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Understanding track matte rendering order

From: After Effects Apprentice 05: Creating Transparency

Video: Understanding track matte rendering order

Track mattes require the combination of two layers to create the final composite image. They require the layer that contributes the transparency and they require the layer that contributes the fill, the color seen inside that transparency, and you need to set the Track Matte popup for that fill layer, telling it to borrow the transparency from the layer above it, and here's the result: the Virtual Insanity movie filling the transparency of the Night Vosion layer. Well, what if you want to add an effect to this, say a drop shadow? Who do you add it to? Hmm. I don't know, so let's try.

Understanding track matte rendering order

Track mattes require the combination of two layers to create the final composite image. They require the layer that contributes the transparency and they require the layer that contributes the fill, the color seen inside that transparency, and you need to set the Track Matte popup for that fill layer, telling it to borrow the transparency from the layer above it, and here's the result: the Virtual Insanity movie filling the transparency of the Night Vosion layer. Well, what if you want to add an effect to this, say a drop shadow? Who do you add it to? Hmm. I don't know, so let's try.

I'll try Effect > Perspective and Drop Shadow applied to the fill movie. Hmm, nothing happened. Increase Opacity, increase Distance. Still nothing. Why is that? Well here is why. This Virtual Insanity layer is normally a full frame piece of video. When you apply drop shadow to it, it's applying a shadow to that full frame video, but after the effect is applied, then the track matte is coming along and cutting out the alpha channel or the transparency of that layer.

So we never get to see the drop shadow. It is beyond the area being cut up by our track matte. If I was to get a little crazy here and drag Virtual Insanity up here, I'd start to see the drop shadow inside there. I will cut back on the Darkness and increase the Softness and that's not at all we want. All right, so that didn't work. Let's try the other solution. I am going to delete Drop Shadow from my fill and instead apply Effect > Drop Shadow. The Effect menu always remembers my most recently applied effect to the matte.

Well, I've got a shadow and I'll increase the Distance here, but shadows are not black. It's colored. Why is that? Well, think what's going on here. The Night Vision layer has an alpha channel to it. The drop shadow is being projected from the edges of that alpha channel to create the shadow effect. However, it's that combination, the layer Night Vision and the shadow applied that layer Night Vision, which is being used together as an alpha channel for Virtual Insanity.

So what I'm actually seeing here is a Virtual Insanity movie being revealed by the drop shadow, because the drop shadow has in essence changed the transparency of the track matte on top. It is an interesting look, but if you're trying to get a black drop shadow then this isn't working at all. Okay, so we know it doesn't work. Let's see what really does work. Well, there is a few different potential solutions. One solution is to not use an effect. Instead use a layer style. Layer styles are calculated at a different point in the rendering pipeline than effects are.

Namely, they are calculated after track mattes have been applied. So I'll select Virtual Insanity, the layer that has been matted and has gained a transparency for Night Vision, then apply Layer > Layer Style > Drop Shadow. Now I've got a drop shadow and again that's because layer styles are happening after the matte has been calculated. So that's one solution. Another solution is something you saw earlier, is to go ahead and use this composition as if it was one layer in a brand-new comp.

So let's go ahead and just create a quick composition. I am going to grab any old piece of footage here, like my Wildflowers layer, drag it to the New Comp button, there is that, look for my Comp 08_starter2, open my comps, drag that out here. There is my title, now as one layer. The alpha channel has been calculated back in that previous composition. Now I can get away with applying a drop shadow to this composite, to this composition, and now I'll see my shadow normally.

So that's good as well. Couldn't apply it back in the composition where I made this track matte pair. had to do it later after I was treating this track matte pair as it was brand new piece of footage all on its own. The third solution is instead of applying a drop shadow here, you could create a drop shadow back in this other composition, which we call it pre-com for short. You can use the layer styles or you can go ahead and do Layer > New > Adjustment Layer, put on top of everybody, then apply the drop shadow to the adjustment layer.

Once I do that, I see my drop shadow here and I'll see my drop shadow later on when I use that as one layer in another composition. However, I couldn't apply my background movie in this comp, because the drop shadow on the adjustment layer will only be applied to my background as well. Which kind of negates the whole idea. I need to get these two by themselves, then apply a shadow to their composite, not to one of them individually, and that's the main secret. You have to combine them, then affect them.

Now stencils have similar issues with orders of effects. If you go ahead and watch the movies in the chapters on stencils, you'll see I discussed this a little bit in those movies as well. The main thing is you have to know the rendering order, when things are being calculated. Effects are being calculated before track mattes are applied, so you'll need use layer styles, which are calculated after track mattes, or you need to apply an effect after the track matte has already happened.

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After Effects Apprentice 05: Creating Transparency

38 video lessons · 12739 viewers

Chris Meyer and Trish Meyer
Author

 
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  1. 3m 17s
    1. Overview
      1m 17s
    2. Using the exercise files
      2m 0s
  2. 28m 53s
    1. Creating basic mask shapes
      5m 7s
    2. Using advanced parametric shapes
      3m 35s
    3. Basic mask shape editing
      4m 35s
    4. Masking in the Layer panel
      1m 55s
    5. Working with mask parameters
      4m 0s
    6. Animating masks
      5m 52s
    7. Creating vignettes
      3m 49s
  3. 25m 56s
    1. Masking with the Pen tool
      6m 44s
    2. Editing a mask path
      6m 19s
    3. Using RotoBezier masks
      4m 32s
    4. Targeting masks for animation
      3m 13s
    5. Setting the first vertex point
      5m 8s
  4. 19m 7s
    1. The basics of variable-mask feathering
      7m 33s
    2. Exploring variable-mask feathering options
      5m 56s
    3. Exploring visual effects applications
      5m 38s
  5. 7m 55s
    1. Exploring mask modes
      3m 58s
    2. Fading mask opacity
      3m 57s
  6. 11m 48s
    1. Using targeted treatments
      2m 35s
    2. Filling mask shapes
      3m 8s
    3. Following mask paths
      6m 5s
  7. 13m 31s
    1. Using alpha mattes
      3m 48s
    2. Grouping track matte pairs
      3m 40s
    3. Working with luma mattes
      3m 52s
    4. Animating mattes
      2m 11s
  8. 10m 0s
    1. Using Stencil Luma
      3m 5s
    2. Using Stencil Alpha
      2m 5s
    3. Using effects with stencils
      2m 20s
    4. Stacking stencils
      2m 30s
  9. 8m 23s
    1. Quizzler challenges
      1m 18s
    2. Quizzler solution one: One word at a time
      3m 53s
    3. Quizzler solution two: Stroke drawing direction
      3m 12s
  10. 11m 18s
    1. Idea corner one: More masks and effects
      2m 50s
    2. Idea corner two: Transition effects
      3m 44s
    3. Idea corner three: Sequenced layers as mattes
      4m 44s
  11. 16m 29s
    1. Understanding track matte rendering order
      5m 48s
    2. Exploring mask interpolation
      10m 41s

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