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That's theoretically true, except that After Effects mostly conceals an issue that is quite explicit in other similar software packages (such as Apple's Shake): the interpretation of the alpha channel. Chapter 6, "Color Keying," discusses pulling mattes in depth.įigure 3.2 This close-up of a computer-generated baseball is split into color (left) and alpha channels. There are other types of mattes possible as well, such as the elusive difference matte. You create these by maximizing the contrast of a particular channel or area of the image. Even more common than blue-screen keys are high-contrast, or hi-con, mattes. True enough, but there are other types of mattes too. You may think that pulling a matte refers to keying out the blue or green from an effects film shoot ( Figure 3.1). So what are the After Effects methods for creating selections? Take a look.
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This is a much simpler development problem, believe it or not, than creating selection tools for moving images, in which results must appear consistent across the changing array of frames that makes up a single clip. Why? To Photoshop's advantage, its selection tools must operate only with still images. The Many Ways to Create SelectionsĪfter Effects offers a number of ways to create selections, yet far fewer than exist in Photoshop. Then throughout Section II, "Effects Compositing Essentials," and in particular in Chapters 6 and 7, we will focus on particular ways to refine selections, creating high-contrast mattes, and pulling keys from blue-screen footage. In this chapter, we'll look at the foundation techniques that define how a layer merges with those behind it. By the clever use of selections, a compositor can save fellow artists and camera operators, taking control of whatever part of the source footage is necessary.
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Often, it is one element, one frame, or one area of a shot that needs special attention. Instead, compositors break sequences of images apart and reassemble them, sometimes painstakingly, and usually including the element of motion. If compositing were simply a question of taking pristine, perfect foreground source A and overlaying it onto perfectly matching background plate B, there would be no compositor in the effects process an editor could accomplish the job before lunchtime. I'm fixing a hole where the rain gets in And stops my mind from wandering Where it will go.Ī particle physicist works with atoms, bakers and bankers work with their own types of dough, and compositors work with selections-many different types of selections, each of them derived uniquely.