Why does pasting multiple layers into a different comp ruin the order?
I have 6 layers in a comp, and I'm taking them across, via copy/paste, to another comp. Each second layer is an Alpha channel for the one below it. However when they're pasted into the next comp they ALWAYS are reversed, or randomly resorted, ruining everything about their blends and alpha relationships with one another.
Why does After Effects do this? Is there a way to prevent it from happening?
This doesn't just happen in this instance, I've noticed it nearly always happening when pasting multiple layers.
Is there ANY conceivable benefit to this happening, ever?
Layers are pasted in the order they are selected. Select the top layer first then shift select the bottom and they will paste in the same order. Select the bottom layer first and then shift select the top and the layer order will be reversed. Ctrl/Cmnd + select layers in any order and they will be pasted in that order.
Lets assume you have layers in this order. Red, White, Blue.
Select Red then shift select Blue, copy and paste and you'll get Red White Blue.
Selec Blue then shift select Red, copy and paste and you'll get Blue White Red.
Ctrl/Cmnd + select White, Red, and Bluae, copy and paste and yo'll get White Red Blue
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In RGB mode, why does pasting 50% gray into a layer mask actually put K 59% in the mask?
Create a new (small) document in RBG mode, 8 bit, transparent background.
Fill the resulting Layer 1 with 50% gray, 100% opacity. The eyedropper reports RGB=(128,128,128).
Copy the layer to the clipboard.
Create a new Layer 2. Fill it with Green #00ff00 (the contents don't actually matter here).
Add a layer mask to Layer 2.
Bring that mask up for editing.
Paste in the contents of the clipboard. The eyedropper reports the contents of the mask as K 59%.
I was expecting 50% gray (or K 50%). Why did I get K 59%?
Addenda:
I'm using CS3 on a Mac. I haven't had a chance to see if the same thing happens with more current versions of PS.
Apply the layer mask in Layer 2. Extract the transparency to a new layer. The eyedropper gives the RGB of the
new layer as (106,106,106), with variations pixel by pixel of plus/minus 1.
Take the Difference between that new layer and Layer 1; the eyedropper gives the RGB of the difference as (22,22,22),
again with variations of plus/minus 1.
Paste the contents of the clipboard into a new layer. The eyedropper gives the RGB contents of that new
layer as (128,128,128), both without and with a Black & White adjustment applied.
Create a new layer, add a layer mask, fill the mask with 50% gray. The eyedropper gives the contents of
the new mask as (128,128,128) (now as expected).
The 50% gray used above is just for simplicity. I'm actually interested in inserting a complicated RGB
image containing only shades of gray into the layer mask. This example indicates that pasting won't
preserve the gray levels. Indeed, when I replace the initial 50% gray with a Black to White gradient,
the differences between the initial gradient and the one in the mask range roughly quadratically from 0 at 0,
22 at 128, and 0 at 255.Thanks. First doing Edit > Color Settings, Gray > Gray Gamma 2.2 resulted in putting 50% gray in the layer mask.
Does changing the Gray setting have any effect on channel calculations, via Image > Calculations?
Or what you get from
Image > Apply Image, Channel > Transparency ?
I don't see "sGray" listed among the options for Gray in the Color Settings. Is it somewhere else? -
Why does eye dropper Lab show a different value than the Lightness channel?
Can someone help me understand how the L in Lab color in the eye dropper tool maps to the actual Lab Lightness channel? Both are on a scale of 0-100, but they clearly show different values. Here's a video that show what I mean (note that if I completely desaturate the color, I get the same results, it isn't a color thing).
I cannot read much useful in the OP's video, but I think, the OP is not talking about
HLS- or HSL-Lightness (not available in PS CS6) or HSB-Brightness, but only about
CIELab Lightness in two different modes:
Figure 1:
Figure 2:
The area was filled with a gray L=50 a=0 b=0.
In Figure 1 all channels are selected. The values are correct.
In Figure 2 only the Lightness channel is selected. The value L=54 is wrong.
What might be the reason?
Measurements were always taken inside the area. The RGB-values are the same in both modes.
Please don't verify this by measuring in these Forum-images. These are PNGs in RGB.
Please verify by repeating the trial.
Best regards --Gernot Hoffmann -
HT201340 Why does a book dustcover spline have different printing to the book spline
What ever is used as the main title to a book gets printed on the dustcover spline even if it is on more than one line but on the actual book spline using more than one line for the title all that prints is what is before return is pressed for the second line. Why is it not duplicated from the dustcover spline.
What ever is used as the main title to a book gets printed on the dustcover spline even if it is on more than one line but on the actual book spline using more than one line for the title all that prints is what is before return is pressed for the second line. Why is it not duplicated from the dustcover spline.
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How to Apply adjustment layers to multiple layers that have different blending modes ...
How to Apply adjustment layers to multiple layers that have different blending modes and keep the colours the same as the adjusment done?
I work in Animation painting Backgrounds. My files are sometimes upwards to 200+ layers.
I will use adjustment layers to quickly balance colours and constrast on top of those many many layers.
The only way that I know of how to apply adjustment layers it to every single layer ( by applying I mean I need to get rid of the adjustment layers because we cant use them in production but i need the new colours be applied to all layers underneath ) in a psd is to manually do it By duplicating the adjusment layer 200+ times and then merging each layer to one of those adjustment layers so that that layer can take the adjustment layers effect permanently.
The issue is that Within Those 200 layers I have some layers set to Multiply or OVERLAY. IT obviously wont apply the adjustment layer properly to those layers because those layer blend mode affect the layers under them. The colour wont be the same anymore in the spots that had the multiply blended mode.
HEres an example of a simple File. to show what i mean.
https://dl.dropboxusercontent.com/u/3408266/ball%20layers.jpg
https://dl.dropboxusercontent.com/u/3408266/ball.psd
I have 2 adjustment layers up top. I need to get rid of them by applying them to each layer! I cannot merge any of the layers. We need all those layers for production.
I can apply the adjustment layers manually and this works GREAT for all Layers set to normal. THey take on the colour change just FINE.
However, The issue is that layer 6 and layer 4 are both set to mutiply and this screws up the colour once i apply the adjustment layers to each layer manually...
How can i apply my adjustment layers to a file like this with some layers being set to multiply while keeping the layers exactly the same configuration and The new colour taking efffect exactly how i looks before i apply the adjustment layers?
Now the simple solution is to merge the multiply layers to the layer that it affects HOWEVER I NEED those multiply layers to be seperate!
I'm assuming what I want to do is impossible? Hope this isnt confusing. As far as i know its impossible to do what I want it to do. but just wanted to ask and see.
I would REALLY REALLY love to talk to a adobe programmer/ technician/pro working at adobe about this. Theres just no way to get in touch with anyone... =(
any thoughts ?Sure... if you want to put it that way. Either way its not the desirable outcome.
its just frustrating that theres no way to apply adjustment layers to hundreds of layers while keeping them in the same configuration ( blendmodes, layer order , without merging) while keeping the same end result.
works great if all your layers are set to normal though.. But I really need to keep shadow layers seperately and be able to adjust on the fly aswell as apply those adjusment to all my layers.
I suppose that just isnt possible. I understand the math required for this would be tremendous/ complicated if something like this would ever be implemented. Would be nice if adobe could come up with some solution to this. Its really a huge issue in my work flow and theres no alternatives. How else can I adjust colours to 100+ layers with a few clicks that lets me play around the the adjustment until im happy with the outcome. Really wish i could adjust and the quickly apply that adjustment to all my layers regardless of blend mode. LIke If the Layers with blendmode could somehow take the properties of the adjustment layer and keep adjusting those layers undereathe on top of that blended mode that its doing... -
Pasting multiple objects into frame
Greetings everyone
I was wondering if someone could shed some light on how to best paste multiple objects into a single frame.
Mainly, I'm trying to nest objects that form a part of a newspaper article header; since it's a design element that keeps repeating with each single article I don't want to spend time with manually positioning the elements each time--it's time consuming and prone to sloppiness.
Unfortunately, the base frame will have about three objects that need to be nested within it. Once I paste one object into a frame, the next time I do `Paste into`--the content (previously pasted object in this case) just gets overridden.
I've read that, to paste multiple objects into a single frame, one should group the objects first. Now this works pretty well for getting them into the frame, but leaves me with no options to position them relative to the frame. I can't move or position an object individually and I have no option to ungroup them once they've been pasted.
Here's a small mock-up to depict my peculiar predicament:
Ideally, I'm aiming to have the main header frame to fit the content of the nested objects and for it to be flexible enough that I can quickly span it across multiple columns as per article requirements.!kRON wrote:
For items that are part of the group, their (X,Y) location coordinates are relative to the document--neither to the group nor the parent frame. The group itself has coordinates that are relative to the parent frame (X+ offset, Y+ offset). I can select the group and the parent frame and use the align to selection options. For individual items, I cannot make a selection of both them and the frame, only between items that are part of a group. I loose options to align an individual item relative to the parent frame, which means I have to drag them around and rely on smart guides.
I've tinkered around some more and it'd appear it's not possible to lay out the elements as I imagined. So I have to resort to grouping the items that would form a frame and pasting them into a frame. If multiple frames have to be members of a single frame I'd have to group the frames and paste them into the single frame and so on.
Based on my layout mock-up, I'd end up with 3 frames within the header frame:
Article header
Heading
Article type
Separator
Article heading
Title
Footer
Author
Shape
Based on experience, should I go with this or stick with the old fashined moving around of loose elements? Will it be a lot of work to maintain resizing and repositioning of the various items and their frames once I start changing the width and height of the header frame or will it save me some time?
I'm not a working designer or production worker, so anything new takes me longer than I think it should, because I don't have a rich reservoir of quick methods at my fingertips.
Your description above interested me, because I've been wrestling with the annoying limitations of manipulating and adding compound objects in anchored frames. For many situations, it's probably simplest to assemble each iteration of a compound object, that introduces a new element, outside the anchored frame, then group the elements and paste the grouped object into the anchored frame.
However, the arrangement of elements in your example made me think that a table might be a workable solution. The answer I arrived at is "Yes, it's a solution, but it takes a while to set up." If it's reusable easily, then it might be worthwhile investing in a few experiments.
I've attached a zipped idml interchange version of the file, and also a PDF.
Here are some notes:
* I created a table with three rows and three columns, no header or footer rows. Three columns because I thought I'd paste a vertical line into an inline anchored frame in the center cell of the top row, for the separator line. Later, I realized that defining the vertical cell rule as paper color would suffice, so I merged the two right cells on the top row to create a two-column row, with text in each cell and the vertical separator between them.
* I merged all three cells on the second row into a single cell.
* I merged the two right cells on the bottom row, but later, when I moved the cell rule to position the triangular graphic in the inline anchored frame in the right cell, it moved the vertical cell rule in the first row. So, I had to unmerge (or split) the cells, and cut/paste the triangular graphic's anchored frame into the rightmost cell. To position the anchored frame, I moved the vertical cell rule with Shift+Drag, to keep the table width unchanged.
* I sampled the purple color with the eyedropper tool while cells were selected and the swatch panel was set to fill the selected object.
* I didn't spend much time matching the type, as you can see. To position the text, I adjusted the cell margins in some cases, and left/right indention in some cases; I'm not sure which is more efficient in situations where there will be different amounts of text to fit. I didn't create cell styles or paragraph styles (BAH! Bad, bad, bad process) because I won't be repeating this stuff, but you probably will benefit greatly from defining styles for your repeating needs.
* The triangular cut into the bottom row made it easy to manage creating and positioning the graphic. A non-geometrical object might be trickier. The triangle is a text frame, set to negative space above, so it overlaps the cell above it, enough to avoid a black gap.
* Except for the vertical paper-colored divider line, all the cells have zero-width strokes.
* I created the table in a text frame, that I fitted down to the size of the table, but I can't remember if I selected, copied, and pasted the text frame into the text flow to anchor it, or if I selected the table in the text frame, copied and pasted it into the flow. Not sure if it makes a difference in work efficiency.
If I understand your general needs, this should work well for changing text and adjusting the column widths.
HTH
Regards,
Peter Gold
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