
    8. Adding depth of field with camera lens blur
      4m 4s
    9. Speed ramps with time remapping
      4m 14s
    10. Motion blur with the Pixel Motion Blur effect
      4m 34s
  15. 13m 59s
    1. Rendering with the After Effects Render Queue
      5m 39s
    2. Background rendering with Adobe Media Encoder
      4m 6s
    3. The BG Renderer script
      4m 14s

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