How to use masks to control effects in After Effects
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Adobe after effects cs6 masking tutorial free
If this option is not selected, Smart Mask Interpolation creates a natural path for the mask. Bending Resistance. Specifies how susceptible the interpolated mask path is to bending instead of stretching. A value of 0 specifies that, as the mask path animates, it bends more than it stretches; a value of specifies that the mask path stretches more than it bends.
Specifies how strictly Smart Mask Interpolation matches vertices from one keyframe to another. A value of 0 specifies that a particular vertex in the first keyframe matches only the same-numbered vertex in the second keyframe. For example, the tenth vertex in the first keyframe must match the tenth vertex in the second keyframe. A value of means that a vertex in the first keyframe can potentially match any vertex in the second keyframe. Higher values usually yield better interpolations; however, the higher the value, the longer the processing time.
Add Mask Path Vertices. Specifies that Smart Mask Interpolation adds vertices to facilitate quality interpolations. In general, Smart Mask Interpolation works best when the mask paths have dense sets of vertices. Also, a vertex on the first mask path cannot match the middle of a curve or straight-line segment on the second mask path, so sometimes you must add vertices before matching to produce the desired result.
Smart Mask Interpolation does not modify the original keyframes. Only the new mask path keyframes computed by Smart Mask Interpolation have additional vertices. The value you set specifies how finely the input mask paths are subdivided. Pixels Between Vertices specifies the distance, in pixels, between vertices on the larger perimeter mask path after subdivision. Total Vertices specifies the number of vertices on the interpolated mask paths.
Percentage Of Outline specifies that a vertex is added at each indicated percent of the mask path outline length. To use only the vertices that were on the path at the first frame, do not select this option. Smart Mask Interpolation may add vertices at existing vertex locations even if Add Mask Path Vertices is not selected.
If two vertices on one mask path match a single vertex on the other, the single vertex is duplicated at the same location so that the segment between the two vertices shrinks to that location. Matching Method. Specifies the algorithm that Smart Mask Interpolation uses to match vertices on one mask path to vertices on the other.
Auto applies the matching algorithm for curves if either of the two selected keyframes has a curved segment; otherwise, it applies the polylines algorithm. Curve applies the algorithm for mask paths that have curved segments. Polyline applies the algorithm for mask paths that have only straight segments. The mask path keyframes added by Smart Mask Interpolation are polylines when Polyline Matching Method is selected, regardless of whether the input mask paths contained curved segments.
Use Vertex Matches. Specifies that Smart Mask Interpolation creates a vertex on one mask path that matches the same-numbered vertex on the other mask path. On each of the input mask paths, Smart Mask Interpolation matches the first vertices, the second vertices, the third vertices, and so forth.
If the two paths have unequal numbers of vertices, this action may produce undesirable results. First Vertices Match. Specifies that Smart Mask Interpolation matches the first vertices in the two mask path keyframes. If not selected, Smart Mask Interpolation searches for the best first-vertex match between the two input mask paths.
To ensure good results, make sure that the first vertices of the input mask paths match, and then select First Vertices Match. You can adjust the area that is visible through a mask by either moving the mask in the Layer or Composition panel or panning moving the layer behind the mask in the Composition panel.
When you move a mask, the Position values of the masked layer remain constant, and the mask moves in relation to other objects in the Composition panel. When you use the Pan Behind Anchor Point tool to pan a layer behind a mask, the position of the mask remains constant in the Composition panel but changes in the Layer panel. The Position values of the masked layer change in relation to the composition.
As you pan past the edges of the layer frame, the Mask Path values on the layer also change. Using the Pan Behind Anchor Point tool saves steps; without it, you would have to change the Position and Mask Path properties of the masked layer manually.
You can animate a layer panning behind another layer by setting keyframes for the Position and Mask Path properties of the masked layer. You can use the mask tracker to transform a mask so that it follows the motion of an object or objects in a movie. For more information, see Mask Tracking. You can also use the mask tracker to accurately detect and track human faces. For more information, see Face Tracking.
You can use expressions to read and write the x and y coordinates of path points, or vertices for:. The expression methods are similar to accessing path vertices via scripting. The expression method is named points instead of vertices for familiarity. Once you create a solid, create a mask. Click Shape tool, for example, a polygon, and create a mask over the solid layer. In the Timeline panel, twirl open the Mask properties and alt-click Mask Path.
The expression field is displayed. In the Timeline panel, click the Expression language menu and choose Path Property. To learn more about the expression methods, see Expression access to paths points on shapes, masks, and brush strokes expression reference. Create Nulls From Paths scriptUI panel allows you to create intuitive animations driven by expressions, without manually writing expressions. You can directly link different paths to shapes, shapes to solids, etc. The Create Nulls From Paths panel uses expression access to path points to automatically link the nulls, so that you don't have to write the expression yourself.
The panel creates nulls for each path point on a mask path or Bezier shape path. You can use the following buttons in the panel to direct how the nulls perform:. Add a shape mask to the layer. The panel works with Bezier shapes, so all the parametric shapes such as rectangle, ellipse, and star, must be converted to a Bezier shape.
To convert a parametric shape to Bezier shape, twirl open the shape layer and right-click the shape path for example, Rectangle 1 , and select Convert To Bezier Path. Every Bezier shape and mask has a path. In the Timeline panel, twirl open the layers to view the paths.
If you want nulls to follow path points, select a path in the Timeline panel, and click Nulls Follow Points in the Create Nulls from Paths panel. The script generates a null for every point on the path. You can delete any nulls you don't need. When you convert a parametric shape to a Bezier shape, After Effects adjusts the Position property of the shape.
This causes an offset when the position of the nulls is calculated. To avoid the issue, set the value of the Transform property of a shape such as Transform: Ellipse 1 to zero before creating nulls. If you want the path points to follow nulls, select a path in the Timeline panel. Once you create nulls for all path points, you can attach them with each other to create animations.
To attach nulls, select a null and hold down Shift as you use the pickwhip to select a parent layer and have the null's coordinates to jump to the parent layer. Legal Notices Online Privacy Policy. Buy now. User Guide Cancel. Rotoscoping introduction and resources. Rotoscoping tips. Draw your masks on a white solid layer with its Video eyeball switch off, above the locked footage layer. This way, you run no risk of accidentally moving the footage layer when you manipulate the mask, and you can also much more easily apply tracking data to the mask.
You apply the tracking data to the invisible solid layer that holds the mask. This also means that you don't lose your cached preview frames each time you manipulate the mask.
See Toggle visibility or influence of a layer or property group and Lock or unlock a layer. Turn on the Preserve Constant Vertex Count preference. See Designate the first vertex for a Bezier path. When possible, transform rotate, scale, move the whole mask or a subset of the mask vertices instead of moving the vertices individually. This is both for efficiency and to avoid the chatter that comes from inconsistent movement across frames.
See Move vertices in free-transform mode. Manual motion tracking is less time-consuming than manual rotoscoping. The more effort you spend getting good tracking data for various parts of your scene and object, the less time you'll spend drawing and fine-tuning masks.
See Tracking and stabilizing motion. Use the variable-width mask feather feature for more control when feathering objects. View mask paths and shapes. To view mask paths for selected layers in the Timeline panel, press M.
To view selected masks or shapes in the Timeline panel, press SS press the S key twice. To view mask paths in the Layer panel, choose Masks from the Layer panel View menu. Select shape paths, shapes, and shape groups. Select a shape layer. Click the layer name or layer duration bar in the Timeline panel. Using the Selection tool, click within the layer bounds in the Composition panel. To deselect all shapes on a layer but leave the shape layer selected, click within the layer bounds but outside all shape paths.
Dragging starts when you click in the Composition panel or Layer panel to begin drawing, and ends when you release the mouse button. Pressing modifier keys at different times during a single dragging operation achieves different results:. To reposition a shape or mask as you are drawing, hold the spacebar or the middle mouse button while dragging. To scale a circle, ellipse, square, rounded square, rectangle, or rounded rectangle around its center while drawing, hold the Ctrl Windows or Command Mac OS key after you begin dragging.
Each shape tool retains the settings of the most recent drawing operation with that tool. For example, if you draw a star and modify the number of points to be 10, then the next star that you draw will also have 10 points. To reset settings for a tool and create a shape with the default settings, double-click the tool in the Tools panel. See Create a shape or mask the size of the layer. Optional If drawing a rounded rectangle or rounded square, do the following before releasing the mouse button:.
Finish drawing by releasing the mouse button. If drawing a square or rounded square, release the Shift key after releasing the mouse button. Squares are created to be square according to the pixel aspect ratio of the composition. If the pixel aspect ratio of the composition is not 1, then squares appear square in the Composition panel only if the Toggle Pixel Aspect Ratio button is selected at the bottom of the Composition panel.
Circles are created to be circular according to the pixel aspect ratio of the composition. If the pixel aspect ratio of the composition is not 1, then circles appear circular in the Composition panel only if the Toggle Pixel Aspect Ratio button is selected at the bottom of the Composition panel.
Release the mouse button to finish drawing. If Shift-dragging to prevent rotation, release the Shift key after releasing the mouse button.
You can create a Bezier mask using the Pen tool on a selected layer in the Composition panel or Layer panel. You can create a shape with a Bezier path using the Pen tool on a selected shape layer in the Composition panel.
If you draw with the Pen tool in the Composition panel with no layer selected, you create a shape on a new shape layer. Creating a RotoBezier path is similar to creating a manual Bezier path.
The primary difference is that direction lines for vertices and curvature for path segments are automatically calculated. The last vertex that you add appears as a solid square, indicating that it is selected.
Previously added vertices become hollow, and deselected, as you add more vertices. The simplest path that you can draw with the Pen tool is a straight line, made by clicking with the Pen tool to create two vertices. By continuing to click, you create a path made of straight-line segments connected by corner points.
You create a curved path segment by dragging direction lines. The length and direction of the direction lines determine the shape of the curve. Place the Pen tool where you want the curve to begin, and hold the mouse button down. A vertex appears, and the Pen tool pointer changes to an arrowhead. Drag to modify the length and direction of both direction lines for a vertex, and then release the mouse button.
Placing the Pen tool B. Starting to drag mouse button pressed C. Dragging to extend direction lines. Starting to drag B. Dragging away from previous direction line, creating a C curve C. Result after releasing mouse button. Dragging in same direction as previous direction line, creating an S curve C. Use Create Shapes From Text to extract the outlines for each character, create shapes from the outlines, and put the shapes on a new shape layer. You can then use these shapes as you would any other shapes.
Use Create Masks From Text to extract the outlines for each character, create masks from the outlines, and puts the masks on a new solid-color layer. You can then use these masks as you would any other masks. Some font families, such as Webdings, include characters that are graphical images, rather than text. Converting text from these font families can be a good way to get started with simple graphical elements in shape layers.
You can copy a path from Illustrator or Photoshop and paste it into After Effects as a mask path or shape path. For a path imported from Photoshop to be scaled correctly, the Photoshop document must have a resolution of 72 dpi. You can also use a copied Illustrator or Photoshop path as an After Effects motion path.
See Create a motion path from a mask, shape, or paint path for more information. To paste a path as a shape path, you must select the Path property of an existing shape in a shape layer.
If there is no Path property—perhaps because the shape layer is empty—then you can draw a placeholder path with the Pen tool and then paste the path from Illustrator into the placeholder path. If you paste multiple paths into a shape path, the first path goes into the shape path, and the remaining paths are pasted into new mask paths.
When you create mask paths or shape paths from motion paths, make sure that you copy keyframes from a single Position property only—do not copy the keyframes of any other property. To create a shape layer, press F2 to deselect all layers, then click in the Composition panel with the Pen tool to create a single-point Bezier path.
To do it, see Create a mask from a motion path. Tip: Option-drag macOS or Alt-drag Windows a handle to break the handles and have each handle move independently on either side of the anchor point. Back to: Create transparency with luma mattes. Buy now. Learn how to create a layer mask using the Pen tool to cut out an object from its background. What you'll need. Download Sample files to practice with ZIP
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