And they've got the Composition panel up and over here, so they can see how it's exactly working over the other layer. Your mask layer can be anything visible on a single layer or several layers precomposed. If you drag with a shape tool in the Composition panel with no layer selected, you create a shape on a new shape layer. I'm going to get rid of this mask by selecting and pressing delete. So that's one way to fill the image, like that, if I have this mask selected. And so where is that darn area again? When you begin the drag operation, the layer feature nearest the mouse pointer at the time of the initial click becomes the snapping feature. The important thing to remember when drawing custom masks is that you must close your path.
The default setting is that it's checked. It looks like this: To use the Pen tool, click on the first location in your composition. So you can expand it up if you want to, like so, or drop it down, like that. Drag on the yellow values to adjust them. Note: You can also use a copied Illustrator, Photoshop, or Fireworks path as an After Effects motion path.
Click the dropdown menu in the TrkMat column. We have circled the pick whip icon below. Now let's say I want to put an ellipse around this entire image. This simple tutorial uses the pen tool to create multiple masks in conjunction with the 'Turbulator' plug-in, to make a quick and dirty Tornado. While there are other techniques to create such graphs manually based upon Masks or the Write-On effect, this one has the advantage of being quite flexible and allowing last minute changes once you have the basic template.
So if any layers have masks inside them just press the M key, and you'll see those masks. A polygon is a star without an Inner Radius or Inner Roundness property. Click on shapes, and notice all these things show up, the Fill and the Stroke. As you can see, the company name now appears behind the woman in the photograph. You might want to move them around or change their points, their vertices.
Mask Expansion is something you use frequently when you add Mask Feather, because sometimes when you put the feather on it, it looks like it's shrunk, looks like it's smaller. Next, click on the Convert Vortex tool. For now, you should not use these converted paths for animated paths interpolation between paths ; but, if you do want to try, you may be able to work around the issues by reversing the path before conversion. Let's go get the Rounded Rectangle. With the mask selected, click on a point to move the mask.
So now that I've got this guy I'll move around a little bit like that. 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. You can create a shape by dragging with a shape tool on a selected shape layer in the Composition panel. If I start clicking here that'll add another mask in the same layer. To do this, first create an adjustment layer. However, you can import the file as footage, and then use the command to convert the single footage layer to shapes. Masks in Add Mode: Mask 2 in Subtract Mode: Modifying a Mask in After Effects With the layer selected, click on a point of the mask to move that point make sure you are using the Selection Tool, shortcut is V.
If I were doing this with the rectangle it would be square. Then using the shape tool with the blue layer selected, I created 3 separate rectangular masks as we can see here. To create a closed mask or shape, click back on the first point you will see the pen icon with a circle beside it. A track matte however would be if you got a layer that was the same color as the background art-board, and placed it somewhere on the project, always making sure all other layers are behind it. The expression now changes in the time ruler for the original layer property: What this means is that the scale property value for the adjustment layer now replaces the scale value for the skyline layer. If you create some text, and then drag a mask onto one end of the text.
In order to maintain maximum control over the look and avoid overloading one comp with too many layers, we are going to use several pre-compositions and cross-reference them with each other. Here you can move the mask, change its size and rotate it. Next, go to the Timeline panel. And I'm going to start dragging and things will appear here inside this mask. After Effects preserves the order of a layer and its track matte after you duplicate or split the layer. Reuse, share, and even sell them! Next, we need to drag the duplicate layer above the layer with the name of the company.
However, we want to cover a few so you can see how they work. We'll go get the Ellipse tool for example. Well as I looked at the scene, I could see…that the front word and our pulsing audio line here are completely fighting with…each other. Layers must be visible to be snapped to. No matter where you move this layer, that cut is still going to be present. Next, click on the next location. You may need to use the Hand tool to reposition the view in the panel.
Now go back to the Layer panel. However, you can also create masks with curved lines using Bezier curves. Deselect this option to closely trace details in a high-contrast image. To feather the edges of a mask, select the layer that contains in the mask in the Timeline panel. The ability to transform alpha channels into masked layers is an incredibly helpful feature built into After Effects.