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Users can manage and block the use of cookies through their browser. Disabling or blocking certain cookies may limit the functionality of this site. Within the current comp, you'll notice no difference Figure 4. You can still apply effects to this layer or have other layers refer to it, and it is fully visible. Nest this composition in another composition, however, and the guide layer disappears. If you decide you want guide layers to appear at render time, there is an option to do so in the Render Settings.
Don't let your take be ruined by careless errors! Setting a checklist as a guide layer that blocks your render comp guarantees that it won't show up in your final render, but helps you to remember what to double-check.
This is just one of the many creative uses for guide layers. Guide layers are not just for temporary backgrounds. For example, throughout this book I suggest that you add an adjustment layer to slam the contrast of your comp, helping you to see whether foreground and background levels match. Because this is an effect that you would never want to see in the final render, these test adjustment layers are prime candidates to be guide layers.
Previous page. Table of content. Next page. If the layer to which the track matte is applied already has an alpha channel, then the new selection area created by the track matte will be opaque only in the areas that are opaque in both mattes. So applying a track matte in this situation is like making a subselection of the current selection. Also tricky to work out with track mattes is the render order: Sometimes adjustments and effects that you apply to the matte layer are applied to the target matte, and sometimes you must first pre-compose to get the applied effects and adjustments.
And what happens if you apply a track matte to a track matte? It's actually hard to say; sometimes it will work, sometimes not. The user interface does not prohibit this behavior so you can try it, but a better idea is probably to pre-compose the first instance of track matting and apply the second track matte to that nested composition.
The next chapter, "Optimizing the Pipeline," looks in depth at solving issues related to render order, and you'll begin to use After Effects as a visual problem-solving tool for these issues. Previous page. Table of content. Next page. You set a track matte by placing the layer that contains the transparency data directly above its target layer in the timeline and choosing one of the four options from the Track Matte pull-down menu: Alpha Matte : Uses the alpha channel of the track matte layer as if it were the alpha of the underlying target layer Alpha Inverted Matte : Does the same as Alpha Matte but inverts the result, so that the lighter areas of the alpha are transparent and the darker areas are opaque Luma Matte : Uses the luminance data of the track matte layer the relative brightness of the red, green, and blue channels combined as if it were the alpha of the underlying target layer Luma Inverted Matte : Does the same as Luma Matte but inverts the result, so that the lighter areas of the alpha are transparent and the darker areas are opaque By default, the source layer for the track matte the upper of the two has its visibility turned off when you set the track matte, which is almost always what you want.
Why They're Useful Track mattes are not the only way to apply alpha or luminance data to the transparency of a layer, but they're the clearest and most straightforward way. Why They're Occasionally Tricky Unlike with parented layers described in Chapter 2, "The Timeline" , selecting a track matte layer does not lock it to the current layer. Render Order Also tricky to work out with track mattes is the render order: Sometimes adjustments and effects that you apply to the matte layer are applied to the target matte, and sometimes you must first pre-compose to get the applied effects and adjustments.
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