And this lecture guys you and I we are going to discover about the adjustment class take it seriously.
This is a very important they are much more important that shapes.
Now I'm just getting so important to apply effects and even some interesting motion graphics with this
plan.
Let's see exactly what some adjustments are become to the timeline and Right-Click you have here.
And you know that we can add an adjustment to this click and add an adjustment there.
And that's just that has been added on top here.
But in the solids folder over here an adjustment layer has been created.
And if you look over here you'll see it's white.
What I just built there is a white solid layer.
The only difference is this small switch here.
If you look at it this is a switch for adjustment there.
If you pull it off you have a white a solid here you put it on the collar with disappeared.
You notice the lead does not disappear just over here.
And it will act as an adjustment.
So actually you can take any solid lead and turn it into an adjustment there.
But preferably for the beginning please always create an adjustment just from here.
Of course you can go to layers and come to new and you have the adjustments.
Just over here.
If you select the adjustment there and go to layer solid settings OK.
You will notice that it has the solid settings here.
The name is adjustment.
It is as big as the composition.
Of course you can change the width and height and it has the white color and you can preview it as simple
as that so it's a solid lead with the switch on file.
So what can you do with the adjustments and what's its purpose.
The concept of an adjustment there is very simple.
Any effect you add on the adjustment layer will also reflect all the layer below.
OK the last that we have here is a solid layer but the color of the composition.
If you come to composition setting I said that this color and I put this led off for reasons I will
tell you in just a few minutes.
So any effect you apply to adjustment layer will be applied to all the layers below.
As simple as this good to effect simply said and here for example let's go for noise Anglians let's
add some noise.
We take the noise effect and we drop it on the adjustments.
Now we hike the amount of noise a bit.
Here you are.
You notice that the noise has been applied to all the layers below as simple as this because the adjustment
layer is on top.
What's practical about this.
Imagine you're doing color correction and you have five videos here.
Do you really want to Caracara correct each one of them.
No you will put an adjustment.
Apply one single color correction.
Hopefully your videos are near each other in terms of color and then you just do color correction on
the adjustments that it will color correct or the videos under the adjustment.
In this case we just applied the noise effect now that adjustment that is on top.
How about if you take it on bottom just here you notice that the first video now is above the adjustment
center and there is no effect applied.
This is because obviously it's not under G adjustments.
So actually you can position your adjustments led the way you would like.
You can also add more adjustment last.
If I add new and I come adjustment layer and adjustment that is glazed over here I can put it just above
all of them and let's go find something very obvious like the title.
OK.
These are easy to apply and to monitor.
So I'll apply it on the top one.
Now notice if I take the tune I make it very ugly for you to see.
Sorry guys.
You're not is that any effect applied to the adjustment layer that is on top has the effect on all the
other players including actually of the adjustments that in between here.
So let's hide the nose here to make a difference.
You can see it could.
So the first adjustment layer has either that right around the second adjustment that has added the
noise.
And these two videos that are on the bottom here have also the tri tone and the noise from the two adjustments
that as simple as this is actually very simple.
Now let's take the last layer here and put it on make it visible.
You notice that the two adjustments layers with their effects have affected the last lap.
Obviously by just I mean I don't want to have the background of having any adjustment on it.
I just wanted the weight it was the solution to this is to frequent pores as simple as this.
You select all of them.
I'm giving you a tip.
And you say OK.
Brief pause here.
I would call it cuts and cuts the background there is not you.
Let's go to the composition setting.
Remove this color so you don't get mixed up.
Cool.
OK.
Fact let's show your transparency here.
And you notice the adjustment layers are working on the layers as usual.
But if you come back to the original you notice there is no effect applied to this glass because the
adjustment layers are all inside the speaker.
So your solution to undercut an adjustment there is to be composite.
Now there are a few things that don't work they come to cuts.
So if you take this three for example and you say I would pick them pose.
So this adjustment.
The first one does not apply.
It won't work.
Let me show you.
Of course it won't work if you play compose a click OK I'm going to undo.
It didn't work at all.
Let's go back to cats.
They still have the effect of the adjustment there too.
And of course inside the pickup you have the adjustments they are on.
So I will undo this and will call back.
So actually this is how to work with the adjustment left.
But then there are very nice motion love is that you can do that you will sit together in the next lecture.