Deleting a selection in a shape layer

Similar Questions

• By selecting shape layer slows photoshop

  I have this problem clayers of forms regarding

  Photoshop CC2015 (on a Mac / Yosemite) gives me a spinning wait 2-3 seconds (sometimes more), whenever I do these simple gestures:

  -create a simple form with the tool shape on a canvas layer empty

  -selection of a shape in the tab layer Layer

  -Select a path of shape layer with the direct Selection on the canvas tool

  whenever I interact with a shape on the canvas or in the layer tab layer, I have this wheel that turns 2-3 sec asking me to wait for the next action...

  a big thank you to who can help you!

  OK so I had to uninstall photoshop via menu creative cloud and the removal of preferences when asked and re - install

  works fine now!

• Transform a shape layer with several groups/paths in another?

  Hello

  I'm trying to turn the form A B-shaped into aftereffects.

  

  Both are drawn in illustrator, and I imported into aftereffects and diverted path to forms.

  At the moment I do a key framing color and the path in the sticky on the form A and form B. From there I will meet with two questions.

  (1) for now I have to manually open each group, every path, every feature of color until I'm able to keyframe them. After that I have to paste the keyframe of the track and keyframe colors individually to the corresponding group. It's doable, but I have to turn the form in 10 more other variants. Just want to check is there a shorter way to the key all the way to access and color properties frame. And then copy all of the keyframes from one form to the other.

  

  (2) I noticed that not all the points on the path are created equal. I think that the "starting point" is noted with an extra box compared to other points.

  

  As the "starting point" of a path is different from the rest, the transition has become weird.
  Can I check if someone knows how to change the "starting point" to another point on the same path? Or y at - it another way of fixing?

  Finally, if there is more easy morphing shapes to another, I'll be happy to listen. Thanks a lot ~

  I would do this kind of thing differently and 90% of the work in Illustrator.

  I would like to begin by drawing a path in Illustrator, to duplicate the path and to change the size and position and change the color of the outline of the color I wanted for the inside of the first form at the beginning of the animation.

  

  I use then the gradient tool to create a blend between the two forms specifying the number of steps, so my first form duly filled out for one frame looked like this:

  

  I would then do the same for my second form by using different colors, so I got this:

  

  With the two mixtures on you will see this:

  

  The upper mixing layer is where your animation will start and the bottom is where your animation should end.

  The next step is to select Merge layers and spread the mixture, if you find yourself with two groups:

  

  Here comes the fun part. Select groups, and then specify the number of steps you want as long as the number of images that you want in your animation. In this case, I want a second 1 transition and my comp is 29.97 FPS, so I selected 30.

  

  Now spread the mixture:

  

  We should end up with a group at layer 1 with 30 subgroups:

  

  Ungroup the higher group only then deselect all layers and select a single layer, then choose release to layers (sequence).

  

  now select all sub layers in the layer panel and drag it above layer 1. Layer 1 is now empty, so you can delete:

  

  Save the file HAVE and import into AE as a model with the size of the layer keeps selected:

  

  [Open the model, select all layers, move the a CTI frame to the right by pressing Ctrl/Cmnd + arrow to the right, then press Alt/Option +] to set the out point of all layers and then the wizard from keyframe to the layers in sequence without overlapping:

  

  I usually go to the point of exit of the background layer and press N to set the work area exit point, then cut the comp to work area.

  

  This model is then nested in your main comp and you can activate the time-remapping, so you can change the speed and use CC force motion blur to smooth animation.

  

  You will find it much easier to create the morph to a shape layer in Illustrator those in AE, you don't need to convert anything to forms and most of the work is done for you before you start. Total time to create this project with about 1/4 of the time it took to create this post.

• How to make a vector shape / layer in a mask without pixelation it?

  Watching Nigel French on Lynda.com transform a form (using the custom shape tool) in a mask, but following the same exact procedure he does not work for me:

  Select a new layer, press U, select Custom Shapes, has chosen to target record, size and release.

  Voila! In the video, he gets a layer mask on this new layer. I just get a new layer - and it's driving me crazy. He goes on to pen the layer to soften the edges, which, if it is possible, can be useful.

  I tried half a dozen variations such as drag and drop, creating a new layer from a solid fill color and me cannot work out how to make the shape in a mask. Can someone tell me what I am doing wrong? I'm guessing that there is a setting I'm missing somewhere, maybe?

  just to be clear, I know that I can put a mask on my vector form by clicking on the icon of the mask or of the layer > vector mask > current path, but this is not what I'm asking. I want to know how to make the shape I paint in a mask on a layer, we layer (as in the right of it).

  If you can see, the video is here at the minute mark 7: create a logo with some shape layers in the Photoshop course for designers: shape layers

  The transcript over this article reads

  I want to fill the shape with white. So I'll do my foreground color white and press the Option or Alt + Delete as follows, and I also want to then adjust the opacity. I'll take the opacity down and here's something I want to do. I would like to pen, so that make us it sweet. Now, you may be thinking, wait a minute, all these layers of shape are vectors, how can they be feathered? Surely, they cannot be softened. Well, actually, they can.

  If we go to the masks Panel, I can simply increase the amount of feathering and you can see as I do he soft all edges in this path. Now another problem I have is that the inside of this shape of the target is displayed in the center of the bagel and we do not want that to happen. So I could spend time trying to position it just so, so that we don't see. But easier than that I'll just double-click my masks to make it smaller.

  Without having read what you have written here, I just Ctrl + click on the content icon in the palette shape layer layers to select the transparency of the layer.  This selection allows you to hide a layer in the layer to hide targetint then click on the Add layer mask in the layers palette.  The current selection will be used to create the layer mask.

• Points of delay shape layer encompassing

  When you change or shift points in a shape layer, some points are hidden behind the bounding box of the shape layer. Any tool that I use, After Effects assumes that I want to turn using the bounding box rather than moving the point of shape layer. Is there a way to temporarily hide the bounding box?

  some points are hidden behind the bounding box of the shape layer.

  the summits are not hidden, they are locked just because you selected a parametric form. If you want to have access to the peaks, it must convert your Bezier shape path and do you it by right clicking on the path of the ellipse, and then click "convert Bezier path.

  

  Is there a way to temporarily hide the bounding box

  just so you know - Ctrl + Shift + H allows you to hide all the controls of the layer

  Beautiful very illustrative arrows.

• The Position of the upper left corner of any shape layer

  Hi guys,.

  So for the last two days, I worked on a script that would allow me to centre X number of layers in the middle of the container model, as if the selected layers were just one layer. So my approach to achieve this goal is first to know the positions of the four corners of each layer. My code so far works perfectly with AVLayers and TextLayers, but it does not always with ShapeLayers. Here's the formula I use to calculate the position of the upper left corner of the shape layers:

  x = position [x] - [x] anchorPoint - (layerWidth / 2)

  y = position [y] - [y] anchorPoint - (layerHeight / 2)

  So the formula assumes that the anchor point is in the middle of the shape layer if the anchor point is [0, 0], and which seems incorrect.

  

  And it's Layer Properties.

  

  So the question is, what is the way to calculate the position of the upper left corner of ANY shape layer?

  Thank you very much!

  It should work as long the layer was not filmed:

  var C = app.project.activeItem;

  var L is C.layer ("shape Layer 1");.

  var r = L.sourceRectAtTime (C.time, false);

  var s = L.property("Scale").value;

  var p = L.property("Position").value;

  var a = L.property("Anchor_Point").value;

  var ul = [p [0] + (r.left - a [0]) * s [0] / 100, p [1] + (r.top - a [1]) * s [1] / 100];

  Dan

• Need help to transform a shape layer in a layer mask blur adjustment

  I understand how to do a blur mask on the image adjustment layer, so it blurs the images below, which is essentially what I'm trying to do, but in this case, I already have the shape layer (or rather imported from Illustrator > converted to a shape layer) and is in a nested composition.

  First of all, is it possible to blur the images of a composition if the adjustment layer is nested in a composition of the child, or the adjustment layer must be in the parent publication; the composition is blurry?

  Second of all, how we simply take a form that they have already created and use that for a mask, in this case, a mask that will blur everything below?

  Forum thanks!

  There are a few things that are not effective in your workflow and your approach.

  Lets talk first about the Illustrator files in After Effects. Firstly, absolutely the only reason you would ever convert a layer to illustrator in a form would be to use animator tools found in the add menu at the top of the shape layer properties in the timeline panel or to animate a Bézier path on this layer. There is no other advantage in converting a vector layer to a shape. NONE.

  Second, if you want to hide an adjustment layer then you can draw the mask directly on the adjustment layer or any layer with transparency, including an illustrator layer, layer photoshop, any hidden layer or layer shape directly on top of the adjustment layer and use this layer with transparency as an Alpha or Alpha reverse cache by approach to the adjustment layer.

  You can use the luminance values of any layer that has no transparency that a luma or reversed hides by luma approach. The white areas offer transparency with luma standard. IOW, if you have a radial with white in the middle and black gradient on the edge and you use a luma matte and white will be transparent on the layer below.

  Standard caches only affects the layer immediately below the source.

  Adjustment effect layers each layer directly under the adjustment layer. Masks and caches can be used to control the effects of an adjustment layer.

  You can also use masks on any layer to control the effect added to this layer if you have a recent version of AE. You will find the option under options to Compositing.

  If you have any layer with transparency or the strong luminance values, you can use Auto Trace to generate a cache for this layer based on transparency or luminance. Any way shape mask or Bézier path can be copied and pasted to another layer.

  We will take your last question now. You should be able to answer. To use any shape you created as a mask, you use this layer as a track matte.

  We will change that approach a bit and assume that you have created a shape layer by using the pen tool or converted an Illustrator layer to a shape. You have a path that you can be found by selecting the shape layer and by pressing twice the key U. find the path you want to copy, rotate options path to reveal animation controls and to set a single keyframe and then copy (Ctrl/Cmnd + c). Even of the forms created with parametric tools like star, ellipse, rectangle can be converted into a path by right-clicking the shape and selecting convert to paths. When you have copied the path put you on the layer where you want to paste the path, select the pen tool to begin to draw a mask, click anywhere on the layer and paste it (ctrl/cmnd + v) and that you have created the mask. This works for forms and masks on any layer.

  Here's a bet to keep everything by copying and pasting masks. The size and position of a path is calculated from the center of the layer and has no relationship to scaling, rotating, or the position of the layer. If you drew a mask on a layer that is resized to 50% and moved to the top right of the comp and rotated 45 ° and then paste this path to any other layer you will NOT get a path in the same position and the same size as the layer sampled in the model. You end up with a path that match if every sampled layer transformation properties have been reset and the layer was at the center of the model and the rotation and scale were normal. You must pay attention to this issue by copying and pasting traces of Bézier.

  I missed a question type. If you nest or call a layer previously and there is an adjustment layer in the main computer it will affect all layers below. If you dial before a layer and a top adjustment layer then only layers in the nested model will be influenced by the adjustment layer.  I replied before but wanted to make sure.

  BE very careful when you watch YouTube tutorials on workflow because a growing number of them is bad teaching techniques and pointing you to the bottom of the dead-end alleys. Make sure you vet your training.

  If you have any other questions the best place to find good community resources is to type a word in the search help field in the upper right of the AE. For example, if you typed layer adjustment or masks, you would find a lot of very good advice on how to use these features.

• In Photoshop CC2015-how I automatically apply a style to the shape layer that I draw?

  HI -.

  I work in an office with a few different versions of Photoshop on Windows 10.

  On my CS5 PSD I can draw some shape layers, like arrows and have all the styles applied automatically style palette that I draw.

  But the fellow with PSD CC 2015 workers need to use 2 markets - draw shape layer and then select the style in the style palette.  None of the settings on the top of the screen seem to allow us to apply the style we attract.

  Is there a hidden area or a preference?

  The automatic application of a style has been removed from Photoshop?

  TIA your answer.

  J2

  This is not possible with the latest Photoshop shape tool. If you want that it is a characteristic shape tool like Photoshop old tool form the best you can do is submit an idea on the Adobe site comments but you hold no breath hoping Adobe will implement your idea.  If you want this feature you will now need to regress to an older version of Photoshop as CS2. This is the version of Photoshop, I used for my second screenshot, Photoshop community customer family

• shape layer is not in first composition pro

  I am new to this, but I can't understand what I'm doing wrong.  After you create a sequence of credit with animation, images, texts and a shape layer in After Effects cc, I send the publication to first Pro CC, open it, but the shape layer and text are missing - everything is there, in the right order and size, etc..  What Miss me?   Thank you very much.

  Make sure that the composition Panel is set to Active camera. This is the only view that renders. Make sure that you have set any of your layers as guide layers. To make sure that your comp until properly you can go to the menu composition and select Composition > save image under > file and make a unique image. Check and if it shows everything then Premiere Pro should show all. Are there things missing and you have the camera turns on selected display, then select the layers that give you problems and press U twice to reveal all the modified properties. Start to turn things off or redefinition of values up to what you discover what is causing the problem.

  If you still can not understand it select all the layers in your project, press the U key twice, take a screenshot and drag it in the field of response to this forum so we can take a look.

• delete the selection: fill dialog opens automatically

  For some reason when I make a selection and press the 'delete' button, the fill dialog box opens. This habit never to arrive and he would just automatically fill the layer with the selected background color. I can't find an option to turn this off.

  normfb wrote:

  The filling appears because you're on a locked layer.

  Trash the lock and you can delete the selection

  I didn't have layers Locked Norman.  I was going to say that the OP was probably an attempt to change the background layer.

• Copy path of a shape layer to the layer path again

  I use connect traces on a shape layer to animate the "drawing" of the form. Then I have a still image (my hand) that I want to follow the application of the shape layer.

  In AE, I this today by defining the paths of the toppings, then copy the path of the shape layer.  I go to the layer again, select the position attribute and paste. This deal is still keyframes layer which coincide with the shape animation.

  I thought I could go something on the shape layer and then create keyframes on the layer again. However, I am not sure this makes sense?  Use valueAtTime() on the way to the shape layer?

  Any ideas how I can replicate this workflow to ExtendScript?

  Try this - it might get you up to get the path of the layer shape copied in the position property of the layer of the hand:

  
  

  function deselectAll (theComp) {}

  for (var i = 1; i)<= thecomp.numlayers;="">

  theComp.layer (i) .selected = false;

  }

  var theProps = theComp.selectedProperties;

  for (var i = 0; i)< theprops.length;="">

  theProps [i] .selected = false;

  }

  }

  var app.project.activeItem = myComp;

  deselectAll (myComp);

  var myPath = myComp.layer ("Shape Layer 1") .property ("ADBE vectors root Group").property("ADBE_Vector_Group").property ("ADBE vector Group").property("ADBE_Vector_Shape-Group").property ("ADBE vector form");

  myPath.selected = true;

  app.executeCommand (app.findMenuCommandId ("Copy"));

  deselectAll (myComp);

  myProp = myComp.layer("Hand").property ('Position');

  myProp.selected = true;

  app.executeCommand (app.findMenuCommandId ("Paste"));

  Dan

• Widget degraded on the shape layer in the process of disappearance

  When you change a gradient on a shape layer, sometimes I see the on-screen gadget that allows me to draw the direction and length of the gradient directly the window of the model. But most of the time, it's invisible.

  
  

  What is the thing to see?
  

  The layer must be selected and the shape must also be selected and the tool Selection (v) must be active.

• Edition-&gt; delete only delete area selected percentage of opacity.

  Edition-> delete only delete area selected percentage of opacity.

  I want to make clear can easily remove the whole pixels in the selected area.

  Where can I change the value?

  Sorry for my English.

  You can use the selection tools and press DELETE to delete the pixels. To reduce the opacity of select the area can move this area into a new layer, and then adjust the opacity of the layers.

  Or better yet, select the area to apply a mask to this layer. The mask will determine what is hidden and what is reduced opacity, leaving all on the same layer. With the mask, you can use the Brush tool to paint between (hidden) black to white (visible) and grey are the steps of opacity.

  This means that you can also use gradients or filters on this mask.

  If a search on google for layer masks or the opacity mask to provide assistance.

  If this is not the case, let us know.

• possible to paint on a shape layer?

  Hi all

  Question about paint on a shape layer. Is this possible? I know that I can paint on a solid that I tried all diff combos and found it going to paint on a solid but I can't my painting to paint on a form.

  Is there a way or a work around to achieve? I use a form instead of a SOLID layer to access the value of the extrusion BTW. I tried to use the > ADD > stroke in Ahmed to cheat in this way. Yet I do not get a second trait seems to be one. However, I can race around the fill for the shape, but is not the area I hold out.

  A photo for clarity, as it may seem always so clear when you type, it's another thing to be on the receiving end and trying to encryption

  Thanks for the help in this topic or a work-around.

  NORTH CAROLINA

  

  Read my first post. You need not more of a shape layer. With your bucket selected shape layer, select the pen tool and then draw your second way on this layer. Determine the race for the second white path and stop filling. EZ as pie. You can have thousands of different paths on a single shape layer.

  Look here: Flower Pot CS6 project

  

• My mask will not catch my shape layer, using expressions

  While trying to have a mask path to follow a shape layers position KF. I don't get a good track via expressions. I'm a shift of the following mask path of the layer of the shape or position of KF.

  Fig 1 shows the shape layer and the mask of departure together. (marked in the spatial composition mask) Photo 2 shows the offset. PIC 3 shows the offset. PIC 1 & 3 has the exposed TL

  I want that the mask path to follow shape layers, KF had way. As well as scaling to the top of my second layer of my film to appear as if it were a shooters P.O.V (expanded) by the expression of the expansion of the mask expressed across the duplicate layer.

  What I do not do my desired effect? Thanks for the help on this... Concerning the NC

  

  

  

  I'll repeat my previous post and give you a lighter step by step.

  I guess that your subject is moving. The first step is to create a new comp and stabilize images. You can use the tracker point AE or mocha. After the stabilization of your topic must be locked into the frame. Now you simply create your chart from the firing line and establish a matte or mask for the source footage.

  Now, select your source footage layer and copy it.

  Then, create a new composition. Paste your source of the layer footage in the new model. It will be further stabilized.

  Back to the demo and intensify all the layers of the same amount to give you your magnified view.

  Go back to your main publication and drop the pre-comp stabilized with crosshairs above the original film. Line of sight and the original film must be aligned and the reticle does not move.

  Now it's time to remove the stabilization with a null value and a simple expression. Add a null value and name it destabilize. Puts the stabilized both original film demo of destabilization null children. Select the null value, and then press P to reveal the position property. Select the stabilized original footage and press A to reveal ownership anchor point. ALT/Option click on the position property of the null and destabilization pickwhip the position of the point of mooring of the stabilized film.

  Quite. The stabilization is removed and the line of sight track perfectly.

  

  Poor little duck. He was looking for a document...