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After Effects User Guide
Beta releases
1. Beta Programme Overview
2. After Furnishings Beta Home
3. Features in Beta
  1. Backdrop panel (Beta)
Getting started
1. Get started with After Effects
2. What'southward new in Later Furnishings
3. Release Notes | After Effects
4. Afterward Furnishings organisation requirements
5. Keyboard shortcuts in After Effects
6. Supported File formats | After Effects
7. Hardware recommendations
8. Afterward Effects for Apple silicon
9. Planning and setup
10. Setup and installation
Workspaces
1. General user interface items
2. Get to know After Effects interface
3. Workflows
4. Workspaces, panels, and viewers
Projects and compositions
1. Projects
2. Composition basics
3. Precomposing, nesting, and pre-rendering
4. View detailed performance information with the Limerick Profiler
5. CINEMA 4D Composition Renderer
Importing footage
1. Preparing and importing still images
2. Importing from Afterwards Effects and Adobe Premiere Pro
3. Importing and interpreting video and audio
4. Preparing and importing 3D image files
5. Importing and interpreting footage items
6. Working with footage items
7. Detect edit points using Scene Edit Detection
8. XMP metadata
Text and Graphics
1. Text
  1. Formatting characters and the Character panel
  2. Text effects
  3. Creating and editing text layers
  4. Formatting paragraphs and the Paragraph panel
  5. Extruding text and shape layers
  6. Animating text
  7. Examples and resources for text blitheness
  8. Live Text Templates
2. Motion Graphics
  1. Work with Motion Graphics templates in Later Effects
  2. Use expressions to create drop-down lists in Move Graphics templates
  3. Piece of work with Essential Backdrop to create Movement Graphics templates
  4. Supplant images and videos in Motion Graphics templates and Essential Backdrop
Drawing, Painting, and Paths
1. Overview of shape layers, paths, and vector graphics
2. Paint tools: Brush, Clone Stamp, and Eraser
3. How to taper shape strokes
4. Shape attributes, paint operations, and path operations for shape layers
5. Employ Beginning Paths shape effect to alter shapes
6. Creating shapes
7. Create masks
8. Remove objects from your videos with the Content-Enlightened Fill panel
9. Roto Brush and Refine Matte
Layers, Markers, and Camera
1. Selecting and arranging layers
2. Blending modes and layer styles
3. 3D layers
4. Layer backdrop
5. Creating layers
6. Managing layers
7. Layer markers and composition markers
8. Cameras, lights, and points of interest
Animation, Keyframes, Motion Tracking, and Keying
1. Animation
  1. Animation nuts
  2. Animating with Boob tools
  3. Managing and animating shape paths and masks
  4. Animative Sketch and Capture shapes using Afterward Effects
  5. Contrasted blitheness tools
  6. Piece of work with Information-driven blitheness
2. Keyframe
  1. Keyframe interpolation
  2. Setting, selecting, and deleting keyframes
  3. Editing, moving, and copying keyframes
3. Motility tracking
  1. Tracking and stabilizing movement
  2. Face Tracking
  3. Mask Tracking
  4. Mask Reference
  5. Speed
  6. Time-stretching and time-remapping
  7. Timecode and time brandish units
4. Keying
  1. Keying
  2. Keying effects
Transparency and Compositing
1. Compositing and transparency overview and resources
2. Alpha channels, masks, and mattes
Adjusting color
1. Color nuts
2. Utilize the Adobe Color Themes extension
3. Colour management
4. Color Correction effects
Effects and Blitheness Presets
1. Effects and blitheness presets overview
2. Result listing
3. Simulation effects
4. Stylize effects
5. Audio effects
6. Misconstrue effects
7. Perspective furnishings
8. Channel furnishings
9. Generate effects
10. Transition effects
11. The Rolling Shutter Repair effect
12. Mistiness and Sharpen effects
13. 3D Channel furnishings
14. Utility effects
15. Matte effects
16. Noise and Grain effects
17. Detail-preserving Upscale result
18. Obsolete effects
Expressions and Automation
1. Expression
  1. Expression basics
  2. Understanding the expression language
  3. Using expression controls
  4. Syntax differences betwixt the JavaScript and Legacy ExtendScript expression engines
  5. Editing expressions
  6. Expression errors
  7. Using the Expressions editor
  8. Use expressions to edit and admission text properties
  9. Expression linguistic communication reference
  10. Expression examples
2. Automation
  1. Automation
  2. Scripts
Immersive video, VR, and 3D
1. Construct VR environments in After Furnishings
2. Use immersive video effects
3. Compositing tools for VR/360 videos
4. Tracking 3D camera motion
5. Work in 3D Pattern Infinite
6. 3D Transform Gizmos
7. Practice more with 3D animation
8. Preview changes to 3D designs existent fourth dimension with the Real-Time Engine
9. Add responsive pattern to your graphics
Views and Previews
1. Previewing
2. Video preview with Mercury Transmit
3. Modifying and using views
Rendering and Exporting
1. Basics of rendering and exporting
2. Export an Later Effects project equally an Adobe Premiere Pro project
3. Converting movies
4. Multi-frame rendering
5. Automated rendering and network rendering
6. Rendering and exporting still images and however-image sequences
7. Using the GoPro CineForm codec in After Effects
Working with other applications
1. Dynamic Link and After Effects
2. Working with Afterwards Effects and other applications
3. Sync Settings in After Furnishings
4. Creative Deject Libraries in Later Furnishings
5. Plug-ins
6. Movie theater 4D and Cineware
Collaboration: Frame.io, and Team Projects
1. Collaboration in Premiere Pro and After Furnishings
2. Frame.io
  1. Install and actuate Frame.io
  2. Use Frame.io with Premiere Pro and Subsequently Furnishings
  3. Frequently asked questions
3. Team Projects
  1. Get Started with Team Projects
  2. Create a Team Projection
  3. Interact with Squad Projects
Memory, storage, functioning
1. Memory and storage
2. Improve functioning
3. Preferences
4. GPU and GPU driver requirements for Later on Effects

You animate mask paths and shape paths in much the same way that you lot breathing other properties: ready keyframes for the Mask Path or Path property, prepare paths at each keyframe, and Afterward Effects will interpolate between these specified values.

Rotoscoping introduction and resources

Rotoscoping (commonly known equally roto) is the cartoon or painting on frames of a moving picture, using visual elements in the moving picture every bit a reference. A common kind of rotoscoping is tracing a path around an object in a movie and using that path equally a mask to carve up the object from its background. This allows you to work with the object and the background separately, and so you tin practice things like use different furnishings to the object than to its background or replace the background.

Subsequently Effects includes the Roto Brush and Refine Edge tools, which can be used to attain many of the same tasks equally conventional rotoscoping, but in far less time. For information almost using the Roto Brush tool, see Roto Brush, Refine Edge, and Refine Matte.

If a background or foreground object is a consistent, distinct color, you lot can use color keying instead of rotoscoping to remove the groundwork or object. If the footage was shot with color keying in listen, color keying is much easier than rotoscoping. (Encounter Keying introduction and workflow.)

Rotoscoping in After Effects is more often than not a matter of drawing masks, animative the mask path, and so using these masks to define a matte. Many boosted tasks and techniques make this job easier, such as using move tracking on the object before you begin drawing masks, so using the move tracking data to make a mask or matte automatically follow the object.

Rotoscoping tips

Immediately after showtime to draw a mask, press Alt+Shift+M (Windows) or Option+Shift+Yard (Mac OS) to turn on keyframing for that mask and gear up a keyframe. This style, you won't edit a mask frame-by-frame for several minutes (or longer) and then realize that yous lost all of your piece of work on previous frames because you lot forgot to click the stopwatch to make the mask path animated.
Depict your masks on a white solid layer with its Video (eyeball) switch off, above the (locked) footage layer. This way, you run no run a risk of accidentally moving the footage layer when you dispense the mask, and you can also much more than easily apply tracking information to the mask. (You apply the tracking data to the invisible solid layer that holds the mask.) This also ways that yous don't lose your cached preview frames each time you manipulate the mask. (Come across 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 beginning 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 beyond frames. (See Move vertices in free-transform manner.)
Transmission motion tracking is less time-consuming than manual rotoscoping. The more attempt you lot spend getting good tracking information for various parts of your scene and object, the less fourth dimension you'll spend drawing and fine-tuning masks. (See Tracking and stabilizing move.)
Utilise the variable-width mask feather feature for more control when feathering objects.

View mask paths and shapes

Select shape paths, shapes, and shape groups

You can select shape layers and their components at any of four levels of selection, referred to equally choice modes:

Layer choice mode

The entire shape layer is selected. Transformations employ to the transform properties for the layer, in the Transform property group that is at the aforementioned level as the Contents belongings group.

Group option mode

An unabridged shape group is selected. Transformations utilise to the transform properties for the group, in the Transform holding grouping within the shape group in the Timeline panel.

Complimentary-transform mode

Multiple vertices on one or more than Bezier paths are selected. A free-transform bounding box is shown around the vertices in the Composition panel. By operating on this box, you can move multiple vertices with a single transformation. Transformations apply to the vertices themselves, which are contained within the Path property in the Timeline panel.

Path-editing style

Only vertices are selected. In this manner, you can perform path-editing operations, such as calculation vertices to a path and moving individual vertices.

When a pen tool is active, path-editing manner is agile. To remain in path-editing style, select the Pen tool; press V or Ctrl (Windows) or Command (Mac OS) to temporarily activate the Selection tool as needed.

Selection modes for shapes on shape layers — Choice modes for shapes on shape layers

A. Layer optionB. Group choiceC. Gratuitous-transformD. Path editing

For information on selecting masks, see Select masks, segments, and vertices.

Press Ctrl+A (Windows) or Command+A (Mac Os) with a shape vertex selected to select all vertices on that path. Printing once again to select all shapes. Press once again to select all layers.

Select a shape layer

Click the layer proper name or layer duration bar in the Timeline panel.
Using the Option tool, click within the layer bounds in the Composition panel.
To deselect all shapes on a layer but exit the shape layer selected, click within the layer bounds simply exterior all shape paths.

Select a shape group in group selection mode

Using the Selection tool, double-click a fellow member of the group in the Limerick panel. Each time that you double-click, you descend some other level in the group hierarchy.
To activate the Direct Selection tool , concord Ctrl (Windows) or Control (Mac Bone) with the Pick tool selected. Click a shape in the Composition panel with the Direct Choice tool to straight select that shape'south group, regardless of how deeply nested the shape is in the group hierarchy.
To select a group that is contained within the same grouping every bit the group that is already selected, click the group to select.
To add a group to a option, Shift-click it. Yous tin can combine the Shift key with double-clicking and with the Direct Selection tool to add more than securely nested groups to the selection.

Select paths and vertices in path-editing mode

To specify the size of Bezier direction handles and vertices for masks and shapes, choose Edit > Preferences > General (Windows) or After Effects > Preferences > General (Mac Bone), and edit the Path Point Size value.

To select a vertex, click the vertex with the Pick tool. To add vertices to the selection, Shift-click them.
To select a path segment, click the segment with the Option tool. To add segments to the pick, Shift-click them.
To select an entire path, Alt-click (Windows) or Option-click (Mac Bone) a segment or vertex of the path with the Choice tool, or select any portion of the path and press Ctrl+A (Windows) or Control+A (Mac Os).
To select vertices by dragging, select a path or portion of a path to enter path-editing style, and then drag with the marquee-selection tool to draw a marquee-selection box around the vertices to select. To add vertices to the choice, hold down the Shift central as you draw additional marquee-pick boxes.

Select all points on a path and enter free-transform mode

Double-click a path segment while in path-editing mode or in grouping selection mode for a single shape.
Select the Path holding in the Timeline panel and press Ctrl+T (Windows) or Command+T (Mac OS).

Select masks, segments, and vertices

Different layers, masks can accept more than 1 level of selection. Y'all tin select a mask as a whole path, which is appropriate when you lot want to move or resize a mask. Withal, if you want to modify the path of a mask, select one or more points on it. Selected points appear solid, and unselected points appear hollow.

To specify the size of Bezier direction handles and vertices for masks and shapes, choose Edit > Preferences > General (Windows) or After Effects > Preferences > Full general (Mac Bone), and edit the Path Point Size value.

Select or deselect masks in the Layer or Composition panel

To select a vertex on a mask, click the vertex with the Selection tool . To add vertices to the choice, Shift-click them.
To select a mask segment, click the segment with the Selection tool. To add together segments to the selection, Shift-click them.
To select an entire mask, Alt-click (Windows) or Selection-click (Mac Os) a segment, vertex, or handle of a mask with the Selection tool, or select any portion of the mask and cull Edit > Select All or press Ctrl+A (Windows) or Command+A (Mac OS). To add masks to the option, Alt+Shift-click (Windows) or Option+Shift-click (Mac OS) them.
To select masks by dragging, select a mask or portion of a mask to enter mask editing mode then drag with the Selection tool to depict a marquee-pick box completely around the vertices or masks that you lot want to select. To add together masks or vertices to the selection, hold down the Shift central as you draw additional marquee-selection boxes.
To select all masks on a layer, select a mask on the layer, and choose Edit > Select All or printing Ctrl+A (Windows) or Control+A (Mac Bone).
To deselect all masks, press Ctrl+Shift+A (Windows) or Command+Shift+A (Mac OS).
To select an adjacent mask on a layer, press Alt+accent grave (`) (Windows) or Option+accent grave (`) (Mac Os) to select the side by side mask, or Shift+Alt+accent grave (`) (Windows) or Shift+Pick+accent grave (`) (Mac OS) to select the previous mask.
To deselect a mask, click anywhere other than on the mask.
To remove a vertex or segment from a selection, Shift-click the vertex or segment.

To use the Selection tool when the Pen tool is selected, hold downward Ctrl (Windows) or Control (Mac Os).

Select masks in the Timeline console

Click the right arrow next to a layer name to expand it.

Click the correct arrow next to the Masks heading to expand it, revealing all masks on that layer.

To select ane mask, click its name.

To select a contiguous range of masks, Shift-click the names of the first and last masks in the range.

To select discontiguous masks together, Ctrl-click (Windows) or Command-click (Mac Bone) the names of whatever masks you want to include.

You can select but whole masks in the Timeline panel. To select individual vertices on a mask, use the Limerick or Layer panel.

Lock or unlock masks

Locking a mask prevents you from selecting it in the Timeline, Composition, and Layer panels or setting it every bit a target in the Layer console. Employ this feature to avoid unwanted changes to the mask.

In the Timeline panel, expand the Masks property group.

In the A/5 Features cavalcade, click the box underneath the Lock icon side by side to the mask yous want to lock or unlock. A mask is locked and cannot be selected when its Lock switch is selected—that is, when the Lock icon appears in the box.

To unlock multiple masks at 1 time, select one or more than layers and choose Layer > Mask > Unlock All Masks.

To isolate selected masks and hide others, choose Layer > Mask > Lock Other Masks, and so cull Layer > Mask Hide Locked Masks.

Move vertices in gratuitous-transform mode

You can calibration and rotate an entire mask or shape path (or selected vertices in 1 or more paths) using the Free Transform Points command. When you utilize this command, a free-transform bounding box surrounds the selected vertices, and an anchor betoken appears in the center of the bounding box to mark the ballast indicate for the current transformation. You can scale and rotate the selected vertices by dragging the bounding box or its handles. You lot tin can also change the reference point from which the vertices are rotated or scaled by moving the bounding box anchor bespeak. The complimentary-transform bounding box handles and anchor indicate exist independently of the handles and anchor point for the layer.

When you animate rotation using Free Transform Points, the vertices of the mask are interpolated in a straight line from keyframe to keyframe. For this reason, the results may be different from what y'all expect.

Display the layer containing the paths that you want to transform in the Limerick or Layer panel.

Using the Selection tool, do 1 of the following:

To transform any number of vertices, select the vertices that you lot desire to transform and choose Layer > Mask And Shape Path > Free Transform Points.

To transform an entire mask or shape path, select it in the Timeline console and choose Layer > Mask And Shape Path > Complimentary Transform Points.

To move the anchor point of the bounding box, place the Selection tool over the bounding box ballast point until the Selection tool changes to a motion anchor betoken icon . Elevate to position the anchor bespeak.

Do any combination of the post-obit:

To movement the path or selected vertices, position the pointer inside the bounding box and drag.

To scale the path or selected vertices, position the pointer on a bounding box handle and, when the pointer changes to a straight, double-sided arrow , drag to a new size. Concord down Shift as you drag to constrain the scale. Hold downwardly Ctrl (Windows) or Command (Mac OS) as you drag to scale around the anchor signal of the bounding box.

To rotate the path or selected vertices, position the pointer merely outside the costless-transform bounding box and, when the pointer changes to a curved double-sided arrow , drag to rotate.

To exit free-transform mode, printing Esc, Enter (Windows), or Return (Mac Bone).

Convert a path between manual Bezier and RotoBezier

You can convert any manual Bezier mask path or transmission Bezier shape path to a RotoBezier path. If the manual Bezier path has direction handles that have been adjusted, this conversion changes the shape of the path, because After Effects calculates the curvature of RotoBezier segments automatically.

The conversion of a RotoBezier path to a manual Bezier path does not change the shape of the path.

Select a mask in the Layer, Composition, or Timeline console, or select a shape path in the Composition or Timeline panel.

Choose Layer > Mask And Shape Path > RotoBezier.

Alter a Bezier mask path or shape path

Y'all can alter a Bezier mask path using the Selection tool and pen tools in the Layer or Limerick panel. You lot can change a Bezier shape path using the Selection tool and pen tools in the Composition panel.

The pen tools—Add Vertex, Delete Vertex, and Convert Vertex tools—are grouped with the Pen tool in the Tools panel. To reveal these tools in the Tools panel, click and concord the Pen tool in the Tools panel.

In most cases, the advisable pen tool becomes active when yous place the Pen tool pointer in a detail context. For example, the Delete Vertex tool becomes active when y'all place the Pen tool pointer over an existing vertex, and the Add together Vertex tool becomes active when you lot place the Pen tool pointer over a path segment. To manually activate and cycle through these tools, press G.

When modifying a path, brand sure that you click merely existing vertices or segments; otherwise, y'all may create a new path instead.

Motion, add, or delete a vertex

Adjust a path segment

Practise one of the following with the Selection tool:

Drag a vertex.

Drag the management handles extending from an adjoining smooth vertex.

Elevate a curved segment.

Dragging a curved segment on a RotoBezier mask also moves the vertices.

Toggle a vertex betwixt a smooth point and a corner point

Click the vertex with the Catechumen Vertex tool .

To activate the Convert Vertex tool when the Pen tool is selected, hold down Alt (Windows) or Choice (Mac OS).

Accommodate the tension of a RotoBezier mask

If you want to accommodate the tension of more one vertex simultaneously, then select them.

Using the Convert Vertex tool , drag a vertex.

To actuate the Convert Vertex tool when the Pen tool is selected, concur downward Alt (Windows) or Option (Mac Os).

The Arrange Tension pointer appears as you drag a vertex of the RotoBezier mask.

Clicking a vertex instead of dragging sets the vertex to a corner betoken (100% tension); clicking again sets the vertex to a smooth point (33% tension). Dragging upwardly or to the correct decreases the tension of the selection, increasing the curve of adjacent path segments; dragging down or to the left increases the tension of the selection, decreasing the curve of adjacent path segments.

To view the tension value of a vertex, expect in the Info panel as you suit the tension.

Change a mask path numerically

In the Timeline panel, expand the Mask properties.

Adjacent to the Mask Path property, click the underlined give-and-take, and specify the changes in the Mask Shape dialog box.

Designate the first vertex for a Bezier path

To breathing a path, Later Effects designates the topmost vertex at the initial keyframe every bit the start vertex and numbers each successive vertex in ascending order from the offset vertex. After Effects and so assigns the same numbers to the corresponding vertices at all successive keyframes. Afterwards Effects interpolates the movement of each vertex from its initial position at one keyframe to the position of the correspondingly numbered vertex at the adjacent keyframe. At whatsoever fourth dimension during an animation, you tin designate some other vertex as the kickoff vertex; this causes Afterward Effects to renumber the vertices of the path. Renumbering vertices causes path animation to change, because Later on Furnishings and then maps the new vertex numbers to the respective old vertex numbers yet saved at successive keyframes.

When copying a closed path into a motion path, the vertex designated equally the first vertex of the airtight path is used every bit the starting time of the motion path. All move paths are open up paths.

Some shape path operations, such as Trim Paths, besides use the showtime vertex as input to decide how to change the path.

By default, when you add together a vertex to a path, the new vertex appears on the path throughout the duration of the path but reshapes the path only at the time at which it was added. When you delete a vertex from a path at a specific point in time, the vertex is deleted from the path throughout the duration of the path. Preclude After Effects from calculation and deleting vertices throughout the elapsing of the path by choosing Edit > Preferences > Full general (Windows) or Afterward Furnishings > Preferences > General (Mac Os), and deselecting Preserve Abiding Vertex Count When Editing Masks.

Note: Preserve Constant Vertex Count When Editing Masks is called "Preserve Constant Vertex and Feather Count when Editing Masks", in After Effects CC and CS6.

In the Timeline console, movement the current-fourth dimension indicator to the point where you desire to designate a new first vertex.

Select the vertex to designate every bit the commencement vertex.

Choose Layer > Mask And Shape Path > Set Offset Vertex.

The vertex designated equally the first vertex appears slightly larger than the other vertices in the Composition panel.

Animate a mask path with Smart Mask Interpolation

Smart Mask Interpolation provides a high level of control for creating mask path keyframes and smooth, realistic animation. After you select the mask path keyframes to interpolate, Smart Mask Interpolation creates intermediate keyframes based on settings you provide. The Info panel displays the progress of the interpolation and the number of keyframes created.

Choose Window > Mask Interpolation.

Select at least two side by side mask path keyframes.

Set options in the Mask Interpolation panel, and then click Utilise.

To interrupt the interpolation process, press Esc. The Info panel indicates that the procedure has been interrupted and reports the number of keyframes created.

Keyframe Rate

Specifies the number of keyframes that Smart Mask Interpolation creates per 2nd betwixt the selected keyframes. For example, a value of 10 creates a new keyframe every 1/x of a 2d. Cull Auto to set up the keyframe rate equal to the composition frame rate, which appears in parentheses. Create more keyframes for smoother blitheness; create fewer keyframes to reduce render time.

Regardless of the keyframe rate y'all choose, Smart Mask Interpolation always adds keyframes at the frame just after the starting time mask path keyframe and at the frame just before the second mask path keyframe. For example, if y'all interpolate between keyframes at 0 seconds and 1 second in a xxx-fps composition with a keyframe rate of 10 keyframes per second, mask path keyframes are added at frame numbers i, three, six, 9, 12, fifteen, 18, 21, 24, 27, and 29.

Keyframe Fields

Doubles the keyframe charge per unit. When this option is selected, and Keyframe Rate is fix to the composition frame charge per unit, a keyframe is added at each video field. Select this option for animated masking for interlaced video. If this selection is not selected, the mask may skid off the object that you are attempting to key out. For more information nearly fields in interlaced video, see Interlaced video and separating fields.

Use Linear Vertex Paths

Specifies that vertices in the beginning keyframe move forth a straight path to their corresponding vertices in the second keyframe. Get out this option unselected if you want some vertices to interpolate along curved paths; for example, when the desired interpolation involves rotating parts. 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 than it stretches; a value of 100 specifies that the mask path stretches more than it bends.

Quality

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 but the same-numbered vertex in the 2nd keyframe. For example, the tenth vertex in the first keyframe must match the tenth vertex in the 2nd keyframe. A value of 100 means that a vertex in the first keyframe can potentially lucifer any vertex in the second keyframe. Higher values usually yield amend interpolations; all the same, 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 full general, Smart Mask Interpolation works best when the mask paths have dumbo sets of vertices. As well, a vertex on the kickoff mask path cannot lucifer the middle of a curve or directly-line segment on the 2d mask path, so sometimes you must add vertices before matching to produce the desired result. Smart Mask Interpolation does not modify the original keyframes. But 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. Full Vertices specifies the number of vertices on the interpolated mask paths. Percentage Of Outline specifies that a vertex is added at each indicated pct of the mask path outline length. For example, a value of 5 means that a vertex is added at each successive segment of the outline that represents 5% of the total perimeter. To employ merely the vertices that were on the path at the first frame, do not select this choice.

Smart Mask Interpolation may add vertices at existing vertex locations fifty-fifty if Add Mask Path Vertices is not selected. If two vertices on ane mask path friction match a single vertex on the other, the single vertex is duplicated at the same location and 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 1 mask path to vertices on the other. Automobile applies the matching algorithm for curves if either of the two selected keyframes has a curved segment; otherwise, it applies the polylines algorithm. Bend applies the algorithm for mask paths that have curved segments. Polyline applies the algorithm for mask paths that accept 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.

Apply 1:i Vertex Matches

Specifies that Smart Mask Interpolation creates a vertex on 1 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 commencement vertices, the second vertices, the tertiary vertices, then forth. If the 2 paths accept unequal numbers of vertices, this action may produce undesirable results.

First Vertices Match

Specifies that Smart Mask Interpolation matches the outset vertices in the two mask path keyframes. If non selected, Smart Mask Interpolation searches for the best first-vertex match between the ii input mask paths.

To ensure good results, make sure that the offset vertices of the input mask paths friction match, and and then select First Vertices Match.

Motility a mask or pan a layer behind a mask

You tin can adapt the area that is visible through a mask by either moving the mask in the Layer or Composition console or panning (moving) the layer behind the mask in the Composition panel. When y'all move a mask, the Position values of the masked layer remain abiding, and the mask moves in relation to other objects in the Composition console.

When you use the Pan Behind (Anchor Point) tool to pan a layer behind a mask, the position of the mask remains abiding in the Composition panel but changes in the Layer console. The Position values of the masked layer change in relation to the composition. Every bit you pan past the edges of the layer frame, the Mask Path values on the layer also modify. Using the Pan Behind (Anchor Signal) tool saves steps; without it, you would have to change the Position and Mask Path properties of the masked layer manually. You can breathing a layer panning behind another layer by setting keyframes for the Position and Mask Path properties of the masked layer.

Move a mask or pan a layer behind a mask — When y'all use the Pan Behind (Anchor Betoken) tool in the Limerick console, After Effects automatically makes two adjustments. In the Layer console, the mask is moved in relation to its layer (top), and in the Composition panel, the layer is moved in relation to the limerick (bottom).

Movement a mask

Select the mask or masks yous want to motion.

In the Composition console, elevate the mask or masks to a new location. To constrain the movement of the mask or masks to horizontal or vertical, concord down Shift later on you start dragging.

Pan a layer behind its mask

Select the Pan Backside (Anchor Point) tool in the Tools panel.

Click within the mask area in the Composition console and drag the layer to a new position.

Face tracking and mask tracking

Y'all can utilize the mask tracker to transform a mask and so that it follows the move of an object (or objects) in a picture show. For more than information, see Mask Tracking.

You lot can also use the mask tracker to accurately detect and runway human faces. For more than information, see Face Tracking.

Expression access to path points on masks, Bezier shapes, and brush strokes

You can use expressions to read and write the x and y coordinates of path points, or vertices for:

Layer masks
Bezier shapes
Brush strokes on the Paint and Roto Brush & Refine Edge effects.

The expression methods are like to accessing path vertices via scripting. The expression method is named points() instead of vertices() for familiarity.

Access expression methods

You lot can admission the expression methods using the following steps:

To create a solid layer, select Layer > Solid.

In one case 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 Belongings.

Listed below are instance expression methods of the following path objects:

Layer mask paths:layer("Night Grayness Solid 1").mask("Mask i").path or .maskPath
Bezier shape paths:layer("Shape Layer 1").content("Shape 1").content("Path one").path
Paint outcome stroke paths:layer("Dark Gray Solid i").effect("Paint").stroke("Brush 1").path
Roto Castor & Refine Edge result stroke paths:layer("Dark Gray Solid 1").effect("Roto Castor & Refine Border").stroke("Foreground i").path

Tips to work with these expression methods:

Signal and tangent values are returned as an array of [x,y] number pair arrays for the coordinates of the vertices. Coordinate values are rounded to four decimal places.
Point and tangent arrays start with the starting time vertex on the path. Yous tin alter the first vertex of layer mask paths and Bezier shape paths using theLayer > Mask and Shape Path > Prepare First Vertex command.
Coordinates for layer mask path points are relative to the layer's origin in its upper-left mitt corner.
Coordinates for Bezier shape path points are are relative to the anchor bespeak of the path's shape grouping (ex., "Transform: Shape 1 > Anchor Point").
Coordinates for brush stroke path points are relative to the showtime of the stroke; the start point is [0,0].
The toComp() method, or other layer space transform methods, can be useful to convert coordinates from different layers into a common space or simply return the coordinates relative to the composition infinite.
Because Bezier shape paths are relative to the anchor point of their local shape group and not the layer, their values may be offset from where you look them to exist. To work around this, set all Transform properties in the shape group to zero. Keep in mind that converting a parametric shape to a Bezier shape may touch on the shape group's position.
The createPath() method tin can be passed points, tangents, and isClosed methods of the same path or other paths. Y'all tin pass these methods unchanged to duplicate a path, or transform the signal and tangent values before passing them to modify or animate the path.

Create Nulls from Paths panel

Create Nulls From Paths scriptUI panel allows y'all to create intuitive animations driven by expressions, without manually writing expressions. Y'all can directly link different paths to shapes, shapes to solids, etc. The Create Nulls From Paths panel uses expression admission to path points to automatically link the nulls, so that you lot don't take 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 post-obit buttons in the console to directly how the nulls perform:

Points Follow Nulls: The button creates nulls that command the position of path points. The path points are attached to nulls and you tin breathing the nulls to drive the path points.
Nulls Follow Points: The button creates nulls that are controlled past the position of path points. The nulls are fastened to path points and you tin animate the path points to move the nulls.
Trace Path: The button creates a single null that follows the path. The position of the zilch is linked to the coordinates of the path. The rotation of cipher auto-orients to follow the path. Trace Path controls the movement of the zilch forth the path and whether it loops. By default, keyframes are set to trace the path in 1 second, and loop is enabled.

Work with the console

To open the panel, select Windows > Create Nulls From Paths.jsx.

To add a shape mask, select Layer > New > Shape Layer. Add a shape mask to the layer.

The panel works with Bezier shapes, so all the parametric shapes such equally rectangle, ellipse, and star, must be converted to a Bezier shape. To catechumen a parametric shape to Bezier shape, twirl open the shape layer and right-click the shape path for case, Rectangle 1, and select Convert To Bezier Path.

Echo step 2 to add more shapes.

Every Bezier shape and mask has a path. In the Timeline console, 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 zero for every point on the path. Yous can delete whatsoever nulls you don't need.

When you catechumen 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 event, set the value of the Transform property of a shape such as Transform: Ellipse 1 to nil earlier creating nulls.

If you lot want the path points to follow nulls, select a path in the Timeline panel. And click Points Follow Nulls in the Create Nulls From Paths panel.

Once yous create nulls for all path points, you can adhere them with each other to create animations. Nulls created with Points Follow Nulls button and nulls created with Nulls Follow Points have different colors. To attach nulls, select a nil and hold downwardly Shift equally you lot use the pickwhip to select a parent layer and have the null'south coordinates to jump to the parent layer.

Later on you attach all the nulls together, preview your animation to come across how information technology works.

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Source: https://helpx.adobe.com/after-effects/using/animating-shape-paths-masks.html

Conrad Kess1948