After effects mask

Shape or to the centroid of a group of shapes in a shape layersetting the anchor point for a text layer to the center of the textsetting the anchor point of a layer to then center of the visible area within a masked regionmask path drawn using color that differs from region in which first click to draw mask is madeIn the Appearance category of the Preferences dialog box, there is a new preference: Use Contrasting Color For Mask Path. This preference relies on the Cycle Mask Colors preference being enabled, since the new feature is still cycling through the same label colors. If the Use Contrasting Color For Mask Path preference is on, After Effects analyzes the colors near the point where you first click to draw a mask and chooses a label color that is as different from the colors in that region as possible, while also avoiding the color of the last mask drawn.improved Cinema 4D integration, with updated Cineware functionalityThis version of After Effects comes with a new version of the Cineware effect. All features from After Effects CC (12.0) should behave the same, and several bugs have been fixed. This version also adds some new functionality.There are two new settings in the Cineware effect’s Options dialog box, with which you can specify which instance of Cinema 4D to use with After Effects:Cinema 4D Render Path: Choose which version of Cinema 4D (R14 or R15) for rendering while working in After Effects. For example, you can choose to use Cinema 4D Studio, Broadcast, Prime, or Visualize if you have it installed. The default is CineRender, which is installed by After Effects.Cinema 4D Executable Path: Choose which version of Cinema 4D to use when opening a .c4d file with Edit Original or when creating a new Cinema 4D file from After Effects. The default is an installed full-featured edition of Cinema 4D (Studio, Broadcast, Prime, or Visualize), or Cinema 4D Lite if no other edition of Cinema 4D has been installed.You must restart After Effects after changing these settings for the new settings to be used, and you should purge all memory and disk cache data (Edit > Purge > All Memory & Disk Cache) after changing the Cinema 4D rendering application. In some cases, you may need to reset your After Effects preferences after switching from one Cinema 4D rendering application to another Cinema 4D rendering

Paste the mask. Select Edit > Paste. Or use the keyboard shortcut Ctrl+V (Windows) or Cmd+V (Mac OS). Copy and paste masks between effects In the Effect Controls panel, click the triangle to expand the effect to reveal the applied masks. Select the mask to copy. Select Edit > Copy. Or use the keyboard shortcut Ctrl+C (Windows) or Cmd+C (Mac OS). Select another effect in the Effect Controls panel to which you want to paste the mask. Choose Edit > Paste. Or use the keyboard shortcut Ctrl+V (Windows) or Cmd+V (Mac OS). You can copy and paste only one mask at a time. Mask tracking in Premiere Pro When you apply a mask to an object, Premiere Pro can let the mask automatically follow the object as it moves from one frame to another. For example, after blurring a face using a shape mask, Premiere Pro can automatically track the movements of the masked face from frame to frame as the person moves. When a mask is selected, the Effect Controls panel displays controls for tracking the mask forward or backward. You can choose to track the mask either one frame at a time or until the end of the sequence. Click the wrench icon to modify how masks are tracked. You can select from a few choices to provide the most effective tracking: Position Tracks just the mask position from frame to frame Position And Rotation Tracks the mask position while changing the rotation as required per frame Position, Scale, And Rotation Tracks the mask position while automatically scaling and rotating as the frame moves To use the more advanced tracking features available in After Effects, send your sequence to After Effects using the Dynamic Link feature. Speed up mask tracking Mask tracking in Premiere Pro is faster when Live Preview is disabled (the default option). If for some reason, Live Preview is enabled, you can disable it using the following procedure. In the Timeline panel, select the clip containing the effect with masks. To preview the changes in the track, click the mask wrench icon and select preview

Learning keyboard shortcuts is one of the best things you can do to speed up your workflow in After Effects, especially working with masks. In this post, I will show you all the Mask Mode Keyboard Shortcuts you need to know to help you work smarter, not harder.So let’s dive right in.Adobe After Effects Set-Up:In this example, I have a simple set-up. Just a text layer, a circular shape layer, and the background.Step 1: Select the Rectangular ToolSelect the Ukramedia.com text or any other text that you might have on your canvas and left-click on the Rectangular Tool on the top menu bar.Step 2: Draw a MaskWith the Rectangular Tool selected, left-click, and draw a mask over the entire Ukramedia.com text on your canvas.As soon as you let go of the Rectangular Tool, you will see “Mask 1” appear under our text layer in the left bottom corner of your screen.Step 3: Select the Pen ToolNext, Press G on your keyboard to bring up the Pen Tool and draw another mask on your canvas.As soon as you left-click on the canvas, you can see that the second “Mask 2” has been created.Now we can draw another shape, but the problem is that we don’t have Mask Mode Options available just yet.The reason why that is happening is that our “Mask 2” is not closed. Make sure to close it off before moving on to step 4.You should now be able to see the Mask Mode option appear next to “Mask 2.”Now since it is closed off, you should be able to shuffle through all the Mask Modes with simple keyboard shortcuts.The shortcuts for the Mask Modes are very easy to memorize. All you have to do is remember the first letter of each word of the Mask Mode options. So,

And shapesExtrude fully ray-traced text and shapes natively and take full advantage of reflections, environment maps, and more.Variable mask featheringCreate a separate set of splines to precisely control mask feathering. Get the exact shape you want with the proper degree of softness at any point along the mask edge, resulting in a big boost to creative flexibility.Integration with Adobe IllustratorInstantly convert Illustrator vector art (AI and EPS format) into shape layers. Easily animate vector art in 2D or extrude to 3D.Rolling Shutter RepairRemove rolling shutter artifacts such as skew and wobble without forcing stabilization.New and updated effectsEnhance your creativity with 90 new and updated built-in effects, including the complete 16- and 32-bit CycoreFX HD suite.Avid AAF and FCP 7 XML file import with Pro Import AEImport and work with files created in Apple Final Cut Pro 7 or earlier versions, as well as Avid Media Composer and Symphony, letting you integrate After Effects with professional production workflows.mocha for After Effects CS6Launch mocha for After Effects CS6 directly within After Effects CS6*.After Effects® CS5 10.0.2 Notable fixes • Issue where users may encounter a persistent “unexpected data type” error message when opening projects containing missing effects with layer parameters at non-default values. (54666) • Crashing condition when importing compositions created with Automatic Duck’s Pro Import AE plug-in (W2796549) • Crashing condition when using the Directional Blur effect with Mthread.plugin enabled. (55603)What's new in After Effects CS5 10.0.1Notable fixes• Crash on launch after creating a custom workspace (e.g., if Project panel was undocked and Brushes panel was opened in the last workspace). (2607269, 54196)• Crash on quit when not saving changes to a project after Auto-save interval has passed. (54129)• Crash on launch due to bad fonts.• Crash when scrubbing through time in a complex or per-character 3D text project when OpenGL is engaged; problem with OpenGL contexts. (54197, 54198)• Crash previewing or scrubbing properties to create blur with Depth of Field effect when OpenGL is enabled. (54253)• Crash when copying and pasting Roto Brush effect to text or shape layer. (54086)• Crash when using a PNG file whose path name is longer than 256 characters. (2620506)• Crash duplicating a layer after RAM previewing in the Layer panel, with disk cache on. (54350)• Crash importing Sony XDCAM HD from Sony XCAM Transfer application. (2662575)• Audio rendered to QuickTime .mov is “jumbled” when using AIFF source audio. Also, RAM previews are being shifted

For Retina displays on Mac computersimproved snapping behavior, including snapping beyond layer boundaries and to internal wireframesOptiX 3.0 library for GPU-accelerated ray-traced 3D rendererimproved Cinema 4D integrationAdobe Anywhere integration and an early preview of the Media Browser panelresources for learning more about new features in After Effects CC (12.1)videos by Steve Fordeoverviewproperty linking and snapping improvementsDetail-preserving Upscale effectmask trackerGPU and performance optimizationsother resourcesJohn Dickinson’s demonstration of several of the new features(nearly) all new and changed features in After Effects CC (12.1)Here is a virtually comprehensive list of changes, with detail beyond the summaries of the top items listed above. We’ll be posting a lot more detail over the coming weeks, and the outline below will be populated with links to in-depth articles and tutorials, so bookmark this page and check back.mask trackerThe mask tracker transforms a mask so that it follows the motion of an object (or objects) in a movie. The tracked object must maintain the same shape throughout the movie, though it may change position, scale, and perspective and still be effectively tracked; this is why the mask tracker is sometimes called the “rigid mask tracker”.When a mask is selected, the Tracker panel switches to mask tracking mode, showing the much simpler set of controls that are relevant to mask tracking: controls for tracking forward or backward either one frame at a time or to the end of the layer Method, with which you can choose to modify position, scale, rotation, skew, and perspective for the mask. If the Tracker panel isn’t shown, you can show it in mask tracker mode by choosing Animation > Track Mask with a mask selected, or context-click a mask and choose Track Mask from the context menu.The result of using the mask tracker is the application of keyframes for the Mask Path property so that the mask shape matches the transformations tracked in the layer, depending on which Method setting is chosen.You can select multiple masks before beginning the tracking operation, and keyframes will be added to the Mask Path property for each selected mask.The layer being tracked must be a track matte, an adjustment layer, or a layer with a source that can contain motion; this includes layers based on video footage and precompositions, but not solid-color layers or still images.The search region for the mask tracking analysis is the region encompassed by the mask, considering its Mask Expansion property.improved performance

The exposure of the photo, Contrast adds contrast, and Noise adds grain to the image. ON1 Effects Lens Blur: Set the overall strength and smoothness with the Amount and Optic Quality sliders ON1 Effects Lens Blur: Adjust the bokeh shape with the Sides and Curvature sliders ON1 Effects Lens Blur: Refine bokeh brightness and image tone with the Blooming, Brightness, Contrast, and Noise sliders A Portrait Example Of Lens BlurThe various Bokeh styles work well with portraits - just be prepared to do some masking. The Center shaped gradient Masking Bug works well with portraits. Position the center of the mask over your subject’s eye. That’s where you want the photo to be sharpest. Then, shape and feather the mask to create a smooth blend from sharp to blurred.The mask will likely need some cleanup. The Lens Blur filter does not have evaluate a photo for subjects and their relative depth. In this example, after adding a simple Center-shaped mask, the background over my subject’s left shoulder is still crisp. It should be softer and blurred because it is not on the same focal plane as her eye. The opposite is true for the foreground. The feathered mask added blur to her sweater, which did not look right. More manual masking is needed to clean it up and remove some of the blur from the foreground.Lens Blur is a useful tool. Yet you the photographer need to remain mindful of what should and shouldn’t get blurred. Areas of a photo are roughly on the same plane as the focus point should not be blurred, and vice versa. ON1 Effects Lens Blur: Try the Center shaped masking bug for portraits with the center on your subject’s eyes. ON1 Effects Lens Blur: Manual masking is usually necessary with the Lens Blur filter and portraits. You the photographer need to understand the depth relationship among your subjects and the plane of focus you want. Improve your ON1 Photo RAW skills with these training titles A Food Photography Example Of Lens BlurThe Lens Blur filter is readily usable for food photography. Often, food photos are singular subjects, or surrounding objects are reasonably close by. Less cleanup masking is needed. In this photo of some Belgian chocolates, a simple Center-shaped mask is all that’s needed to emphasize the primary subject and draw the viewer’s eye. ON1 Effects Lens Blur: The Center masking shape works great