Adjustment layers turning everything below black

Hi there,
Found I am having an issue with adjustment layers in Premiere CC.
I have created an Adjustment Layer and pull it on top of a clip on my timeline. As soon as I try to apply Lumetri to the adjustment layer, it turns black and ceases to operate as an adjustment layer and more like a black colour matte. It also behaves this way in that, when I decrease the opacity of the adjustment layer, the clip below begins to show through, but clearly not affected by Lumetri.
Any ideas?

Hi Kevin
Have tried trashing preferences and reinstalling to no avail. Read that a few users have fixed the issue by deleting any opacity keyframes on the AL but I have deactivated key frames altogether on my ALs with no change - the AL just becomes a black solid.
I am also beginning to have chronic kernel panics where my MBP goes white screen and restarts. Nothing in particular seems to be triggering this, it's entirely random.
Adobe Premiere CC 2014
MacBook Pro 13"
Mid-2014
OSX 10.9.4 (Mavericks)
Intel Core i7 2.2GHz
16GB 1600 MHz DDR3
Intel Iris Pro Graphics
I do have Mercury Playback Engine GPU Acceleration (OpenCL) enabled and I am aware that this can be a common problem but on a brand new MBP with a supposedly supported GPU, I wouldn't expect it.
Any more ideas?
Thanks,
Josh

Similar Messages

Combining several adjustment layers into a easily accessable preset

Hello,
the past couple of hours I've been trying to combine multiple Adjustment Layers (For example Curves, Black & White, Exposure and Color Fill) into one final preset that I can easily access later. I've been having problems finding that out, not a single input in google was able to clear up my problem. I know how to save a preset for e.g. Curves only or Levels only. But using several layers of adjustments?
Some help required (:

I will try my best. Thank you very much for the answer
Edit:
So, I just did it. You were right, easy to understand, working perfectly fine! Thanks very much!

How do i adjust layers below a Shadows/Highlights smart object layer

Hi
In Photoshop CC I have created a number of layers for smart tonal adjustments.
I then created a Smart object Shadow/Highlight layer base upon a copy of all layers below.
However my layers below can no longer be altered as the Shadow/Highl;ight layer is a copy of them.
Is there away to allow me to stack the layers so that i can still make adjustments to my layers below after have created a Shadow/Highlight layer.
Seems impossible.

You can stack SOs pretty much for ever. Just right click the SO with the Shadow/Highlight adjustment, and turn it into a Smart Object. Then you can add a layer mask to make parts of the underlying layers visible. But you mainly need to manage your workflow to avoid this situation, or use the SO as a new Background Layer, and carry on working from there. That is how I tend to work.
Incidentally, as you have CC, do consider using Camera RAW as a filter, on a SO layer, in preference to Shadow/Highlight. S/H was always portrayed as Photoshop magic, but in actual fact it produces nasty artefacts and makes an image look unreal and plastic. When the Camera RAW engine was updated with the Process Version 2012 (PV2012) with version 7.#, it took a big step forward, and allowed drastic use of the sliders without the nasty artefacts this would have cause with earlier versions. AFAIK S/H was not updated, and IMO should have a little skull and crossbones next to it in the Image > Adjust menu. Or better still, removed altogether.

My dtr adjusted something on her Mac and now everything is black

My daughter adjusted something by mistake on her display and everything is black and white. How can we get the color restored?

Open the Universal Access pane of System Preferences, click on the Seeing tab, turn off White on Black, and drag the Contrast slider all the way to the left.
(68631)

Trying to turn the background black and white in lightroom 5. Using the adjustment brush. It isn't working.

Trying to turn the background black and white in lightroom 5. Using the adjustment brush. It isn't working.

Set Flow and Density of the brush to 100
Reduce it where you want the effect to blend.
Bruce

Spot Healing Brush needs 'Current and Below' and 'Ignore Adjustment Layers'

Spot Healing Brush needs 'Current and Below' and 'Ignore Adjustment Layers'

Spot Healing Brush needs 'Current and Below' and 'Ignore Adjustment Layers'

Photoshop Elements12 - crashing when using Adjustment Layers. When opening the drop down menu there are 'boxes' for Black

Does anyone else have problems using the Channel Mixer?
This problem only started after the opening screen started to 'advertise' the advantages of moving to Cloud

Which operating system are you using?
Can you post a screenshot of what your seeing with the menus?
All adjustment layers cause pse 12 to crash or only certain ones?
The channel mixer adjustment layer isn't included with pse 12, so did you download an action for the channel mixer adjustment layer?
I never use the welcome screen since it seems to cause so many problems with the elements versions that have it, but rather make a shortcut to the editor and/or organizer and use those instead.

Adjustment layers not 'sticking' on animated GIFs

I'm trying to adjust brightness/contrast and saturation over about 30 layers on an animated GIF. Everything looks great until I do a save for web and click on the animate box. At that point, the color/changes drop off completely. It shows up fine when it's just the one layer being shown. And it seems to be showing up on all the layers when I'm in the main edit window. I keep looking and making sure I have the 'this adjustment affects all layers below,' and I do. I even tried saving a GIF with the other setting turned on and I got the same thing.
Anyway, I exported a few GIFs, thinking maybe the adjustment layers would kick in as it saved, but nope. Neither layer saved into the exported GIF.
I'm sure this is just a simple setting I'm missing, but I'm banging my head against the desk at this point. Any help would be greatly appreciated. Thank you!

Thanks! I'm still trying my best to sort out why the adjustment layers drop off when I go to animate the GIF ... BUT I did duplicate the adjustment layers -- one for each frame -- and then clicked on the adjustment layers and selected layer and merged them one at a time and it worked. It's still more tedious than I hoped, but not as tedious as trying to adjust each layer on its own and having to input the same exact settings for each layer.
I would still be interested in anyone else's take/advice on applying adjustments to all the layers in an image at the same time and having it cary through to 'save for web.' Animated GIFs are so simple in theory, but I'm finding them to be absolutely one of the most frustrating and tedious things to try and edit/create.

Data below black level 0 in h264 mp4 files.

I'm a little confused about black and white levels in video.
I have two questions. If you bare with me for a second I can demonstrate what I mean.
I created gradient with values from 0,0,0 to 255,255,255 in Photoshop and saved it as sRGB jpg file.
I imported the file to Premiere and added Fast Color Corrector to the file and changed black input level from 0,0 to 16,0
So now everything below value 16 is cutted to black.
I exported the edited gradient as h264 mp4 videofile.
Now things got interesting.
I imported the edited videofile back to Premiere, added Fast Color Corrector to videofile and changed black output level from 0,0 to 16,0
The information that I thought was lost is there!
I tried to to the same thing for the same video file with Photoshop and I'm not able to get the lost information back.
Why is there information below 0? And how am I able to rescue it with Premiere, but not with Photoshop?
Does this have something to do with YCbCr black and white levels that are 16-235?
This whole question came up when I calibrated my Samsung lcd-tv. I used AVS HD 709 mp4-calibration videos.
There are black level calibration videofile. Which is exactly like my gradient video file where there are black values below 0.
If you lift your tv's brightness below certain levels you are able to see the black values that are below 0.
I'm able to see these "blacker than black" values with tv's own videoplayer and with xbox videoplayer.
However, if I try to see these values with my macbook pro which is connected to tv I can't get them visible.
It doesn't matter if I play the video with quicktime, vlc or premiere.
So the second question is why the macbook pro does not send any "below black" information to tv?
PS. I'm using latest premiere CC.
Thank you in advance!
In this image you can see from Premiere Scopes what is happening.

Does this have something to do with YCbCr black and white levels that are 16-235?
No and yes.
When you manipulate levels values within 0-255 (0.0-1.0) range, you don't clip existing data, you simply compress/decompress contrast, while information is still there (to some extent). By the way, data outside 16-235 range, but inside 0-255 are not super-blacks or super-whites (underdarks or ovebrights), they are just broadcast safe values. Super-blacks or underdarks are values below 0.0, while super-whites or overbrights are values above 1.0. The nature of YCbCr does allow to store some real super-blacks and super-whites even while encoding to 8-bit codec.
Why only some codecs are able to preserve this "illegal" values?
MOV container is... um-m-m... quirky. For example, exactly the same data encoded to e.g. mp4 and MOV with exactly the same codec (e.g. H.264), may be decoded/interpretted differently. So as to have some fun, create a copy of an mp4 clip, which contains some super-whites, rename file extension of one copy to MOV, import both mp4 and fake MOV footages into After Effects, set your project to 32-bit, sRGB or Rec.709 and linearise working space in order to get precise result while blending layers. Then drop both clips into the same composition and set blending mode to Difference. Enjoy!
Why I'm only able to access these values inside Premiere and not with Photoshop. Is Photoshop unable to access these illegal below 0 values?
Try setting Photoshop to 32-bit first. If that doesn't help, then yes, Photoshop clips values outside 0-255 (0.0-1.0) range on importing. Similarly you won't be able to get super-whites or super-blacks back in PrPro with 8-bit effects.
When i export with codecs that can preserve superblacks should I still get rid of them with videolimiter. Do they cause any problems in youtube or broadcast environments?
No. Moreover, you should take care of broadcast legal range in case of delivering to a broadcaster only, YouTube 'broadcasts' on the web and targets regular computer monitors, which operate on sRGB 0-255 range.
why the macbook pro does not send any "below black" information to tv?
That has probably something to do with Apple colour management workflow. Since I'm not on a Mac, I can't comment this on

Why use layer masks and adjustment layers?

I've been using PSE and CS successfully for years.
One thing I have never understood is: why use layer masks and adjustment layers, instead of simply creating a copy of the subject layer (the one I want to make changes to) and experimenting with that? It's quick (Ctrl-J), I can do it as many times as I want, I'm not affecting my Background layer. If I like the changes, I can keep them. I can switch the copy on and off to compare with the Background layer. I can do any type of blend or combination I desire. I can insert Gradient layer(s), select any part of the copy and (Ctrl-J) create a new layer containing only the selected part. I can adjust size, rotate, do anything.
It almost seems that "layer mask" and "adjustment layer" are mainly another layer of terminology; can anyone explain (preferably in 50 words or less) how they are intrinsically different from or superior to working with copies of the Background layer? What can be done with them that can't be done simply using copies of the Background layer?

Here's a very basic example of the advantage of using a layer mask.
I have this picture of a sunflower and I want to convert the background to black & white, leaving just the flower in color. I duplicated the Background layer, converted it to B&W and proceeded to use the Eraser to uncover the flower color. But I made a mistake and erased outside the flower. There is no way to correct this other than deleting the layer and starting again.
Now let's use a layer mask on the B&W layer. Set the Foreground/Background colors to the defaults black/white. Using the Brush tool paint on the mask with black to reveal the color. Here I painted too far, revealing a green leaf in the background. No need to start over. Simply switch to white and paint the excess to convert back to the B&W.
Tip: while painting you can type "X" to toggle between black and white.
You could also select the flower using the various selection tools and then fill the selection with black. If it turns out the selection was not 100% accurate you can then fine-tune the result by painting on the mask with black or white as necessary.

SUPER USEFUL TIP: Use clean titles as adjustment layers in Final Cut Pro X

One thing I love in After Effects are adjustment layers and I just realized you can actually use titles as effects in Final Cut Pro X and they behave just like adjustment layers (actually you can go much further in Final Cut Pro X).
So titles process everything below in Final Cut Pro X even with effects applied to it. So why not just build clean title in Motion 5, put that to top "track" and add effects to it. This way you don't have to hassle that much with compound clips.
This technique works with all effects (also color board works on titles) so for example if you want to have certain look for some period of time simply add clean title to top track for that time and add effect to it. I think this technique has tons of potential for people who want to keep their timelines in order and don't want to create complex compound clip messes.
If you don't have Motion 5 you can download Adjustment Layer here. Just extract contents to your Movies/Motion Templates/Titles folder and you'll find it in Final Cut Pro X Titles under Adjustment Layer.
Best
Tapio

Great idea!

Perspective corner pin and adjustment layers

Hi,
I am sure this is and easy one for all you more expereinced guys out there... I am trying to adjust a piece of footage that has a very blown out window in it, I was thinking I can simply motion track the window using the perspective corner pin tool, then apply the tracking data on to an adjustment layer that has the color adjustments I require. However as soon as I apply the tracking data the adjustment layer will shrink down a copy of the layer underneith into the tracked shape and turn everything else outside of it black. What s the right approach? Many thanks in advance!

That's what it does - any track produces coordinates relative to the source footage dimensions. Not sure where you are having problems, so let me try to recap this step for step.
Create a comp
Add footage
Create a comp sized solid
Do a corner pin track
Apply the track to the solid
Select solid
Do layer --> pre-compose, choose to move all attributes
Go back to source comp
Turn on adjustment layer switch on pre-comped layer
Add whatever effects you want
The effects will now only appear inside the tracked area as it effectively acts as a matte for them by ways of being an adjustment layer.
Mylenium

Problems with adjustment layers in image

I've been working with an image with about a half dozen layers. Some of these are Curves adjustment layers, I've also added a layer, using Soft Light mode, and then paint either in black or white to dodge and burn the image. At some point, when I started painting in this layer, or in the masks of the adjusment layers, instead of seeing my results in the image, I'm see red brush strokes being added to the image. It looks like the red you get when you toggle the "\" key and you're seeing what's in the layer and the masks in rubylith.
Also, when I select a layer, it turns light gray, not blue, as with other images.
What is wrong here?
David

Okay, I don't know what the problem was, but I fixed it by going into Channels, deleting the 'Mask' channel, then adding back a mask to the Curves adjustment layer.
All is well, but I'm still curious as to what happened.
d.

Ignore Adjustment Layers option for the Eyedropper tool

The Clone Stamp tool has a button in its options that says "Turn on to ignore adjustment layers when cloning". It is hard to imagine as to why Adobe didn't do the same with the Eyedropper, it is equally important not only for creating artworks from scratch but photo retouching too.
When the Eyedropper is set to sample from All Layers, there should be also an option to ignore adjustment layers above the currently selected layer.
The lack of this feature in Photoshop makes art creation and photo retouching extremely difficult when adjustment layers are used.
To reproduce the problem:
Create several layers with some colors or images in them.
Add one or more adjustment layers on top that change the colors of all layers.
Select a layer to paint on.
Set the Eyedropper tool to sample from All Layers.
Pick the Brush tool, hold Alt to get to the Eyedropper and pick a color from any of the layers and paint.
The result is a different color because the Eyedropper picked the adjusted color and this makes painting and retouching in this natural way impossible.
The above steps is basically the most common workflow when a user paints or retouches a certain layer using the Brush tool while constantly picking colors form other areas of the image by holding Alt to get to the Eyedropper tool, similar to using the Clone Stamp Tool,

Even a »Current and Below«-setting for the Eyedropper Tool would be helpful, I guess.

How to change the default name of new adjustment layers? (and other Q's)

How do I change the default name of new adjustment layers?
How can I make it so that adjustment layers don't come with a mask when I create them (unless I have a selection active)?
Why isn't the Shadows/Highlights functionality an adjustment layer? It's accessable under "adjustments" but you can't use it non-destructive
Where can I find documentation on Photoshop's API? (I want o make tools for it - javascript)

Forgive me for not looking into your Maya-specific links, but one can automate Photoshop using JavaScript indeed (on Windows also VB, on Mac also AppleScript).
Not everything can be automated naturally, but a lot – and it can really speed up many tasks; and with the »small« repetitive ones like saving copies off of files etc. combining Scripts with Configurator Panels can be especially convenient.
There is a Scripting Forum over at
http://forums.adobe.com/community/photoshop/photoshop_scripting
As for plugins: it's something I would like to learn some day (I guess you would have to go with Flash and AS3 for making actual plugins)
I think you might also have to learn C++ or C.
There is Forum the contributors to which might be able to give you pointers if you get to that.
http://forums.adobe.com/community/photoshop/photoshop_sdk

Adjustment layers turning everything below black

Similar Messages

Maybe you are looking for