You can mask off a portion of the frame by selecting the mask tool, clicking on any shape, or navigating between the shapes using the “Q” key on your keyboard.Īfter you’ve chosen a shape, click and drag your mouse on the image. You can create masks using the shape tool in simple shapes like circles, triangles, and squares. You can cycle through these variant settings by repeatedly pressing G. Several variant Pen tools are on the menu to add, remove, and change these path points. To produce shapes with rounded corners, click and drag your selected points. You can easily design your mask by selecting the pen tool or using the “G” key on your keyboard. It won’t be possible for you to make a mask if you leave an open path. The pen tool is used to create a complete “shape” of a closed bath. Make sure to construct a closed route, also known as a mask, while using the pen tool to build the masks. It can be used for intricate masking tasks and lets you design any shape you choose. The most accurate method of masking a picture is with the pen tool. You may often have to draw something more organic, and that’s where the Pen tool comes in. You can deploy the masking effect in two ways: ![]() Plus, you could clip out objects from pictures or videos, draw shapes, or even add a design of your choice to your favorite music videos. In these situations, masking is perhaps the best solution. Alternatively, you can have them stay still in the picture and crop out unwanted features.Īdditionally, masking is essential in the motion picture industry since, occasionally, you may need to take anything out of the video after the shoot. An item, such as text, may first be covered by a mask in an animation before the mask slides out to reveal the object. You can use masking to hide or reveal a portion of a layer or an object. ![]() In After Effect, a mask is often a shape that reveals or conceals a particular region of a layer in your composition. Masks can be a path or outline used to modify layer effects and attributes. This article provides a comprehensive After Effects tutorial for the masking effect to get you started. Of course, you must first master the fundamentals before getting your sea wheels on. All you have to do to get this stunning effect is mask the object from your composition and add graphics or text behind it. Masks are a fundamental After Effects tool to get you going and you must learn this skill to advance your career and keep up with the pros.Īn otherwise uninteresting scene can gain extra appeal by adding an engaging animation behind an object. This time, we suspect, it will be a longer-lasting affair.To excel as a motion graphics designer, you need advanced composition skills, and masks are the most important tool in this field. Once again, the new features have exceeded our expectations and, once again we’re extremely tempted to switch to Premiere Pro as our main editor. Pricing is yet to be announced, but unless Adobe goes berserk with its strategy, both Premiere Pro and CS6 Production Premium should easily justify the required investment. Regardless, it’s a valuable addition to the suite that further bolsters its position for professional use. The lack of native support for Premiere Pro project files is disappointing, but Iridas only joined the Adobe fold in September 2011. We won’t attempt to second-guess what professional colour graders look for, but this is the most sophisticated colour-grading software we’ve used. ![]() Regardless, this is still an outstanding application, and for us, possibly the most rewarding of the entire CS range.Įlsewhere, the introduction of SpeedGrade as part of the Production Premium bundle (previously published by Iridas) is very welcome. Sadly, After Effects doesn’t share Premiere Pro’s improved Project panel, nor its new-found ability to adjust settings without interrupting playback click absolutely anything and playback grinds to a halt. It can be painstaking work but allows for extremely accurate masking when grappling with motion blur, where fast-moving elements need to be feathered more than slower elements. Our favourite new feature could easily be overlooked: a variable feather can be applied at different points around a mask. And there’s also a new 3D Camera Tracker to help make 3D elements fit with the implied 3D space of 2D footage. ![]() There’s a 3D extrude function and a ray tracer 3D rendering engine: basic stuff compared to dedicated 3D software, but enough to produce some respectable 3D animated logos. Again, it isn’t the most robust process: outlines and fills became separated, and a gradient fill proved too much for it. Other enhancements include the ability to convert Illustrator files into editable vector drawings.
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