《0503 Using precomps to rewire the render order》 -----本字幕由ACELY 整理制作----- Trish Meyer: The problem I am having with this movie is that I've masked it into a perfect
circle but the effects I have applied are skewing it and distorting it so that 【作品只能交流学习，不得用于任何商业盈利用途】
it's no longer a circle.
So let's examine what's going on.
I'll twirl down the layer, twirl down Masks, and Mask 1 is the circular mask.
When I twirl down the Effects, I see I have a number of effects applied and I
did this not too necessarily confuse you, but just to give you a few more
things to think about.
If I turn off all my effects, there is the original brightly colored movie
with the mask applied.
One of this effects is causing the movie to skew.
We'll turn them all off and let's examine them one by one.
The first three effects are only changing the color.
They're having no effect on the shape of the layer.
The next effect, Warp, is making the straight lines in the movie have a nice curve to them.
Unfortunately, it's also causing the alpha channel to change shape.
The next two effects, Bevel Alpha and Drop Shadow, are simply being applied to
the new alpha channel.
So if I turn off the Warp effect, I get all the color correction, the bevel and
the shadow and it's a perfect circle.
To fix this render order issue, I first need to define which two attributes
are causing the problem with the alpha channel. And it seems to be the mask and the Warp.
The second part of the puzzle is figuring out what order they are rendering in now.
Well, that's easy.
I can see from the timeline that the mask is rendering first and the Warp
is rendering second.
So it sounds like the solution is to reverse the order and render the Warp
effect first, followed by the mask.
But let's also consider the other effects.
The color correction can render either before or after the mask or before
or after the Warp. But the Bevel Alpha and the Drop Shadow, they need to
render after the mask.
If I was to render all of the effects before the mask, I wouldn't get the
results I am looking for.
To help you visualize this, I'll just turn off the mask.
I'll change it from Add to None and now you can see what happens when you apply
the Bevel Alpha and the Shadow and all of the effects to the original movie.
If I was to then cut this image out with a mask, I would be cutting out the bevel as well.
So I need to be quite surgical here.
I can't move all of the effects before the mask because that won't give me the
result I am looking for either.
If we get back to what was causing the problem, the Warp and the mask, I really
only need to move the Warp so that it renders first before the mask.
So let me turn back on the mask and we can do this surgery by using Pre-compose.
So I'll select the layer. Go to Layer > Pre-compose. We have two options to
choose from when we are pre- composing an individual layer.
We can either leave all attributes or move all attributes and it's good to think
about what might happen if you pick each option.
For instance, if I move all the attributes into the new composition, I would
move the mask, all of the effects, and my transformations. I have some scale
applied and then if I want only the Warp to be rendered in the pre-comp and
everything else to render in the second comp, I would have to copy the mask,
five of the effects, and the Scale keyframes and move them back up to the second comp.
So that doesn't make any sense at all.
However if I leave all the attributes in this comp, I would use this option to
create a new comp with only this movie in it and the new comp will then be the
source to this layer.
Well that sounds more promising. Because that way, I can just take the Warp
effect and copy it to the pre-comp and I would say as a pretty solid rule, it
almost never makes sense to move all the attributes into the new composition,
if all you are trying to do is fix a problem with the rendering order.
Not only would you move all the attributes such as blending modes which need
to interact with layers below, but it's much better to leave all your
keyframes in the top comp.
That way they are easier to edit.
So we'll give our composition a useful name.
Let's call it digi pre-comp and I'll also add the word warp.
Now when I look at my list of pre-comps, I'll remember why I made this pre-comp.
It was simply to fix an issue with the rendering order.
So I go to leave all the attributes and open the new composition.
I'll click OK and as promised, my movie is now placed in a pre-comp.
There is no mask or effects.
These are just the default transformations and also, note that the pre-comp is
using the same specifications as the movie.
So it has the same width, the same height and the same duration, 12 seconds.
Whereas my main comp, Circle, is only five seconds long.
So you can see that the pre-comp layer extends past the end of the comp.
So my movie has been replaced with the output of the pre-comp.
If I twirl this down, I'll also find all of my attributes still in the main composition.
So remember when you pre-compose, you are never actually fixing the problem.
I still have an issue with the Circle not being perfect, but what pre-composing
does this give you the opportunity to fix the problem for yourself.
So now I can pick and choose which of these attributes render in the first comp.
Remember this is now the second comp for this layer.
So I've already determined that Warp and Mask have a issue and that Warp
needs to render first.
So we'll select Warp and we'll cut it.
Now my movie is in a perfect circle.
I'll select the pre-comp, select the movie, and we'll paste, and now my Warp is
being applied to the original movie and the output of this pre-comp with the
Warp is being sent up as the input for the layer in the next comp, and now I
have the look I was after.
Since I no longer need to see the edge of the mask, I'll toggle off the Mask visibility.
And the final thing we need to do with this layer is we need to animate it so
that it rotates, and normally we would just wait for the transformations, turn
on Rotation, and start animating it.
But let's have a look at what that might look like.
Is there anything wrong with this picture?
The effects that are applied to here, the Bevel Alpha and the Drop Shadow, are
assuming that there is a light source at the top left hand corner casting the
light across the layer, so the Bevel adds a highlight on the top left-hand
corner and the Shadow is adding a shadow on the bottom right-hand corner.
It's a little hard to see because the background is dark.
So if we need to rotate a layer with Bevel Alpha and Drop Shadow, the regular
rotation is not going to cut it.
We need to rotate before the Bevel and the Shadow.
Fortunately, we already have a pre-comp set, so we can choose to rotate it in the pre-comp.
I'll turn on the stopwatch, we'll go to the end, and we'll just give it two revolutions.
I go back to the Circle comp and now the layer is rotating and it's not
affecting the Bevel and the Shadow.
I'll just leave you with one more solution.
If I was only working with a layer in one comp, I could animate Rotation before
the Bevel and Shadow by using the effect under Distort called Transform.
Of course I need to make sure I drag Transform above Bevel, Alpha, and Shadow and
then I can animate the Rotation inside the effect.
This can be a very handy effect.
So to recap, whenever you have a problem with an individual layer and you have
some kind of render order issue, when you go to Pre-compose you almost always
want to leave all the attributes in the current composition and then pick and
choose which attributes to move to the pre-comp, always remembering that the
【如果喜欢该教程，请购买正版！】 【欢迎加入群号：214645753】 -----联系邮箱：acely@126.com----- pre-comp is rendering first.