After Effects

AFTER EFFECTS
MAAC
Lecture Companion
AFTER EFFECTS
© Copyright, 2014, by MAYA ACADEMY OF ADVANCED CINEMATICS
MAAC Lecture Companion is published as part of the course curriculum of Maya Academy of Advanced Cinematics (MAAC).
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Table of Contents
1. New Composition, Animation, and Blending in Layers.............................. 8

1.1 Introduction to Compositing............................................................................................ 8
1.2 After Effects Interface...................................................................................................... 8
1.3 Composition Settings..................................................................................................... 10
1.4 Basic Key frame Animation.............................................................. ..............................14
1.5 Motion Sketch Animation.................................................................................................14
1.6 Motion Blur......................................................................................................................16
1.7 Blending Modes..............................................................................................................18
1.8 Pre-compose a Layer......................................................................................................20
1.9 Introduction to Effects......................................................................................................21
1.10 Create a Basic Composition............................................................................22
2. Working with Text Tool..................................................................................30
2.1 New Text Layer................................................................................................................30

2.2 Character Palette.............................................................................................................31
2.3 Text Parameter.................................................................................................................33
2.4 Text Animate Property......................................................................................................38
2.5 Add Selector....................................................................................................................43
2.6 Example-Text Motion Graphics.........................................................................45
3. Introduction to Rotoscopy...........................................................................55

3.1 Importing a Footage........................................................................................................55
3.2 Introduction to Video Field..............................................................................................56
3.3 Masking Using a Pen Tool..............................................................................................59
3.4 Animating a Mask..........................................................................................................65
3.5 Basics of Rotoscopy.......................................................................................................65
3.6 Rotoscopy of Static Elements........................................................................................67
4. Rotoscopying-Character...............................................................................72
4.1 Rotoscopy of Character..................................................................................................72

5. Keying Basics...............................................................................................80
5.1 Introduction to Keying and Use of Chroma.....................................................................80

5.2 Chroma Colors and their Importance...................................................... ........................82
5.3 Lighting for Chroma Setup..............................................................................................83
5.4 Introduction to Keying Process...........................................................................................84
5.5 Keying Process with Hard Edge Subjects.......................................................................85
5.6 Keying Process with Color Space......................................................... ........................89
5.7 Keying Process for Chroma with Multiple Shades.........................................................93

6. Color Correction............................................................................................99
6.1 Color Theory and Technical Color Wheel......................................................................99

6.2 White Balance Correction............................................................................................100
6.3 Enhancing Dark Images or Videos..............................................................................103
6.4 Improving Saturation in a Video..................................................................................105
6.5 Match Computer Graphics (CG) Elements with Live Action Shoot Image..................107

7. Advanced Chroma Removal and Color Correction.................................114
7.1 Chroma Removal with Translucent Subjects..............................................................114

7.2 Preserving Shadow in Chroma Removal Process.....................................................120
7.3 Chroma Removal with Hair and Motion Blur..............................................................126
7.4 Color Matching..........................................................................................130
8. Tracking and Stabilizing.............................................................................139

8.1 Introduction to Tracking and Stabilizing.......................................................................139
8.2 New Tracker..................................................................................................................139
8.3 Tracker Palette..............................................................................................................141
8.4 Stabilizing (1 & 2 Point)................................................................................................143
8.5 One and Two Point Tracking........................................................................................146
8.6 Four Corner Pin Tracking............................................................................................149
8.7 Warp Stabilizer...........................................................................................151
9. 3D Interface and 3D Camera Tracking......................................................154
9.1 3D Environment............................................................................................................154
9.2 Converting a 2D Layer to 3D......................................................................................155
9.3 3D Camera, 3D Lights, and 3D Layer Properties........................................................157
9.4 Creating a Shot Using 3D Layers................................................................................165
9.5 3D Camera Tracking Process......................................................................................167
10. Wire Removal..............................................................................................174
10.1 Use of Wire During Shoot..........................................................................................174

10.2 Clone Stamp Tool and Paint Panel...........................................................................175
10.3 Wire Removal with Clean Plate in Static Camera Shot.........................................178
10.4 Wire Removal Without Clean Plate Moving Camera Shot......................................179
10.5 Wire Removal with Clean Plate in Moving Camera Shot........................................181
11. Sequence Painting in Photoshop...........................................................192

11.1 Introduction to Cleanup Workflow......................................................................... .......192
11.2 Working with Video Layer..............................................................................................194
11.3 Sequence Painting in Photoshop..................................................................................194
11.4 Project Settings and Create Composition.....................................................................201
11.5 Degrain Process in After Effects...................................................................................203
11.6 Regrain Process in After Effects...................................................................................205
12. Working with Displacement Map.............................................................209
12.1 Displacement Map......................................................................................................209

12.2 Fractal Noise...............................................................................................................213
12.3 Creating Moving Water...............................................................................................216
12.4 Look Enhancement.....................................................................................................222
12.5 Creating Mirage Effect on Road................................................................................224
13. Working with Particles..............................................................................231
13.1 Introduction to Particles Playground..........................................................................231

13.2 Example of Playground Effect.....................................................................................248
13.3 Shatter Effect................................................................................................................252
13.4 Example of Shatter Effect-Reveal Skull from the Wall............................................258
14. Motion Graphic-TV Program Promo..........................................................268
14.1 Introduction to Program for TV......................................................................................268

14.2 Reference Collection for Promo................................................................................. ..269
14.3 Finalization of Reference...............................................................................................269
14.4 Example-Program Promo for TV Broadcast..................................................................270
15. Motion Graphics-Creation of Holographic Images..................................281
15.1 Introduction to Holographic...........................................................................................281

15.2 Example-Creation of Holographic Motion Graphics ....................................................281
16. Pack Shot-Television Commercial Ad......................................................290
16.1 Introduction to Television Commercial Ad....................................................................290

16.2 Example-Product Washing Powder ............................................................................291
chapter 1 New Composition, Animation, and
Blending in Layers
Learning Objectives
At the end of this Chapter, you will be able to:
➢ Understand the After Effects workspace
➢ Prepare and edit new composition
➢ Understand the basics of key frame animation
➢ Use effects on layers
➢ Prepare and adjust motion blur in animated layers
1.1 Introduction to Compositing

Compositing is a process where multiple images or videos combine into a single image using a
compositing software. In this process new elements are added to the source image and illusions
of new elements, that resemble a part of the image are created. Nowadays layer based and node
based compositing software are extensively used in television broadcasting and VFX pipeline.
In VFX, compositing is an important category that involve many sub-categories such as Rotoscopy,
Matt painting, BG preparation Cleanup Particle FX, 3D animation, and so on.
1.2 After Effects Interface
After Effects is developed by Adobe systems. It is used to create motion graphics and compositing for
films and videos post production. This application is as a combination of Photoshop and Premiere as
many of the functions in After Effects are similar to Photoshop and Premiere. Some similar functions of
these applications are layer based function, masking, animation, effects, or filters, and so on.
A snapshot of After Effects Interface is given here. Refer to Figure 1.1.
MAAC L e cture Companion ● 8

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Figure 1.1: After Effects Interface
A: Menu- It has tools for Effects, animation, layers, and so on that are required to complete the
compositing job or motion graphics.
B: Toolbar- It has transformation, masking, and painting tools that are used to create roto, motion
graphics as well as for cleanup purposes.
C: Project Window- It is the workspace where raw files/footages are temporarily stored and can be
accessed when required.
D: Composition View- It displays the final output as well as individual image or video. It will help in
judging the final output.

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E: Info Panel- It will display pixel’s RGBA (Red, Green, Blue, and Alpha) value for 8-bit, 16-bit as
well as 32-bit images.
F: Timeline- It is used to arrange the imported files in a layer format and to compose them as required.
An artist spends a lot of time on this panel to create different types of animation work and effects.
1.3 Composition Settings

For example, a ground is required to play an outdoor sport. Similarly a work area is required in After
Effects (for motion graphics or compositing), this work area is termed as Composition.
1.3.1 Creating a New Composition- A new composition can be created from menu bar
COMPOSITION → NEW COMPOSITION (CTRL + N). It can also be created by clicking
the New Composition button in Project window. Refer to Figure 1.2.
Figure 1.2: New Composition

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1.3.2 Composition Settings: As shown in Figure 1.3, click New Composition to view the composition
settings window.
Figure 1.3: Composition Settings
A: Composition Name- It is used to assign a name to the composition.
B: Preset- It contains all the standard frame sizes and the appropriate size can be selected as per
user requirement. Various presets can be used from the default drop-down list or custom presets can
be created as per requirement.
C: Width- It is used to define the horizontal measurement of the frame size.
D: Height- It is used to define the vertical measurement of the frame size.
E: Pixel Aspect Ratio- It defines the height and width ratio of an individual pixel within the composition.
F: Frame Rate- This parameter defines the frame rate for the composition timeline.
G: Resolution- Full, half, third, and forth quarter are the options available in the resolution drop-down
list. Full resolution implies that it will be same as original width and height, half implies the Resolution
will be 50%, third implies the resolution will be 33%, and forth implies it would be 25% of the original
width and height.

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H: Start Time Code- It defines the time code from where the timer starts in the composition timeline.
I: Duration- The duration of the composition timeline can be adjusted. Click the OK button to create
a new composition. The composition icon can be seen in the project window.
J: Background- It represents the color of the canvas. After the composition is created the timeline
appears with a timeline cursor with red vertical line. To change the attributes of any composition go
to COMPOSITION → COMPOSITION SETTING or press Ctrl + K keys.
1.3.3 Creating New Solid Layer: The blank composition does not contain anything by default. You
can create a new solid i.e. a single colored layer. To create a new solid layer, click LAYER → NEW →
SOLID or press Ctrl + Y keys or right-click NEW → SOLID. This gives the Solid Settings window with
the options given in Figure 1.4.
Figure 1.4: Solid Settings
A: Name- It assigns a name to a new solid layer.
B: Width- It defines the horizontal measurement of the solid.
C: Height- It defines the vertical measurement of the solid.

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D: Units- It is used to set the unit of the measurement i.e. pixels.
E: Pixel Aspect Ratio- It defines the height and width ratio of an individual pixel.
F: Make Comp Size- Click this button to set the width and height of the solid according to the di-
mension of the working composition.
G: Color- It sets the color of the solid layer. Once the required parameters are selected, click the OK
button to create the new solid. To change the attributes of any solid go to LAYER → SOLID SETTING
or press Ctrl + Shift + Y keys.
Once the required parameters are selected, click OK button to create the new solid. To change the
attributes of any solid go to LAYER → SOLID SETTING (CTRL + SHIFT + Y).
1.3.4 Transform Options

Any layer in the composition can be transformed i.e. it can be scaled, rotated, translated, and so
on. In the timeline a small triangle appears near the layer, click it to view all the transform options
that can be further expanded to access different transform attributes. Refer to Figure 1.5.
Figure 1.5: Transform Option in Timeline
Anchor Point: It is a position on the layer that acts like a pivot point or hinge. [Shortcut: A]
Position: It translates the layer from its current position. [Shortcut: P]
Rotation: Rotates the angle of the layer. [Shortcut: R]
Scale: It increases or decreases the scale value of the layer. [Shortcut: S]
Opacity: It increases or decreases the visibility of the layer. [Shortcut: T]

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1.4 Basic Key frame Animation

A stop watch icon can be seen with all the transformation options. As shown in Figure 1.6, click
the stop watch icon to create a key that enables the animated properties of the layer.
Figure 1.6: Stopwatch for Animation
When animation is enabled, a new icon appears under A/V features which helps to shift to the
next or previous key and also to create or remove the key. Refer to Figure 1.7.
Figure 1.7: Key frame
A: It is used to add or remove key frames or to jump on next and previous key frames.
B: It is the time-vary stop watch that is used to enable or disable the animation.
C: Key Frames: It indicates the changes made in the transform value and animates as per the value.
1.5 Motion Sketch Animation

Motion sketch is the way in which movement of the mouse cursor over the composition window and
a timeline is transferred into the position attribute of a layer as key frames. The motion sketch option
is available through menu → Window → Motion Sketch. Refer to Figure 1.8.

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Figure 1.8: Motion Sketch
Select a layer in the composition and click the start capture button of the motion sketch window. Refer
to Figure 1.9.
Figure 1.9: Motion Sketch Parameter

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Click and drag the mouse in the composition window. While dragging, you can see a vertical line
scrubbing in the timeline that stretches from the start frame to the end frame of the timeline. This
action of the mouse is recorded in the position of the selected layer and can be viewed as position
key frames. Refer to Figure 1.10.
Figure 1.10: Position Capture of Mouse Movement
1.6 Motion Blur

The Motion blur effect is used to capture moving objects in a single still image or recorded video. Due
to technological limitations moving objects cannot be recorded clearly so moving objects appear as
motion blur. Motion blur is always a directional blur. Refer to Figure 1.11.
Figure 1.11: Reference of Motion Blur

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After applying motion to a layer, motion blur is assigned, so as to give the layer a realistic look and
feel. To enable blur in the layer movement enable the motion blur switch for the layer.
Motion blur will be active only when motion blur is enabled for a composition. enable composition
motion blur to get a motion blur effect in the layer movement. Refer to Figure 1.12.
Figure 1.12: Motion Blur Switch
The composition setting advanced tab can be used to regulate motion blur options. As shown in Figure
1.13, to regulate the motion blur options Go to menu → Composition → Composition Settings → Click the
Advanced tab, where the options to control the motion blur are available.
Figure 1.13: Advanced Tab for Motion Blur Settings

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A: Shutter Angle- It controls motion blur.
B: Shutter Phase- It is used to adjust the motion blur position with that of the animated layer.
C: Sample Per Frame- It indicates the number of samples that are created during motion blur.
D: Adaptive Sample Limit- It controls the motion blur samples in 3D layers by adjusting all the
four values an intact motion blur trail is achieved in animated layers. By adjusting all the four values
collectively a proper motion blur trail in animated layers can be achieved. Refer to Figure 1.14.
Figure 1.14: Impact of Motion Blur
1.7 Blending Modes

Similar to Photoshop, After Effects has an option to blend modes that can be applied between two
layers. Right-click the column bar to enable the blending modes column in timeline or press F4.
Refer to Figure 1.15.
Figure 1.15: Blending Modes

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There are many blending modes but we will discuss some blending modes such as Normal, Add,
Screen, Multiply, and Overlay. Normal blending mode: This blending mode is the default mode.
There is no layer blending therefore changes do not occur.
Add Blending Mode: This blending mode is used where you find image darken and you want to
extract details to enhance image. Duplicate the image and choose Add blending mode, adjust
opacity as per requirement. Now you can see sky is visible with some details of tree, pole, and
building silhouette. Refer to Figure 1.16.
Figure 1.16: Add Blending Mode
Screen Blending Mode: Duplicate the layer and apply screen blending mode. The darkened area is enhanced
with texture details in the image. This mode is widely used to enhance details and density of the dark areas. Refer
to Figure 1.17.
Figure 1.17: Screen Blending Mode

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Multiply Blending Mode: The RGB values of the base layer and the blending layer is multiplied and
then divided by 255, the formula is (RXR) / 255, (GXG) / 255, (BXB) / 255. This mode is widely used
to enhance detail and density of light areas. Refer to Figure 1.18.
Figure 1.18: Multiply Blending Mode
Overlay Blending Mode: This blending mode is combination of Screen and Multiply blending
mode. The overlay blending mode does not affect 50% grey color. This mode is very effective to
adjust tonal and color adjustment of the overall image. Refer to Figure 1.19.
Figure 1.19: Overlay Blending Mode
1.8 Pre-compose a Layer

Grouping of one or more layers is called Pre-compose in After Effects. Select one or more layer
and go to Layer → Pre-compose or use keyboard shortcut Ctrl + Shift + C to Pre-compose a layer.
When you convert layer into Pre-compose you will get a option window of Pre-compose and select
a option which you required. Refer to Figure 1.20.

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Figure 1.20: Pre-compose
A: Leave All Attributes In ‘Comp 1’- With the help of this option the different Transform controls,
Opacity, and effects animations can be applied to the newly created composition attribute.
B: Move All Attributes Into The New Composition- With the help of this option the different Transform
controls, Opacity, and effects animations can be applied on the old layer attributes. It implies that the New
composition will acquire fresh transform controls and empty effects panel.
1.9 Introduction to Effects
In After Effects, effects is an integral component of the base image. To apply effects to an image go to
effects and select the desired option.
For example, if you want to desaturate a color image then apply Hue/Saturation effects from Effect →
Color Correction → Hue/Saturation. Set-100 values in Master Saturation parameter and you will observe
that image is completely desaturated. Refer to Figure 1.21.

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Figure 1.21: Impact of Hue/Saturation Effects
1.10 Create a Basic Composition
You have learned the basics of animation such as motion blur and blending mode using some basics
examples.
Now you will learn to create a motion graphic for kids channel. The program theme is ‘animals in forest’. There
will be two shots in this example. First shot will provide information about the Production company and the
second shot will depict the program name with some still images of animals.
Shot 1
1.10.1 Use After Effects and create a composition with 960X540 resolutions with 25 FPS.
1.10.2 Import the images required for shot 01 such as leafs, signboard, and forest background.

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Figure 1.22: Working Elements
1.10.3 Place of all elements. Refer to Figure 1.23.
Figure 1.23: Placement of all Elements

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1.10.4 Select sign board layer and go to frame 10. Select Scale parameter in Transform option
and press stopwatch for animation. Click the link sign to delink X and Y scale parameter. Refer to
Figure 1.24.
Figure 1.24: Link Switch
1.10.5 As shown in Figure 1.25, set 0% value in Y scale axis so that a key is created automatically
on frame 10.
Figure 1.25: Scale Value
1.10.6 Go to frame 21 and set it as 116% on the scale. Now press 0 (RAM preview) to real
time playback and you will notice that signboard’s animate from 10 to 21 frame with animation
of scale percentage. Refer to Figure 1.26.
Figure 1.26: Signboard Animation of Scale Parameter

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1.10.7 For dramatic feel add more key frame on 24, 27, 30, and 32 with little bit animate scale value.
Shot 02
1.10.8 Now import forest background and all the animals images in the project window and then
drag and drop them on the timeline. Refer to Figure 1.27.
Figure 1.27: Supporting Elements for Shot 2
1.10.9 Follow the same process as in signboard animation (shot 1) for all the animal pop-ups
from the outward to the inward direction. Make sure that all animals and board appear settled
with the help of scale movement.
For example, the zebra animation. Refer to Figure 1.28.
Figure 1.28: Zebra Animation
1.10.10 Add the rotation effect to the images of Monkey and Giraffe so as to make them appear
hanging on a tree branch.
1.10.11 Now the program title will fade into the frame from the top and follow the scale animation
similar to the animation used for animals. Make sure the program title appears after the animation
for all the animals so that the audience can register the main title. Refer to Figure 1.29.
Figure 1.29: Enter Program Title into Frame

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1.10.12 Once program title appears and settles on screen, scale up the title to the cover frame for
some frames. Refer to Figure 1.30.
Figure 1.30: Scale Up Program Title
1.10.13 Add Blur effects to the background elements so that the frame looks attractive. Select
Blureffect from effects → Blur & Sharpen → Fast Blur. Increase Blur value when program title
scales up so that the program title is in focus. Refer to Figure 1.31.
Figure 1.31: Blur Animation
1.10.14 The blur effect should also be applied to the Adjustment layer. It can be created from Layer
menu → New → Adjustment layer or use keyboard shortcut Ctrl + Alt + Y. Refer to Figure 1.32.
Figure 1.32: Adjustment Layer

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1.10.15 Adjustment layer is similar to the Adjustment layer in Photoshop. It can be used to apply effects
for different adjustment layers such as color correction, blur, distortion, and many other effects. Refer to
Figure 1.33.
Figure 1.33: Blur effects
1.10.16 After shot 2 animations and other effects are finalized, create a composition to
merge shot 1 and shot 2. Drag and drop Shot 1 and Shot 2 composition on the timeline.
Ensure that Shot 2 is placed after shot 1. Refer to Figure 1.34.
Figure 1.34: Line of shot 1 and shot 2
1.10.17 Add forest background image below shot 1 and shot 2.

1.10.18 Now we need to create blending between the two shots using Null objects. To create Null
Object go to Layer → New → Null Object which has transformation property and can be used to
blend both the shots.
1.10.19 Select shot 1, 2, and background layer in the timeline. Start parenting those three layers
with Null object, using the pick whip icon from the Parent column. Now you would notice that Null
object transformation parameter works as parent of all three layers. Refer to Figure 1.35.
Figure 1.35: Parenting Process

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1.10.20 Click the stopwatch of the Position parameter to show transition from shot 1 to shot
2. Click the motion blur icon on each layer and global icon to add motion blur according to the
motion direction Null object. Refer to Figure 1.36.
Figure 1.36: Individual and Global Motionblur
You would notice that shot 1 and shot 2 boundaries blend together due to motion blur. Refer to
Figure 1.37.
Figure 1.37: Comparison of Motion Blur
Press ‘0’ to real time playback and you will notice that shot 1 and shot 2 blend appropriately. Refer to
Figure 1.38.
Figure 1.38: Final Output

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Things to Remember
➢ The workspace in After Effects is known as composition.
➢ A composition and a solid setting can be modified, after creating them.
➢ Motion sketch can be used to create a position animation based on cursor movement.
➢ One composition can be dragged to another composition as a layer.
➢ The advanced tab of composition setting window can be used to adjust the motion blur
settings.
Exercise
1) The workspace in After Effects is known as _____________________.
(a) Canvas
(b) Composition
(c) Solid
2) Which option is not in After Effects to create motion blur _____________________.
(a) Shutter Speed

(b) Shutter Phase
(c) Shutter Angle
3) The short cut to access opacity of any layer is _____________________.
(a) O
(b) P
(c) T
4) To enable a layer for animation _____________________.
(a) Click the stop watch icon

(b) Right-click and select the option
(c) Ctrl + Click the layer
5) ____________________ is the shortcut used to modify the solid settings.
(a) Ctrl + Shift + Y

(b) Ctrl + Shift + Z
(c) Ctrl + Shift + S

chapter 2 Working with Text Tool
Learning Objectives
➢ Describe how to create and use text layers
➢ Use the character palette
➢ Demonstrate how to animate text layer and characters
➢ Understand the process of creating random movement in text animation
➢ Demonstrate how to move text on a path
2.1 New Text Layer
2.1.1 After Effects has a separate layer for writing and editing text similar to which is also
present in Photoshop.Text layer can be created by selecting the Text tool (Ctrl + T) from the
tool bar.Click the Composition window or Right-click New → Text on the timeline. Refer to
Figure 2.1.
Figure 2.1: Creation of New Text Layer

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2.1.2 A blank text layer is displayed in the timeline with a blinking cursor in the centre of Composition
window. Text can be entered using the keyboard. To enter a new line press keypad Enter. After entering
the text press numeric pad Enter on the keyboard. By default, the text layer will take the named as per
the text entered in the Composition window. Click the layer name and press Enter to change the name
of the layer. Refer to Figure 2.2.
Figure 2.2: Text Layer
2.1.3 After selecting the text layer in the timeline, click the Composition window, to edit the
text. Now, the cursor in the Composition window can be used to modify the text if required.
2.2 Character Palette

2.2.1 After Effects also has a Character Palette similar to Photoshop. The palette can be accessed
Through Menu → Windows → Character. the character palette is used to change the appearance
of the text layer. Refer to Figure 2.3.
Figure 2.3: Character Palette

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A: It is used to select a font from the drop-down list.

B: It is used to select a font style i.e. bold, italic etc.
C: It is used to adjust the font size .
D: It is used to set the kerning between two characters..
E: It is used to set the stroke size.
F: It is used to scale the text in vertical dimension.
G: It is used to shift the position of selected text from the upper or lower side.
H: It is used to select the color of the text.
I: It is used to set the stroke color for the text.
J: It is used to adjust the gap between two lines of the text layer.
K: It is used to adjust the space between two characters.
L: It is used to create or fill strokes. The stroke is created after filling the color in text or color is filled
after creating the stroke.
M: It is used to scale the text in horizontal dimension.
N: It is used to adjust gap between close characters in a line. This option is known as Tsume . It is
used when characters such as J and K come very close.
2.2.2 Faux Character Effects: These are the fake effects which are applied to text. There are
many fonts which doesn’t have font styles. In that situation the faux effects are used to simulate
the effect. Refer to Figure 2.4.
Figure 2.4: Faux Character Effects
● Faux Bold: It is used to apply bold text effect.
● Faux Italics: It is used to apply italics effect.
● All Caps: It is used to convert all the text to capital.
● Small Caps: It is used to capitalize text but with small size.
● Superscript: It is used to reduce the size of a selected text and to shift it to the upper side of
the line. It can be used for text in (2)4 format.
● Subscript: It is used to reduce the size of a selected text and shift it to the lower side of the line.
It can be used for H2O formats.

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2.3 Text Parameter

When the Text layer is expanded it shows two options, Text and Transform. Transform option was discussed
in the previous chapter. In this chapter you will learn about the Text option. Refer to Figure 2.5, to view the
Text option in the expanded form.
Figure 2.5: Text Parameter
2.3.1 Source Text Option:

This option changes the appearance of the text on the timeline. Create a new composition. Enter text in
the text box of the Composition window. Click the Stop Watch of the source text to animate the text. Shift
the Time Indicator cursor and modify the text in the Composition window. A key appears in the timeline.
Modify the text for different time values on the timeline. Refer to Figure 2.6.
Figure 2.6: Source Text

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Hit spacebar to play and view the frame. The text changes after a key frame appears. Refer to
Figure 2.7.
Figure 2.7: Sample Text
2.3.2 Path Option (Text On Path)

The After Effects text can be animated over a path. Create a new text layer and enter a text in the
Composition window. As shown in Figure 2.8, draw an open mask on the text layer with the Pen
tool.
Figure 2.8: Path Option
The Pen tool is available in the tool bar and works in a manner similar to the Pen tool in Photoshop.
Expand the path option in text layer in the timeline and select mask 1 as the path. As shown in
Figure 2.9, the text will be aligned with the mask at the starting point.

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Figure 2.9: Define Mask as Path
When a path is selected some options appear and can be used to customize the alignment of the
text with the path. Refer to Figure 2.10.
Figure 2.10: Path Option

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Reverse Path: As shown in Figure 2.11, the Text appears at the end point of the mask.
Figure 2.11: Reverse Path
Perpendicular to Path: When this option is turned ON, it rotates the character perpendicular to
path. Refer to Figure 2.12.
Figure 2.12: Perpendicular to Path
Force Alignment: As shown in Figure 2.13, this option positions the characters from first to last
point with equal distance between each character.
Figure 2.13: Force Alignment

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First Margin: As shown in Figure 2.14, this option changes the position of the text from the
start point on the path.
Figure 2.14: First Margin
Last Margin: As shown in Figure 2.15, this option determines the position of the last character on
the path. It works only when force alignment is ON.
Figure 2.15: Last Margin

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2.4 Text Animate Property
Range Selector
The Range Selector option is used to animate the text based on the individual character, words or lines.
To access the range selector in any text layer click the icon next to Animate option. Refer to Figure 2.16.
Figure 2.16: Range Selector
Animate option is used to animate the transformation value at the sub object level. This implies that
the layer transformation value is not modified but modifications are made for individual characters,
words or lines. As shown in Figure 2.17, click the icon next to animate to view a list.
Figure 2.17: Animate Arrow to Select Required Parameter

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Click Position to view a new option under text layer i.e. Animator 1 which has further options of
Range Selector 1 and Position. Change the value of Position in x and y to view the result. The text
will change its position according to the value in x and y. Refer to Figure 2.18.
Figure 2.18: Add Position Parameter
As shown in Figure 2.19, expand the Range Selector option and drag the start and end value to
view the change.
Figure 2.19: Parameter of Range Selector

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When the start value is changed, the character goes back to its original position. When the end
value is changed the same process occurs but from the last character. Refer to Figure 2.20.
Figure 2.20: Working with Start and End Parameter
All the other options available with Animate can be modified using Range Selector. There are some
options in Animate which can be used to animate the text appearance using the Range Selector.
Fill Color: This option can be used only for colored text. It changes the color of character and
brings it back to the original color. Fill Color has many options for color, hue, saturation, brightness,
and opacity. All the options work in similar pattern. Refer to Figure 2.21.

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Figure 2.21: Add Fill Color
Stroke Color: As shown in Figure 2.22, it is used to change the stroke color of character and brings
it back to original color.
Figure 2.22: Add Stroke Color

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As shown in Figure 2.23, it is used to change the width of the stroke.
Figure 2.23: Stroke Width
Character Offset: It is used to change the characters and define a new set. A value of 1 in Character
Offset will shift the character to the next value i.e. ‘T’ becomes ‘U’, ‘h’ becomes ‘I’, ‘I’ becomes ‘j’, and
‘s’ becomes ‘t’ for Character Offset 1 value. Refer to Figure 2.24.
Figure 2.24: Character Offset

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There is an Advanced option in Range Selector which when expanded provides more options. Refer
to Figure 2.25.
Figure 2.25: Advanced Option
Based On: The transformation will be based on characters, words or lines.
Amount: It controls the transformation in terms of a positive or negative value.
Shape: It applies different arrangement styles to alphabets.
Smoothness: It is used to control the speed of text returning to its original value.
Ease High/ Ease Low: It controls how fast the text goes out or comes back to the original value.
Randomize Order: It determines Text goes to its original position in a random order. One can try
the same with other transform options i.e. scale, rotation, and so on.
2.5 Add Selector
Once you add Range Selector using Animate option, you will get Add option in Range selector. Click
Add drop-down to view the Property and Selector option. Property option is similar to the Animate
Range Selector option. Selector has Range, Wiggly, and Expression options. Range is similar to the
option provided by Animate Range Selector option.

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Wiggle
Wiggle is the behavior applied to text layer for creating a constant randomness in the properties
of the text. It can only be applied to text if it has an animator property applied and the values have
been changed.
With every animator property “Add” can be seen in the switches column. Click the triangle next to
it, go to selector and select wiggly. When wiggly is applied, the animate property applied to the text
layer randomly changes according to time. Refer to Figure 2.26.
Figure 2.26: Add Wiggle Selector
After applying Wiggle, the Wiggle selector can be expanded to view the other option that can be
used to change Wiggle behavior. Refer to Figure 2.27.
Figure 2.27: Wiggle Parameter

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Max/Min Amount - This option is used to set a range by defining a percentage value. Maximum
range will attain 100 % value and negative value will create a movement in opposite direction. Use
both the options to define a range for the movement.
Based On - This option defines that whether the wiggle will happen on individual characters, words
or lines.
Wiggle/Second - This option defines the rate of wiggling per second.
Correlation - This option specifies how strongly the characters are linked with each other. When set
at 100% all the text moves together, whereas when set as 0%, all the text elements move individually.
Lock Dimension - This option when turned ON helps the text move between the original and changed
position through the shortest possible distance. When turned OFF, the text moves anywhere irrespective of
the position values.
Random Seed - This option creates randomness in the wiggle property. These options can be
used for all the properties available in Animate option in a text layer.
2.6 Example-Text Motion Graphics
This example illustrates the text motion graphics using various tools that you have learned in the
basic form.
There are two shots in this example:

Shot 1: Company name - MYFX
Shot 2: Product - FX content
Let’s discuss shot 1:
Shot 01
2.6.1 Create new composition with 960X540 resolution and 25 FPS. Select the desired background
for shot 1 background. Refer to Figure 2.28.
Figure 2.28: Background for Shot 01 and 02

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2.6.2 Go to Layer → New → Text Tool and type “MYFX” with desired font type with 60-80 font
size and stroke. Refer to Figure 2.29.
Figure 2.29: Stroke Option
2.6.3 In this example, individual characters scale down in the X axis, towards the starting and end
with complete 100% scale X. Make sure that the individual character scale up in the descending
order, starting with M, and ending with X.
2.6.4 As shown in Figure 2.30, to increase the scale up use Animate from the Text option and then
select Scale parameter.
Figure 2.30: Add Scale Parameter

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2.6.5 In the Text parameter, Animator 1 option is added to the Scale option. Refer to Figure 2.31.
Figure 2.31: Scale Option Added
2.6.6 Set 0% in X axis and 100% in Y axis. Now click the stopwatch button to animate the value
in the range of 0% to 100% in Range Selector for 14 frames. Refer to Figure 2.32.
Figure 2.32: Set Scale Value
2.6.7 You will notice that all the characters’s X scale animation during playback.
2.6.8 To add little bit smooth movement of X character animate start values each 3 to 4
frames. Refer to Figure 2.33.

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Figure 2.33: Keys of Smooth Jitter Movement For Few Frames
2.6.9 Follow the same process for the word with Y axis scale animation and not X animation. Refer
to Figure 2.34.
Figure 2.34: Presents Animation
2.6.10 If you wish to make this Text motion effect more interesting then add the reverse effect
of text animation by reducing the start value to 0% in the Start parameter.
Shot 02
In this shot, company offers fx content for 200 hours such as fire, smoke, demolition, crowd simulation
and water in this product. Add text motion as per the motion behavior of the element. Refer to Figure
2.35.

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Figure 2.35: Placement of Text
As shown in Figure 2.36, arrange the texts with different text layers and desired font types and size.
2.6.11 200 Text: Create 200 texts using the desired bold fonts with outline. Add Rotation and Scale
movement for character by changing its number using the Character Offset parameter in Animator.
Set 0% in Scale, 180 degree in Rotation, and 10 in Character Offset so that each character animation
follows this value. Refer to Figure 2.36.
Figure 2.36: 200 Animation

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2.6.12 Hours FX Content: Create a text ‘Hours FX content’ using text tool. Take Position parameter
clicking Animate arrow inside of text option. Position parameter helps us to place initial position of text
while end position (final layout) of text gives you end position of text. Refer to Figure 2.37.
Figure 2.37: Difference between Start Range Selector and Position
2.6.13 Fire: Create Fire Text animation using the Position and Scale options in Transform. The
Fire Text Transform animations should resemble the motion of fire. Click Animator Arrow and add
Position, Scale, Stroke Color, Stroke Width & Blur Now to repeat the process to Add Selector in the
text option. Refer to Figure 2.38.
Figure 2.38: Creation of Fire Text

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Set position for text animation range area. For example, X=11, Y=19.
➢ Set Scale value for text scaling range. For example, X=200 and Y=200
➢ Stroke Width to set width of fire.
➢ Stroke color to set feel of fire For example, light orange or yellow color.
➢ Blur to apply blur value on modified by Start parameter in Range selector.
If you would like to limit the position of individual character movement of fire then apply wiggle by
click Add arrow icon → Selector → Wiggly, to apply wiggle and to limit the position of individual
character movement of fire. Now the fire text animation resembles the motion of fire.
2.6.14 Smoke: These techniques are similar to fire. The only difference is that it is a motion that
can be controlled using your animation skill. Refer to Figure 2.39.
Figure 2.39: Creation of Smoke Text

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2.6.15 Demolition: It is similar to Fire effect but does not require the Blur value. Main difference
is that the Position of the text can be animated after few frames with the Start parameter in Range
Selector. Start range should be 100% for animations in a few frames. Refer to Figure 2.40.
Figure 2.40: Creation of Demolition Text
2.6.16 Crowd: It is similar to the Smoke effect but does not require the Blur value.
2.6.17 Water: It is similar to the Smoke effect but does not require the Blur value. Click Intersect
Mode in Wiggle Selector with decrease value as Max Amount and increase value as Min amount
along with decrease Wiggle/Second. Intersect mode helps to create smooth motion such as slow
water movement. Refer to Figure 2.41.
Figure 2.41: Wiggle Parameter

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Refer to Figure 2.42, to view the output after all the all animations are completed.
As shown in Figure 2.43, you can view the timeline’s layer arrangement while you play the animation.
Figure 2.43: Timeline Arrangement
Things To Remember
➢ Text layer can be created by using tools. You can also right-click the timeline to create a
text layer.
➢ Character palette can be used to change the appearance of text.
➢ Faux effects are used to simulate the effect that is not available in many fonts.
➢ Pen tool can be used to create a mask using for the text path.
➢ Wiggle can be used to create randomness in the text behavior.

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Exercise
1) ___________________ To create a new line while typing text.
(a) Hit any Enter button

(b) Hit Numeric Enter button
(c) Hit keypad Enter button
2) Which of them is not a text path option ?
(a) Force Alignment

(b) Perpendicular
(c) Faux Bold
3) Which of the following is used to create randomness in the text animate property?
(a) Random
(b) Wiggle
(c) Last Margin
4) Which of the following is used to animate the text based on individual characters, words or
lines?
(a) Range Selector
(b) Stroke Color
(c) Randomize text
5) _________________ helps to modify the character to a new set.
(a) Character offset

(b) Font
(c) Character Stroke

chapter 3 Introduction to Rotoscopy
Learning Objectives
➢ Describe how to set and analyze proper field in a footage
➢ Understand the process of creating a mask in a layer
➢ Describe how to animate a mask
➢ Demonstrate how to adjust mask attributes
➢ Understand the process of rotoscopy workflow
3.1 Importing a Footage

3.1.1 Importing a Footage: To import a footage in the Project window go to File → Import → File
(Ctrl + I) or right-click the Project window → Import → File or just double-click the Project window to
get the file in the Import window. Refer to Figure 3.1.
Figure 3.1: Import File

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3.1.2 Image Sequence option: While importing a single file select the file and click Open or press
Enter, but if the folder contains a sequence of images then enable the image sequence option to
import the complete sequence. Refer to Figure 3.2.
Figure 3.2: Image Sequence Option
3.2 Introduction to Video Field

A field is a series of horizontal lines in a single image data. Two fields make a single image during
a TV broadcast. It means single fields make up half image and are known as upper field (odd) or
lower field (even).
Interlaced Video: The TV broadcast standard (PAL, NTSC, SECAM, and so on) use interlaced
video. These standards merge two video fields with a technique or process known as interlacing.
Viewers perceive each frame in full resolution due to speed of transmission, the after glow displays
and the persistence of vision. Refer to Figure 3.3.

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Figure 3.3: Composition of Interlaced Frame
3.2.1 Identify Interlace Video in After Effects: If the imported footage has fields i.e. if it is interlaced,
then the lines can be seen after you double-click the footage into the project window and then zoom
it. Refer to Figure 3.4.
Figure 3.4: Interlaced Video

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3.2.2 Interpret Footage: To adjust the field right-click Footage in the Project window, Interpret
Footage → Main. As shown in Figure 3.5, a window is displayed, from which the footage frame rate,
aspect ratio, fields, and so on can be adjusted.
Figure 3.5: Interpret Footage
3.2.3 Separate Fields: From the Fields and Pulldown option, click Separate Fields to view a drop-down list
having the options Off, Lower Field First, and Upper Field First. Refer to Figure 3.6.
Figure 3.6: Separate Fields

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Off: It displays that video has no Field information.
Upper Field First: Upper field is displayed and then Lower field is displayed.
Lower Field First: Lower field is displayed and then Upper field is displayed.
Use all the options one by one and play the footage in the Footage window. If there is an error the
footage will play with a jerk in each frame. If there are no errors the footage will run smoothly.
3.3 Masking Using a Pen Tool
In Photoshop, a mask is used to protect a desired area from modifications. After Effects also has a
masking option. This option is a path that provides features to modify layer effects and properties.
3.3.1 Accessing Pen Tool: Masking can be applied to any given layer by enabling the Pen tool
in the toolbar or by pressing (G) as the shortcut for Pen tool. Refer to Figure 3.7.
Figure 3.7: Pen Tool
3.3.2 Draw Mask: A new solid layer is used for a new composition. Select the Pen tool from
the toolbar, click Solid Layer in the Composition timeline to select the layer to which masking
has to be applied. Click Composition window to create a yellow color mask vertex (the color
can be changed if required). Now, click some other position in this area to acquire a new path
(similar to Photoshop). Click randomly to create a mask shape. Click the first vertex to close
the mask and the area outside this mask will also be hidden. Refer to Figure 3.8.
Figure 3.8: Draw a Mask

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A mask consists of Vertices, Segments, and Tangents. Segments are lines or curves that connect
vertices. A segment starts or ends at a vertice.
3.3.3 Mask Option: Expand the layer to view different Mask options such as Mask Path, Mask
Feather, Mask Opacity, and Mask Expansion. Refer to Figure 3.9.
Figure 3.9: Mask Option
Mask Path: It provides the option to select some predefined geometrical shapes like Ellipse, Rectangle,
or Bezier. Click the desired shape to get a mask shape window that has two categories bounding box and
shape. The bounding box shrinks or expands the mask towards the left, right, top, or bottom. The shape
option can be used to change the custom mask shape to a rectangle or ellipse. Refer to Figure 3.10.
Figure 3.10: Mask Shape

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Mask Feather: It is used to create softness at the edges of the mask segments. Refer to Figure 3.11.
Figure 3.11: Mask Feather
Mask Opacity: It controls the opacity of the masked area. Refer to Figure 3.12.
Figure 3.12: Mask Opacity

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Mask Expansion: It is used to expand or shrink the edges of the mask. Refer to Figure 3.13.
Figure 3.13: Mask Expansion
Boolean Operation: Every mask has a Boolean feature of interacting with other masks in a
particular manner. The Boolean operations can be accessed in the switches column with the
drop-down list. Refer to Figure 3.14.
Figure 3.14: Boolean Operation of Mask

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None: The mask will not be active. Refer to Figure 3.15.
Figure 3.15: Mask Option - None
Add: The mask will display only those areas that are covered by it. Refer to Figure 3.16.
Figure 3.16: Mask Option - Add
Subtract: The mask will display those areas that are not covered by it. Refer to Figure 3.17.

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Figure 3.17: Mask Option - Subtract
Intersect: This option is used to work with two masks. It displays only those areas that are com-
mon between two mask shapes. Refer to Figure 3.18.
Figure 3.18: Mask Option - Intersect
Invert: This option is used to invert the result of the individual mask.

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3.4 Animating a Mask

3.4.1 Animate a Mask: To animate a mask feature over the timeline, click the Stop Watch icon next to
the mask option. This facilitates animation for a particular property. Refer to Figure 3.19.
Figure 3.19: Animation Mask
Drag the time scrub in the timeline and make changes to the mask by dragging the vertices. A new key
is visible on the timeline and the mask when played, will change its shape on the timeline.
The other animation operations are similar to those discussed in the previous chapters.
3.5 Basics of Rotoscopy

Rotoscopy is the manual process of creating animated mattes or isolation elements from the
background. Refer to Figure 3.20.
Figure 3.20: Basics Of Rotoscopy

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The principles that should be followed for rotoscopy work are as follows:
➢➢ Analyze your Shot: Once you get an appropriate shot, play it several times and observe the
motion of the elements in frame in which roto is required.
➢➢ Break Down Complex Shapes into Smaller Shapes: Try to breakdown each element into
different parts so you can focus on a particular area if corrections are to be made after quality
check. Refer to Figure 3.21.
Figure 3.21: Breakdown a Complex Shape
➢➢ Begin at the Most Complex Point: As shown in Figure 3.22, begin roto from the most complex
part. For example, human hand.
Figure 3.22: Begin at the Complex Point

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➢➢ Be Consistent with Edges: Hard edge should be used for roto work so that softness/feather of
roto mask can be adjusted in the post production period. If edge consistency is not maintained
then there will be edge jitter when roto output is played. Refer to Figure 3.23.
Figure 3.23: Soft Edge and Hard Edge
3.6 Rotoscopy of Static Elements

A Pen tool can be used for rotoscopy of static elements.
3.6.1 Composition Settings: Go to Composition menu → New Composition or press Ctrl + N.


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3.6.2 Observation of Elements in Footage: Import a footage that has two boxes and one mobile.
Now press 0 to play the footage real time and observe the movement of the camera. You will notice
that all the elements in the frame are static but there is some camera movement. Refer to Figure
3.25.
Figure 3.25: Footage/Image Sequence
3.6.3 Draw Mask: Go to the toolbar and click Pen tool or press G to draw a roto mask for the box.
Begin with the right box and draw a mask for all the sides separately. When you draw a mask it
will automatically be added as a Mask, under the footage or as an image sequence. Select all the
masks and choose None option in Boolean Mask Operation. Refer to Figure 3.26.
Figure 3.26: Draw Mask

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3.6.4 Problem Frame and Solution: Now, play the footage and observe how the box changes
it position with various frames and then moves the mask as per the frames. When you move the
mask a key frame is automatically added to the timeline. To move the mask, select all the mask
from the timeline and press Ctrl + T to view transform gizmo. After you view the gizmo, adjust the
position of the mask according to the box position with the help of arrow keys or the LMB of mouse.
Figure 3.27: Problem Frame and Solution
3.6.5 Reposition of Mask: When you find a mask that is not set on the box, reposition it immediately.
Avoid addition of key frame unless required. Now, follow the same process for all the other frames
and reposition the masks as per requirement.
3.6.6 Isolated Mask Elements (Box): Select the masks and choose Add from the operation
drop-down. Now, you can view the isolated box and check the extra edges which are outside the
covered box area.
3.6.7 Add Grey Background: Go to Layer → New → Solid to create a solid background. Choose
gray color over black color in solid settings and drag it below the box footage. Refer to Figure 3.28.

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Figure 3.28: Grey Solid as Background
3.6.8 Final Output: Now, follow the same process for the left box. Ensure that the mask is separate
for all the sides so that you can focus on individual parts, if corrections are to be made later. Refer
to Figure 3.29, to view the output after roto completion.

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Things to Remember
➢ Phase Alternating Line is abbreviated as PAL.
➢ National Television System Committee is abbreviated as NTSC.
➢ The Pen tool can be used to create a mask.
➢ The Image Sequence option can be used to import an image sequence clip.
➢ Before starting work on a clip it is important to set the correct fields.
➢ After adjusting the field to validate the proper setting play the clip in Footage window.
➢ The Mask Feather option is used to create a soft edged mask.
Exercise
1) Which of the following tool is used to create a mask?
(a) Pen
(b) Move
(c) Brush
2) Which of the following option is used to soften the mask edges?
(a) Mask Opacity

(b) Mask Path
(c) Mask Feather
3) Which of the following option is not used for setting up the correct field?
(a) Off
(b) Interpret footage
(c) No fields
4) Which of the following option is used to create a common area between two masks?
(a) Add
(b) Intersect
(c) Invert
5) Which of the following is not a part of the mask?
(a) Vertices
(b) Segment
(c) Path
chapter 4 Rotoscopying–Character
Learning Objectives
➢ Understand soft and hard edge in rotoscopy work
➢ Break down a roto shape according to the movement in live action footage
➢ Remove jitter or floating from roto shapes
4.1 Rotoscopy of Character
Rotoscopy is the first step for a new compositor artist. Roto of human character is a tedious and
time consuming process in the VFX pipeline.
4.1.1 Importing Footage/Image Sequence: As shown in Figure 4.1, import footage with proper settings.

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Figure 4.1: Import File
4.1.2 Composition Settings: Create a composition with desired settings such as Resolution,
Frame per second, and Field information (if required). The imported image sequence starts from
172. Ensure the start frame is 175. Refer to Figure 4.2.

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4.1.3 Analyze the Required Roto Element Movements: The boy (black t-shirt) towards the left
shows little movement. Refer to Figure 4.3.
Figure 4.3: Motion Observation of the Boy in a Black T-shirt

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4.1.4 Solid Settings: A black solid with composition size and black color should be created before
starting roto. Ensure that the Solid visibility option is disabled from the timeline. All roto masks,
should be created on this solid. Refer to Figure 4.4.
Figure 4.4: Solid Settings
4.1.5 Creation of Mask: Use the pen tool to create a roto mask and to create an outline for the
t-shirt. Ensure that the hard edge pixel of t-shirt is traced. As shown in Figure 4.5, breakdown
the outline for the t-shirt into three separate masks.
Figure 4.5: Creation of Mask (Roto Shapes)

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4.1.6 Reposition of Roto Mask: Locate the frame where the roto mask has not been set properly.
Reposition the roto mask in this frame. Use the PageUp button to return to the previous frame and
Page Down button to go to the next frame. These options can be used for locating the roto mask
position.
4.1.7 Use of RAM Preview: If the roto mask position for all the frames has been set appropriately,
then use RAM preview to check the quality of the roto mask.
4.1.8 Repeat Process for the Other Body Parts: Follow the same process for all other parts such
as the hand and the head. Refer to Figure 4.6.
Figure 4.6: Repeat Roto Mask Process for Head and Hand
4.1.9 Create Garbage Mask: As shown in Figure 4.7, the empty space within the t-shirt can be filled
using the garbage mask.
Figure 4.7: Garbage Mask

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4.1.10 Unhide Mode Column: As shown in Figure 4.8, right-click the Layer Name or Source Name →
select Column → Modes to activate Track Matte option from the timeline or click the timeline tab and
press F4 button.
Figure 4.8: Unhide Mode Column
4.1.11 Use of Track Matte: Black solid should be visible in the timeline. This is a black silhouette of
the action/actor that is created using the roto mask. Click the None button located under the Mode and
then select Alpha Matte to isolate the actor. Refer to Figure 4.9.

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Figure 4.9: Use of Track Matte
4.1.12 Final Output: A light grey solid should be created and kept under the actor layer. This helps
to keep a check on the slippage roto mask. The roto mask is ready for the delivery to the compositor.

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4.1.13 The delivery format depends on the client or compositing pipeline. It can be in the PNG image
format or in the form of a roto mask.
Things to Remember
➢ Check the Resolution and FPS details before starting the roto process so as to avoid rework.
➢ Create roto mask on a solid during roto work.
➢ Roto mask should be created on hard edge pixels.
➢ Complex shapes should be broken down into multiple shapes.
➢ The RAM preview option should be used to play the real-time footage.
Exercise
1) ________button is used for real time playback.
(a) 0
(b) R
(c) M
2) It is a good practice to create roto mask for complex shapes in a single mask.
(a) True
(b) False
3) ___________ is used to create a mask.
(a) Pen tool

(b) Eraser tool
(c) Text tool
4) ____________option is used to isolate the elements.
(a) Track Matte

(b) Red
(c) Green
5) RAM preview option is used for playing __________ time playback.
(a) Delay
(b) Real
(c) Average

chapter 5 Keying Basics
Learning Objectives
➢ Explain the uses of green or blue screen
➢ Describe lighting of a chroma setup
➢ Identify the different chroma removal options
➢ Understand the process of chroma removal for transparent and translucent objects
➢ Apply color correction after chroma removal
5.1 Introduction to Keying and Use of Chroma
5.1.1 History Of Croma Screen: In the past, huge and customized sets were created for shooting a
film scene. After completing the film shoot, dumping of the sets was a major issue. The Chroma Screen
emerged and was used to resolve this issue. As shown in Figure 5.1, the characters are shot in front of a
blue or green background called the Chroma Screen.
Figure 5.1: Green Chroma Screen

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5.1.2 Meaning of Chroma: The term ‘Chroma’ is coined from the word ‘chrominance’. Chrominance
refers to the signal used in a video to convey the color information. Therefore, chroma is color
information that is pure i.e. the information is devoid of shades or variations. The single color back
ground is made transparent using some options available in the compositing packages such as After
Effects.
5.1.3 Technique to Shoot Smoke or Fog: As shown in Figure 5.2, black color background called
Luma screen is used for shooting smoke or fog scenes.
Figure 5.2: Technique to Shoot Smoke or Fog
5.1.4 Working With Chroma Screen: The setup is created by covering the area with the blue or
green screen that will later, be made transparent. Depending on the requirement the complete or par-
tial area will be covered with the screen. For some cases, part of the set is created and customized
whereas the remaining set area is shot with the help of a chroma screen.
5.1.5 As shown in Figure 5.3, after completing the shooting, the chroma screen is removed and the
CG (Computer Graphics) background or image is placed over it.
Figure 5.3: Chroma Shot - Before and After

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5.2 Chroma Colors and their Importance
➢➢ The chroma colors are either green or blue. There are many reasons associated with using chroma
of green or blue color only.
➢ Green and blue colors are not present in the human skin.
➢➢ Green chroma is preferred while using a digital camera for shooting. The image sensors in digital
cameras are sensitive to green due to the ‘Bayers Array’. ‘Bayers Array’ allocates more pixels and
less noise to a green channel. Refer to Figure 5.4.
Figure 5.4: Bayers Array
➢➢ Blue chroma is preferred while shooting with a film camera. The Photographic film is coated with
an emulsion containing light sensitive silver halide salts. The Color film has three layers; the blue
sensitive layer is on the top followed by green and then red. When shot with a film camera the
blue channel has less noise. Refer to Figure 5.5.
Figure 5.5: Film Reel

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➢ Less light is needed to illuminate green chroma.

➢ Blue is used when the foreground objects consists of green color.
➢ The advantage of using a foam backed chroma is that it absorbs light and illuminates properly.
5.3 Lighting for Chroma Setup

➢➢ Lighting conditions are important for any type of shooting. The lighting conditions are independent
of the type of shoot (still camera shoot, live shoot, or a chroma shoot).
➢➢ Lighting conditions are important for any type of shooting. The lighting conditions are independent
of the type of shoot (still camera shoot, live shoot, or a chroma shoot). Many things need to be
kept in mind while using a chroma screen for shooting.
➢➢ The backdrop (chroma) should be lit up evenly. There should not be light variations over the
chroma. The chroma should not be lit up in a way that it is overexposed when viewed through the
camera. Refer to Figure 5.6.
Figure 5.6: Correct Chroma Screen Shoot

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➢ Separate lights should be used for the foreground character and the background screen.
➢➢ ndirect (bounce) or diffuse light should be used to light up the chroma so that it is illumined with
a soft light effect.
➢➢ Every surface has a tendency to reflect light. Chroma screen also reflects light and this reflection
creates an effect of chroma color (blue/green) on the character being shot. To avoid the effects of
the reflection, extra lighting is used for the foreground character.
➢➢ The character can be lit up as per the scene requirement. However, the character lighting should
not impact the chroma light.
➢➢ The back light effect should be applied to the edges of the character to avoid the fringe effect.
The fringe effect arises due to the blending of edges with the chroma screen.
➢➢ It is not essential that the shadow of character should be invisible on the chroma. The chroma
can have a hard shadow in case of a sunlight setup or a soft shadow in case of diffused, soft, or
indirect light.
➢➢ The shadows can be extracted using the options (such as luma removal) available in the com-
positing software. Shadows assign weight and contact to the foreground character and the back-
ground.
5.4 Introduction to Keying Process
➢➢ The process of creating transparency in a single image or a sequence of images by using a sin-
gle color value or brightness or lightness value is called Keying. The process of keying is almost
similar to the process of layer masking in Photoshop.
➢➢ In both the processes a range of pixels are hidden. This makes the area transparent and the
background becomes more visible. The layer masking process is used for a single image where-
as keying can be used for single images as well as sequence of images.
➢ There are different methods of Keying that can be used as per the requirement and condition.
➢➢ Chroma Keying is the process of eliminating or making transparent any color (or a range of
colors) in a single frame or a sequence. After the transparency is created, any background can
be placed over it.
➢➢ After Effects has many options that can be used for Chroma keying. All the options are available
within Effect → Keying. Refer to Figure 5.7.

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Figure 5.7: Keying Tools
➢ Now, let us study these options and their usage in removing chroma from a footage.
5.5 Keying Process with Hard Edge Subjects
Color Key Effect: For chroma footages that have hard edge subjects, Color Key can be used to remove the
chroma. The color key can be accessed from Effect → Keying → Color Key. Refer to Figure 5.8.
Figure 5.8: Color Key

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5.5.1 Key Color: This option has a dropper icon that can be used to make the selected color
transparent. Select the dropper and click the color to make it transparent. After clicking chroma,
some pixels will become transparent. There is a background present due to which the transparent
pixels appear as black spots on the chroma. Refer to Figure 5.9.
Figure 5.9: Black Spot After Key Color Process
5.5.2 Color Tolerance: This option can be used to specify the range of colors to be removed. The
higher the value the greater the range of colors removed and transparency created. Drag the slider
to remove more pixels. Refer to Figure 5.10.
Figure 5.10: Color Tolerance

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5.5.3 Edge Thin: This option can be used to expand or shrink the edges of the keyed area. The
value entered is measured in pixels. This option can be used to remove the extra green pixels from
the edge. Refer to Figure 5.11.
Figure 5.11: Edge Thin
5.5.4 Edge Feather: This option can be used to soften the edges of the keyed area. Higher value
requires more time to render. Increase the value to convert the hard edge to soft edge. Refer to
Figure 5.12.
Figure 5.12: Edge Feather
5.5.5 As shown in Figure 5.13, use a mask to discard extra pixels from the output.
Figure 5.13: Use of Mask to Hide Extra Pixels

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5.5.6 Final Output: After removing the chroma, the background should be set in white color.
The green color effect is visible on the object when the light bounces from the chroma. Refer
to Figure 5.14.
5.5.7 Remove Green Spill: To discard the green color at the edge of the object, apply Hue/Saturation
through Effect → Color Correction. As the green pixels are to be modified, set the channel control to
green in Hue/Saturation. Adjust the range for green pixels and change the hue to get the original color
of the object in the channel range. Refer to Figure 5.15.
Figure 5.15: Hue/Saturation to Remove Green Spill

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5.5.8 Refer to use Hue/Saturation to discard green spill from the object. Figure 5.16.
Figure 5.16: Remove Green Spill
5.6 Keying Process with Color Space

Color Range Effect: The chroma removal effect can also be used to make the pixels transparent.
Color range is the effect used to create transparency by removing a range of pixels specified
within a color space. The effect uses 8 bit per channel. The color range can be accessed from
Effect → Keying → Color Range. Refer to Figure 5.17.
Figure 5.17: Color Range

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5.6.1 Preview: This option has a set of three droppers and a matte thumbnail. The first dropper is
used to select the color that is to be made transparent. The second dropper is marked with a plus
sign and is used to add other colors to the selected colors. The minus dropper is used to discard
extra colors that are transparent. the droppers can be used to make the chroma transparent. Refer
to Figure 5.18.
Figure 5.18: Preview
After clicking the droppers in the composition window, the matte thumbnail displays the Alpha
channel created in the footage.
5.6.2 Fuzziness: This option can be used to control the level of transparency in a pixel. Adjusting
this slider will help to increase or decrease the transparency. It softens the edges of transparent
and opaque regions. Greater fuzziness value will make the opaque pixels more transparent. Refer
to Figure 5.19.
Figure 5.19: Fuzziness Option

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5.6.3 Color Space: Click the drop-down list with the Lab, YUV, and RGB options. As shown in Figure
5.20, select the appropriate color space to discard the chroma effect.
Figure 5.20: Color Space
5.6.4 Min/Max Range: This option can be used to set the minimum and maximum range for the
color space content selected from the Lab, YUV, or RGB.
5.6.5 Add Background: After removing the chroma, the background is placed over it. Green pixels
are visible at the edge. Refer to Figure 5.20.
Figure 5.21: Background Replacement after Removal of Chroma Screen

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5.6.6 Edge Enhancement: To discard the green pixels, apply Simple choker that shrinks the pixels
at the edge. Simple choker can be applied through Effects → Matte → Simple Choker. Increase the
choke matte value to shrink the edges. Refer to Figure 5.22.
Figure 5.22: Simple Choker Tool
5.6.7 Remove Green Color Spill: Apply Hue/Saturation to discard the color spill on the character.
It will also help to blur the background, so as to get a defocus effect in the final output. Refer to
Figure 5.23.

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5.7 Keying Process for Chroma with Multiple Shades

Linear Color Key: Many shots with color variation can be viewed, in the chroma background. In
such cases chroma removal is achieved through Linear Color Key. The Linear Color Key can be
accessed through menu → Effect → Keying → Linear Color Key. This effect works with 8 bits and
16 bits, per channel color. Refer to Figure 5.24.
Figure 5.24: Liner Color Key
5.7.1 Preview: This option has two thumbnails and three droppers between the thumbnails. The
right thumbnail displays the image to which the effect has been applied and the view selected in
view menu. The droppers perform a function similar to that of the droppers in the Color Range. The
dropper is used to make the selected color transparent.
5.7.2 View: This option displays a drop-down list with three variables namely Final Output, Source,
and Matte. Final output displays the output with transparency in the right thumbnail and in the
composition window. Source shows displays the original footage without an applied linear key
effect. Matte displays the transparency information in black and white for the newly created alpha
channel. Refer to Figure 5.25.
Figure 5.25: Different Option to Viewing Purpose

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5.7.3 Key Color: The dropper is used to select the color that has to be made transparent whereas
the color swatch is used to directly select the color. The key color can be used to make the chroma
area transparent. Refer to Figure 5.26.
Figure 5.26: Key Color Option
5.7.4 Match Colors: This option can be used to fill color in a colorless space. The drop-down list has
three options namely, RGB, HUE, and Chroma. Every option discards chroma in a different manner.
Figure 5.27: Use of Color Space to Chroma Remove
5.7.5 Matching Tolerance: This option can be used to specify the range of colors to be discarded,
the higher the value the more range of colors are discarded.
5.7.6 Matching Softness: This option can be used to reduce the tolerance value thereby softening
it. Use tolerance and softness for improved results. Refer to Figure 5.28.

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Figure 5.28: Matching Softness
5.7.7 Key Operation: This drop-down list has two options namely, Key Colors and Keep Colors. The
key color option discards the selected colors and creates transparency. The Keep Color option is
used to duplicate the Linear color key effect in the effect panel. The key operation is changed to keep
color. Refer to Figure 5.29.

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Figure 5.29: Key Operation Option

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5.7.8 Keep Color Option: Use the dropper of the key color, to select a color that will become transparent
after application of the initial Linear Color key effect. The Keep Color option helps to acquire the extra
colors that become transparent due to the Linear Color key effect. Refer to Figure 5.30.
Figure 5.30: Keep Color Option
5.7.9 Use the matte choker option to shrink the edges. Place a background to complete the process
and view the result.
Things to Remember
➢ Green and Blue are the specific colors used for chroma.
➢ Black background is used to shoot bright objects such as fog, smoke, and so on.
➢ Blue chroma is used to shoot scenes with a film camera.
➢ Green chroma is used to shoot scenes with a digital camera.

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Exercise
1) Which of the following effect is used to discard chroma as per the color space?
(a) Color Key

(b) Color Range
(c) Linear Color Key
2) Which of the following background color is used for shooting a scene with a film camera?
(a) Green
(b) Blue
(c) Black
3) Which of the following effect does not have a tolerance slider?
(a) Color Key

(b) Color Range
(c) Linear Color Key
4) Which of the following dropper is used to add color and increase transparency?
(a) With “+” sign

(b) With “-” sign
(c) Without any sign
5) Which of the following is not a key operation in Linear color key?
(a) Key Color

(b) Keep Color
(c) Remove Color

chapter 6 Color Correction
Learning Objectives
➢ Describe color correction effects in After Effects
➢ Explain removal of a color cast from an image
➢ Apply correction to an underexposed image
➢ Understand the technique to adjust saturation of an image
➢ Describe how to make an image more attractive
6.1 Color Theory and Technical Color Wheel
➢➢ The colors of an image or video can be enhanced using the Color correction technique. This makes
the output appealing and attractive. The color correction technique enhances the look and feel of
an image or video. Technical color wheel and the color theory should be applied for appropriate
color correction. This helps to balance and manipulate the color in a layer. Refer to Figure 6.1.
Figure 6.1: Color Wheel

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➢➢ The technical color wheel has three primary colors namely Red, Green, and Blue arranged in a circle at an
angle of 120 degree. By combining any two primary colors a secondary color is created. For example, Red
+ Green = Yellow, Red + Blue = Magenta, Green + Blue = Cyan.
➢➢ In a technical color wheel the colors that are opposite to each other are known as complimentary
colors. During color correction, if one color is increased then the other color decreases. For exam-
ple, if Cyan is increased then Red decreases and vice versa. To make appropriate color adjust-
ments it is important to understand the color wheel working before starting the process of color
correction.
6.2 White Balance Correction
6.2.1 Color Cast: A captured image or a video could possibly have an unnatural color cast present in
it. The color that appears normal to the naked eyes, when captured with a camera appears to be in a
different color tone. The complete image could also appear with a single color tone effect, as against a
balanced color. The process of removal of this single color effect is known as White Balance. Refer to
Figure 6.2.
Figure 6.2: Images with Color Cast
6.2.2 White Balance Technique: The process of white balance can be carried out using different
color correction options in After Effects. The After Effects color correction options are similar to the
options available in Photoshop. The color correction effects can be accessed through the Menu →
Effect → Color Correction.
6.2.3 The complete image has blue color tone due to which the original colors of the image are not
visible. It is essential to apply Levels to it. Refer to Figure 6.3.

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Figure 6.3: Adjust Blue Color Cast
6.2.4 Through Levels the channels are modified to blue as blue color needs to be adjusted in the
image. The black input has to be adjusted in the blue channel to discard blue color from the image.
Now the image is visible with green color in it. Refer to Figure 6.4.
Figure 6.4: Adjust Black Input in Blue Channel

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6.2.5 To discard the green color set the channel to green and then adjust the black input in the
green channel. This will discard the green color effect and the output will not have the single color
tone. Refer to Figure 6.5.
Figure 6.5: Reduce Green Color using Green Channel
6.2.6 It is not mandatory to acquire results with one effect. In many cases multiple effects are required
to achieve the results.
6.2.7 The before and After Effects of application of White balance is shown below. Refer to Figure 6.6.
Figure 6.6: Effects of White Balance

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6.3 Enhancing Dark Images or Videos

6.3.1 The captured image or video may appear darker due to inappropriate lighting conditions. This
reduces the visibility of the video details. To discard the darkness many effects can be used that
help view the original details with appropriate lighting. The darkness needs to be discarded from
the image. Refer to Figure 6.7.
Figure 6.7: Image with Dark Tone
6.3.2 Curves should be applied to the image. Click the curves graph to get a control point that helps
control the dark values. Adjust this point in a way that the graph in the darker areas is enhanced
upwards. The highlighted pixels are also enhanced in this process. Refer to Figure 6.8.
Figure 6.8: Adjust Midtone using Curve Effect

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6.3.3 Apply a point on the highlighted side and adjust it in a way that the highlighted areas revert to
their original value. The change should be visible in the darker areas. Refer to Figure 6.9.
Figure 6.9: Restore Highlight Value as Original Value
6.3.4 As shown in Figure 6.10, apply Levels and adjust the Input White Slider to acquire an appropriately
exposed image.
Figure 6.10: Result using Before and After

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6.4 Improving Saturation in a Video
6.4.1 Saturation is an important component in a video or image. Appropriate and balanced saturation
makes an image more attractive. Apply Hue/Saturation effect to adjust the Saturation in any layer.
Figure 6.11: Original Image with Less Saturation
6.4.2 To enhance the Saturation of an image, apply levels and enhance the darker areas of the image.
Then apply Hue/Saturation to the image. The channel control of the Hue/Saturation effect is used to set
the blue channel and to expand the range of the channel. The saturation in blue channel is reduced to
discard blue color from the background and to focus on the statues. Refer to Figure 6.12.
Figure 6.12: Enhance Black Level using Hue/Saturation

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6.4.3 Modify the channel to Red. After adjusting the channel range increase the Saturation and re-
peat the same process for yellow channel. Refer to Figure 6.13.
Figure 6.13: Increase Saturation of all Channel
6.4.4 Set the channel to Master and increase the Saturation value to enhance the overall image
saturation. Refer to Figure 6.14.
Figure 6.14: Result using Before and After

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6.5 Match Computer Graphics (CG) Elements with Live Action Shoot Image
In this example, the colors of (Computer Graphics) elements will be matched with the live action
footage/image/plate using few color correction tools.
6.5.1 Import 3D render passes of the statue CG elements and live action plate. Refer to Figure 6.15.
Figure 6.15: Match CG Elements with Live Action Footage
6.5.2 Arrange Layers: Arrange the layers and create a new composition for CG elements. Drag
the 3D render passes and live action footage/plate. Refer to Figure 6.16.

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Figure 6.16: Arrange Layers
6.5.3 Adjust Specular and Highlight: Adjust the Specular and Highlight. Now, adjust the Multiply
blending mode for the lighting render that has black and white color. The Multiply blending mode
is used to discard the white color and black color functions as the shadow. The output has lighting
information. Use the same technique of specular layer for the Add Blending mode as the layer has
a specular of material and the black color information is not required for compositing. Adjust the
Opacity of Lighting or Specular layer if required. Refer to Figure 6.17.

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Figure 6.17: Enhance Specular using Add Blending Mode
6.5.4 Adjust Shadow: Adjust the shadow/dark part, midtone and then highlight a part of the statue as per
the source image/footage. It is important to apply curve or Levels to enhance the color correction of the
diffuse layer. Refer to Figure 6.18.

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Figure 6.18: Adjust Mid, Highlight, and Shadow Tone of Diffuse

Layer using Levels Or Curve Effect
6.5.5 Adjust Shadow Using Track Matte: In some cases, the ground shadow appears dense and
does not match the source image due to multiple overlapping shadows. To discard ground shadow
from the diffused layer, use the Alpha image of the statue and place it over the diffused layer. Select
Luma Matte from the Track matte option. Refer to Figure 6.19.
Figure 6.19: Adjust Shadow using Track Matte
6.5.6 Adjust Shadow Color Using Tint Effect: The shadow of the statue does not match the source
image. Add Tint effect from Effects → Color correction → Tint to the shadow layer. As shown in Figure
6.20, adjust black color as the dark red tone and white color as light red tone in Tint. The color picker
tool in Tint effect, placed near the color box, can be used to pick color from the source image.
Figure 6.20: Adjust Shadow Color using Tint Effect

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6.5.7 Adjust the color of the shadow using Tint effect to acquire an output with the appropriate
shadow. Refer to Figure 6.21.
Figure 6.21: Shadow Match with Original Background
6.5.8 Overall Adjust Tint: Apply Tint layer to a new solid and enhance the overall look and feel of
statue. Use red color tint in Tint effect. Refer to Figure 6.22.
Figure 6.22: Overall Adjust Shadow using Tint Effect

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6.5.9 After adjusting the overall tint the final output obtained is shown below. Refer to Figure 6.23.
Things to Remember
➢ The relevance of technical color wheel in the color correction process.
➢ The process of discarding color casting is called White balance.
➢ Adjust channel range for a specific color.
MAAC L e cture Companion ●112

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Exercise
1) Which of the following color in an image will decrease if the proportion of Red color is increased?
(a) Cyan
(b) Green
(c) Magenta
2) _________________ is the process that helps discard color cast from an image.
(a) White Balance

(b) Color Balance
(c) Curves
3) Which of the following option in Hue/Saturation is used to set changes for a specific color?
(a) Channel Control

(b) Master Hue
(c) Colorize
4) Which of the following does not have an RGB channel option in the drop-down list?
(a) Hue/Saturation
(b) Curves
(c) Levels
5) Which of the following have a gamma option?
(a) Hue/Saturation
(b) Levels
(c) Curves

chapter 7 Advanced Chroma Removal
and Color Correction
Learning Objective
➢ Explain how to extract hair details from the video
➢ Understand the technique to preserve a shadow using key techniques
➢ Explain color matching using color correction tools
➢ Describe how to create an edge lightwrap on a keyed footage
7.1 Chroma Removal with Translucent Subjects

In keying process, keying of transparent or translucent objects is time consuming. It depends on the
Color Difference Key that can be used for chroma removal with translucent objects. The effect creates
transparency by dividing the image in two mattes, namely, Matte Partial A, and Matte Partial B.
Matte Partial B preserves the transparency on the basis of specified Key Color, whereas Matte Partial
A preserves transparency of the areas that contain the nearest tolerance value (minimum color effect)
of the specified key color.
By combining these mattes a third Alpha matte is generated with well defined transparency. This
option is useful in case of transparent objects, motion blur in front of chroma, or in case of hair as
well.
Color Difference Key can be accessed through the Menu → Effect → Keying → Color Difference
Key. Let’s understand the working mechanism of Color Difference Key by using a multicolor gradient.

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Figure 7.1: Multicolor Gradient
Color difference key effect is applied to the multicolor gradient. After applying color difference key
effect the attributes are visible in the effect palette. Refer to Figure 7.2.
Figure 7.2: Color Difference Key

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A: Preview- This option has two thumbnails and three droppers between the thumbnails. As shown
in Figure 7.3, the right thumbnail displays the image to which the effect has been applied, the left
thumbnail displays three views Partial A, Partial B, and alpha generated by combining A and B.
Figure 7.3: Preview Option
The first dropper is the key color eyedropper that is used to specify the color to be made transparent. By
default the color difference key appears with blue as the key color hence the blue color is transparent
in this image. The second dropper is black dropper. It is used to specify the transparent area and the
white dropper is used to specify the opaque area.
B: View- This option is used to set the output in the composition window. The drop-down list has the
option of source, partial matte, and corrected matte, alpha matte, and final output. It is important to
check the Partial Matte A and B that is displayed in black and white values. By default it is set to Final
Result. Refer to Figure 7.4.
Figure 7.4: View Option

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C: Color Matching Accuracy- Use the ‘Faster’ option if the selected color is primary color i.e. Red,
Yellow, and Blue. For other colors use ‘More Accurate’ option.
D: Partial Sliders- There are sliders that can be used to adjust the transparency and opacity value
of the Partial Matte. The black sliders help adjust the transparency and the white sliders help adjust
the opaque values. Gamma sliders function as a mid-tone slider of levels option on the partial mattes.
The view should be set to ‘Corrected’, to check the updates for these sliders.
E: Matte in Black/Matte in White- These sliders are used to adjust the transparency or the opacity
of the final output. Matte in black removes opaque pixels from the transparent zone by making them
transparent whereas Matte in White adjust the transparent pixels and makes them opaque.
The Color Difference Key will be applied to the footage where blue color needs to be discarded.
The transparency and the details of the water will be preserved. Refer to Figure 7.5.
Figure 7.5: Original Footage
7.1.1 After transparency is created for the footage, apply the color difference key to the footage and
select the key color to be discarded. The transparency is visible through the alpha channel. Refer
to Figure 7.6.
Figure 7.6: Transparency in Alpha Channel

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7.1.2 To acquire balanced results, adjust the alpha and use Matte in black and white sliders. Use
dropper to preserve or make the areas transparent. Refer to Figure 7.7.
Figure 7.7: Use of Matte in Black and White Option
7.1.3 Apply Hue/Saturation to the chroma. The blue color spill from the water will be discarded from
the result. Refer to Figure 7.8.
Figure 7.8: Hue/Saturation Effect

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7.1.4 Discard the chroma from the footage and then place a background layer behind the output.
Figure 7.9: Background Footage
7.1.5 Import the image and place it behind the chroma removed result. Transform the floor layer
to adjust it according to the foreground. Refer to Figure 7.10.
Figure 7.10: Adjust Position of Background Footage

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7.2 Preserving Shadow in Chroma Removal Process
After chroma removal, the most critical task is to provide contact shadow to the elements shot on the
chroma with the background. Extract effect can be added to any footage from Effect → Keying →
Extract. Refer to Figure 7.11.
Figure 7.11: Option of Extract Effects
A: Channel- It provides different option for keying an image. From the drop-down list, Luminance,
Red, Green, Blue, or Alpha can be selected.
B: Black Point- Changing the values will result in keying out of the darker areas. Refer to Figure 7.12.
Figure 7.12: Black Point

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C: White Point- Changing the value will result in keying out of the highlighted areas. Refer to
Figure 7.13.
Figure 7.13: White Point
D: Black Softness- Increasing the value will soften the darker areas of the image. Refer to Figure 7.14.
Figure 7.14: Black Softness

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E: White Softness- Increasing the value will soften the highlighted areas of the image. Refer to
Figure 7.15.
Figure 7.15: White Softness
F: Invert- Clicking this option, will swap the opaque and transparent areas. The opaque areas be-
come transparent and vice versa.
Extract effect is useful for keying out the dark or bright areas from an image or footage, that is se-
lected for discarding. The attributes of Extract effect applied on a black to white ramp are shown in
Figure 7.16.
Figure 7.16: Extract Effect on Gradient Ramp

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Let’s now use the extract effect to retain the contact shadow in a footage shot on chroma.
Figure 7.17: Extract Effect to Preserve Shadow in Chroma Shoot
7.2.1 After discarding the chroma and placing the background, the composition looks unreal
because of lack of contact shadow. The shadows will be extracted from the footage to serve the
purpose. Refer to Figure 7.18.
Figure 7.18: Foreground Over Background Footage

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7.2.2 Duplicate the layer and rename it as per the shadow. Delete the chroma removal effect and
add Extract to it. Isolate the layer so that only the shadow layer content is visible in the composition
window. Adjust the white point and white softness to make the bright area transparent. Check the
Alpha channel after adjusting the required parameters. Refer to Figure 7.19.
Figure 7.19: Create Shadow Layer
7.2.3 The shadows appear in green color. To remove the blue color apply Hue/Saturation and decrease the
light and saturation value to make the shadow darker. This will enhance the effect of the shadow.
7.2.4 Mask out the unwanted area so that the shadows are visible where required. Enable the original
layer with characters to view the final composition. Refer to Figure 7.20.
Figure 7.20: Mask Out the Unwanted Area

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7.2.5 Some of the areas in the image lack details. To enhance the details duplicate the original
layer and then apply extract effect. Add mask if required. Refer to Figure 7.21.
Figure 7.21: Enhance the Details
7.2.6 Scale down the live plate to merge with the BG plate and apply black strips to crop the un-
wanted areas. The output will be obtained. Refer to Figure 7.22.
Figure 7.22: Adjust the Position of Background Footage

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7.3 Chroma Removal with Hair and Motion Blur
7.3.1 The chroma removal effects in After Effects can be used to discard chroma from a footage
with hair and motion blur in it. Preserving the details of hair and motion blur pixels is complex and
time consuming. Therefore, the process of chroma removal with hair and motion blur assumes
added importance. Refer to Figure 7.23.
Figure 7.23: Original Footage to Remove Hair and Motion Blur
7.3.2 For many footages, the removal process extends to multiple fragments. The hard edged areas
are masked out in a separate layer and the soft edged areas are masked in a separate layer. In such
a type of separation the matte choker can be applied to the hard edges areas but not on motion blur
or soft edged areas.
7.3.3 As shown in Figure 7.24, the footage is separated into two layers; one layer that has the face
and body masked out whereas the other layer has the hair.
Figure 7.24: First Layer for Face and Second Layer for Hair

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7.3.4 Apply extract to the hair layer and adjust the black point and black softness sliders to acquire
thin and bright hair strands. It will also help to preserve the motion blur pixels. The alpha channel
results should be checked for appropriate results. Refer to Figure 7.25.
Figure 7.25: Working with Hair Layer
7.3.5 As shown in Figure 7.26, enable the body and the hair layer to view the result and alpha channel.
The dark part of hair is not visible.
Figure 7.26: Result of Hair Layer in Alpha Channel
7.3.6 The original layer is imported to the composition. Apply Color range with YUV color space and
remove chroma. Apply Matte choker to shrink the extra edge. Refer to Figure 7.27.

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Figure 7.27: Apply Color Range Effect
7.3.7 Superimposing the three layers will help in acquiring a transparent chroma discarded result by
preserving all the hair details. Refer to Figure 7.28.
Figure 7.28: Result of all Layers

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7.3.8 The next step is to remove the green color spill from the hair. As there are three layers
in this composition, and spill has to be removed across all the three layers, an adjustment
layer is created in the composition. The adjustment layer can be created by right-clicking
timeline → New → Adjustment layer. The effect applied adjustment layer is applied to all
other layers beneath it. Refer to Figure 7.29.
Figure 7.29: Create Adjustment Layer
7.3.9 After creating the adjustment layer the Hue/Saturation effect is applied to it. In Hue/Saturation
the channel control is set to green and the channel range is set for the colors that are to be impacted
by this effect. Hue, Saturation, and Lightness sliders are adjusted to discard the green color spill from
the hair. Refer to Figure 7.30.
Figure 7.30: Remove Green Spill

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7.4 Color Matching
After the chroma removal the next important step is to place a background and match the colors of
the foreground with the background. While matching a chroma removed result with the background
layer the following things should be kept in mind:
(a) In effect of the background light should be seen on the edges of the foreground elements. The
process of illumining the edge is called as lightwrap.
(b) The saturation of both the layers should be balanced.
(c) The resolution of both the layers should be similar to avoid a fake composition.
(d) The color correction should be based on channels to match the colors of two layers. Refer to
Figure 7.31.
Figure 7.31: Without Lightwrap Effect
The Lightwrap methods have to be validated so that they match the chroma discarded results from a
background.

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7.4.1 In this composition the edges can be zoomed and viewed without blending foreground and
background pixels. There is no light effect in the foreground edge. Refer to Figure 7.32.
Figure 7.32: No Blending Between FG and BG
7.4.2 To start the edge wrap process, the layers in a composition form without any applied effect
should be present. Refer to Figure 7.33.
Figure 7.33: Edge Warp Procedure
7.4.3 Create a new composition with only the chroma discarded layer. Rename the composition as
‘For Edge Wrap Duplicate the Layer’ and apply matte choker to upper layer and set the track matte
to Alpha Inverted. Refer to Figure 7.34.
Figure 7.34: Use of Track Matte Option

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7.4.4 As shown in Figure 7.35, adjust the Matte choker sliders to acquire the desired result.
Figure 7.35: Adjust the Matte Choker Effect
7.4.5 Drag the composition ‘For Edge wrap’ to the chroma discarded result and duplicate the
background. Arrange the layers in a way that the first two layers can be used as ‘For Edge wrap’
and ‘Background 2’. Refer to Figure 7.36.
Figure 7.36: Arrangements of Layers

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7.4.6 Set the track matte for Background 2 as Alpha. Now Background 2 can be viewed only from
the visible areas of the upper layer. This step illumine the background pixels at the edge of the
chroma discarded result. To adjust the thickness, go to the original composition where the matte
choker has been applied and adjust it. Refer to Figure 7.37.
Figure 7.37: Adjust the Lightwrap Effect using Matte Choker Effect
7.4.7 Use the lightwrap method to acquire the desired results. Refer to Figure 7.38.
Figure 7.38: Similar Lightwrap Effect for Hair
7.4.8 Color and saturation between the foreground and the background can be matched. Use a chroma
discarded footage in which the defocused background is already merged. Refer to Figure 7.39.

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Figure 7.39: Color Adjustment Between FG and BG
7.4.9 The saturation of the foreground element is higher in comparison to the background. The
saturation of red and yellow in the foreground have to be decreased to acquire the same saturation
levels between both the layers. Refer to Figure 7.40.
Figure 7.40: Adjust Saturation of FG

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7.4.10 In the next step, proper matching of the foreground and background is essential for the individual
channels. In every channel the grayscale result should be perfectly balanced. The channel displays
that the foreground is darker in comparison to the background. Refer to Figure 7.41.
Figure 7.41: Variation Saturation in RGB Channels
7.4.11 Levels effect is applied to the background and adjusted for every individual channel to bal-
ance the values. Refer to Figure 7.42.
Figure 7.42: Adjust Saturation using RGB Channels

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7.4.12 The result can be viewed after adjusting the levels on individual channels. Refer to Figure 7.43.
Figure 7.43: After Adjusting Channel Saturation
7.4.13 Drag the upper result to a new composition. Duplicate the layer and then apply screen
blending mode. Reduce the upper layer opacity. Refer to Figure 7.44.
Figure 7.44: Use of Screen Blending Mode to Enhance Colors

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7.4.14 Create an adjustment layer in the composition and apply Hue/Saturation to increase its saturation.
Apply Curves to enhance the result. Refer to Figure 7.45.
Figure 7.45: Adjust Hue/Saturation using Adjustment Layer
7.4.15 The result, before and after color correction are shown in the Figure 7.46.
Figure 7.46: Final Result with Before and After

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Things to Remember
➢ The relevance of Color Difference Key for transparent objects shot using a chroma.
➢ The use of Extract effect for preserving the shadows on chroma.
➢ The use track matte option for creating a lightwrap.
➢ The application and adjustment of color correction on individual channels to acquire the
desired result.
Exercise
1) Which of the following option creates Partial Matte A and Partial Matte B?
(a) Linear Color Key

(b) Color Difference Key
(c) Extract
2) _______________ effect is used to make the dark or bright pixels transparent.
(a) Color Key

(b) Brightness/Contrast
(c) Extract
3) _____________ is the method used to create light effect of background on the edge of foreground.
(a) Edge Light

(b) Lightwrap
(c) Light Match
4) Which of the following option is not used for creating a lightwrap?
(a) Matte Choker

(b) Track Matte
(c) Motion Sketch
5) __________________ option in extract creates semi transparent pixels.
(a) Black Softness

(b) Black Point
(c) White Point

chapter 8 Tracking and Stabilizing
Learning Objectives
➢ Explain a tracker
➢ Describe how to track a pixel in footage with stable light and variable light
➢ Explain how to remove excess camera jerks from a footage
➢ Describe how to stabilize a footage with random camera movements
8.1 Introduction to Tracking and Stabilizing

Tracking and Stabilizing play an important role in VFX compositing pipeline. During the process of
tracking, the position of a pixel or group of pixels is recorded for each frame. The recorded values
are assigned to an effect or any other layer so that it appears as the effect or layer attached to the
pixel.
If a shot is captured with a hand held camera there is a possibility of the camera being shaken.
Stabilizing is the process of removing the camera jerk from the captured video. Stabilization of the
video results in the cropping of some part of the video.
8.2 New Tracker

A Tracker is required to stabilize or track a video. After importing the footage and dragging it to a new
composition select the layer in the timeline, right-click the layer and select Track Motion. Refer to
Figure 8.1.

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Figure 8.1: Track Motion
After the Track Motion is selected, the layer window is displayed with a pair of concentric squares
called as Track Point1. Track Point1 can be used as a tracker and the tracker palette is also enabled.
If the layer is expanded on the timeline a Tracker list is displayed in the motion tracker group.
The function of this tracker (Track Point1) is to follow a specific pattern of pixels over the timeline.
These patterns can be used for a particular operation (tracking or stabilizing). The track point can be
placed anywhere in the footage and the squares can be adjusted in the layer window.
The Tracker Palette is used to control the behavior of a tracker (Track Point1). A tracker has three
parts namely Attach Point, Feature Region, and Search Region. Refer to Figure 8.2.
Figure 8.2: Track Point

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Attach Point: It indicates the pixel that is to be tracked or stabilized.
Feature Region: It indicates the pattern in which the pixel is to be tracked and associated. The box
can be adjusted non-uniformly.
Search Region: The area within which the software searches for the exact or similar pixel is specified
by the attach point. The box can be adjusted non-uniformly.
After the Tracker is adjusted for footage the next step is to analyze the track point from the Tracker
Palette.
8.3 Tracker Palette
The tracker Palette is used to control the behavior of a tracker in the timeline. The attributes of
tracker palette are shown below in Figure 8.3.
Figure 8.3: Tracker Option
A: A set of four buttons are used to select the type of operation for a tracker. Click Track Motion to
track a footage. Click Stabilize Motion to stabilize a footage. Warp stabilizer is used to automatically
stabilize a footage.
B: Motion Source- It is used to select a source, according to which the Stabilizing or Tracking will be
done.

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C: Current Track- A single Footage can have more than one Tracker. To select the Tracker as per
the required operation, Current track is used.
D: Track Type- Set the tracking mode. Stabilize is used for stabilizing process, Transform is used
for 1 point tracking.
E: Position/Rotation/Scale- Position is enabled only for one point stabilizing or tracking whereas
Rotation and Scale are enabled when two point operations are done.
F: Edit Target- Click the button, a motion target window will be displayed. This window helps to set
the layer or the effect to which the tracking result can be applied.
Options: Click the button, a Motion Tracker Option window will be displayed. The settings on a
tracker can be modified to determine how the tracker will read a pattern for tracking and how the
tracking will take place. Refer to Figure 8.4.
Figure 8.4: Motion Tracker Option
A: Track Name- It can be used to assign a name to the tracker.

B: Tracker Plug-In- It sets a plug-in to be used for the tracking process. After Effects is equipped
with built in plug-in.
C: Channel- RGB is set if the pattern has multiple colors, so that the tracker can easily identify
information. Luminance is used if there is a contrast between the track point and the surrounding
pixels that are suited for grayscale videos. Saturation is used if the track point is surrounded by the
same color pixels but differ in saturation.
D: Process Before Match- If the footage has grains that can create problems in the tracking result,
the Blur option blurs the footage for appropriate tracking result. Enhance effect works on the edges
to enable track. The blur and enhance effect is used only for the tracking or stabilizing process. It
is not visible in the final footage.
E: Track Fields- In case of an interlaced footage, this option is enabled. Enabling this option doubles
the frame rate and helps track each field for enhanced tracking.

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F: Adapt Feature On Every Frame- If this option is disabled then the tracker compares the pattern
from the first frame to all other frames during tracking. Enabling this option will compare the pattern
from the previous frame for all other frames. This option is suitable in for footage with color variation
in pixels.
G: If Confidence is Below- This option has a drop-down list that can be used to set the tracking
behavior as per the set confidence value. Continuous tracking will precede the tracking process for
perfect features. Stop tracking option will stop the tracking process if the tracking features do not
match the specified confidence value. Adapt Feature will use the current frame feature when the
confidence falls below the confidence value.
H: Analyze- It can be used for frame by frame analysis of the tracking point in the footage.
I: Reset- It can be used to remove all the tracking information from the track point.
J: Apply- It can be used to provide all required the tracking information (create keys) to the layer
specified.
8.4 Stabilizing (1 & 2 Point)
8.4.1 Accessing Tracker Tool: After importing the footage to be stabilized drag the footage to a
composition, right-click the layer and select track motion from the list. The layer window will open
with the Track Point1. The tracker palette will be displayed automatically, if it is not displayed it can
be accessed through Window → Tracker. Refer to Figure 8.5.
Figure 8.5: Tracker Panel Toggle

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8.4.2 Placement Of Tracker Point: Drag the Track point to the area which has to be stabilized.
While dragging, the tracker area is magnified to make the pixels visible. It is recommended that the
track point should be placed around center of the screen. Refer to Figure 8.6.
Figure 8.6: Placement of Tracker Point
8.4.3 One Point and Two Point Stabilize: If the stabilizing is to be used with 'One Point' then position
should be enabled, as camera may have jerk in the X & Y axis of the footage. If it is 'Two point' stabiliza-
tion then select Scale and Rotation in the tracker control panel, it implies the camera has some jerk in the
Position, Rotation, or Scale. Refer to Figure 8.7.
Figure 8.7: One Point and Two Point Stabilize

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8.4.4 When it is a stabilizing task set the motion source as the same footage. Set the Track Type
to Stabilize.
8.4.5 Click the Analyze Forward button after finalizing the settings. The track point is visible with a
path. Refer to Figure 8.8.
Figure 8.8: Track Point with Trajectory Path
8.4.6 Click Apply, to apply the path. Motion Tracker Apply option window is displayed, it has the option
to set the direction (X, Y, or X, and Y) in which the footage is stabilized. Expand the layer in timeline
to view the animated key frames applied. Refer to Figure 8.9.
Figure 8.9: Tracking Keys
8.4.7 The footage seen in the composition window is fixed at a position but has a transparent gap at
the edge. To fill this gap, drag the composition to a new composition and scale it. Refer to Figure 8.10.

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Figure 8.10: Side Effects of Stabilize Footage
8.5 One and Two Point Tracking
One point tracking is used to track position of pixels or group of pixels whereas two point tracking
method is used for position, rotation, or scale.
8.5.1 For 1 point tracking two layers are required. One layer will be the source layer as per which
the second layer will be tracked. The source layer should be at the lower side. Refer to Figure 8.11.
Figure 8.11: Required Source Footage to Track

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8.5.2 Placement of Track Point: After importing both the layers in a composition, decide the pattern
and the pixel that will be used for tracking. Set the anchor point of the layer at that pixel that will be
attached to the point for tracking process. Refer to Figure 8.12.
Figure 8.12: Fix the Pattern or Pixels to Place Track Point
8.5.3 Right-click the source layer and select motion track. Adjust the tracker position and size in
the layer window. Set the Track Type to transform, for completion of the tracking process. Click the
Edit Target Button and set the target layer from the list that has to be tracked. Refer to Figure 8.13.
Figure 8.13: Placement of Track Point

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8.5.4 Motion Tracker Options: From the motion tracker option enable Adapt Feature for Every
Frame and Stop Tracking, if the confidence is below 80 percent. This setting will help to stop the
tracking if the track pattern changes information. Set the channel as Luminance. The surrounding
pixels vary in their level of brightness or darkness. Refer to Figure 8.14.
Figure 8.14: Motion Tracker Options
8.5.5 Click the Analyze button. After successful analysis click the apply button with X and Y option. The
upper layer will be tracked with one point tracking procedure. Refer to Figure 8.15.
Figure 8.15: Placement of Car After Tracking Process Done

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8.5.6 After analysis, select the upper layer then scale down and rotate the layer. Apply mask effect to
the car to discard the unwanted areas. Play the footage to view the final result. Refer to Figure 8.16.
Figure 8.16: Scale Down of Car and Place Properly
8.6 Four Corner Pin Tracking

Two point tracking systems is used for average position, rotation, or scale value for each frame
whereas four point tracking is used for adjusting position, rotation, or scale as well as for setting
perspective of an image. In the process of four point tracking, video graphics or images are tracked
with the four corners of a rectangular or square shaped object surface.
8.6.1 In this process there are two layers, one layer has a photo frame without a photo and the other
layer is an image. Import both the footage in a composition. Composition setting should be as per the
footage serving as the source for tracking. Refer to Figure 8.17.
Figure 8.17: Source Footage

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8.6.2 Placement of Four Point Corner Pin: Right-click the tracking source footage and select
Track Motion. From the Tracker Control option, select the track type as Perspective Corner Pin that
gives 4 track points. Adjust the Track Points to the corners of the monitor. Refer to Figure 8.18.
Figure 8.18: Four Point Corner Pin Tracking
8.6.3 Placement of an Image: Click Edit Target button and select the other layer to be tracked with
all the four corners. Click Analyze Forward and then click apply. The footage is tracked. Pre-compose
the tracked layer with 'leave all attributes' option so that any changes made to the original layer will
not impact the track result.
Figure 8.19: Placement of Rose Image

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8.6.4 Adjust the scale to the original composition so as to maintain the aspect ratio as per the photo
frame. After color correction the final result can be viewed. Refer to Figure 8.20.
Figure 8.20: Final Result
8.7 Warp Stabilizer

8.7.1 Warp Stabilizer: The Warp Stabilizer automatically stabilizes footages. Right-click the footage
and select Warp Stabilizer to start the process of stabilizing the footage. The warp stabilizer effect is
automatically added to the effect palette and the analyze process starts automatically which can be
seen in the composition window. Refer to Figure 8.21.
Figure 8.21: Warp Stabilizer

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8.7.2 When the analyze process is completed the footage can be played and the stabilized result can
be viewed. The border area can be cropped as per the camera movement. Refer to Figure 8.22.
Figure 8.22: Scaled Area Automatically Sing Warp Stabilizer

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Things to Remember
➢ A tracker has three parts namely attach point, feature region, and search region.
➢ Enable the adapt feature for every frame in the option palette. This facilitates random
change in light during tracking or stabilizing.
➢ Enable rotation and scale in tracker palette for 2 point stabilizing or tracking..
➢ Set a proper channel in the motion tracker while tracking, to obtain appropriate result.
Exercise
1) Which of the following option is not a part of the tracker?
(a) Attach Point

(b) Track Region
(c) Search Region
2) Which of the following option is mandatory while tracking the random lighting variation?
(a) Adapt Feature on every frame

(b) Edit target
(c) Scale
3) Which of the following channel is used in motion tracker for tracking a grayscale video?
(a) Luminance
(b) RGB
(c) Saturation
4) Which of the following option is not enabled in 2 point tracking or stabilizing?
(a) Position
(b) Scale
(c) Motion Source
5) Which of the following option is automatically executed when applied to a footage?
(a) Warp stabilizer

(b) 2 point tracking
` (c) 4 point tracking

chapter 9 3D Interface and
3D Camera Tracking
Learning Objectives
➢ Describe how to work with 3D environment in After Effects
➢ Explain how to add an image to a footage using 3D camera tracking technique
➢ Describe how to use 2D layers in 3D environment
➢ Explain 3D transformation, lights, camera, and 3D tracking
9.1 3D Environment
➢➢ After Effects composition environment can also be used as 3D space. This 3D space is not com-
pletely functional as a 3D environment so its termed as a 2.5D environment. The environment is not
converted to 3D but the layers change their behavior and function as 3D layers.
➢➢ 3D Parameters of Solid: When a layer is created in a composition, it is functional in the X and Y

dimension. The Anchor point, Scale, Position appear with the X and Y attributes and the rotation is a
single dimension attribute. In After Effects the same layer is converted into a 3D layer and the layer
appear with X,Y, and Z attributes for Anchor point, Position, Scale, and rotation. Refer to Figure 9.1.
Figure 9.1: 3D Parameters of Solid

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9.2 Converting a 2D Layer to 3D

9.2.1 3D Option Toggle Switch: To convert a 2D layer into 3D, enable the 3D layer option from
the switches column, in the timeline. Every layer is converted to 3D layer. A single composition can
have 2D as well as 3D layers and can be used together. Refer to Figure 9.2.
Figure 9.2: 3D Option Toggle Switch
9.2.2 3D Layers in Timeline and Composition View: After converting 2D layers to 3D layers, the
layers are arranged as per 3D space in the timeline. The transform properties of a 3D layer are
displayed with extra attributes. Refer to Figure 9.3.
Figure 9.3: 3D Layers in Timeline and Composition View
9.2.3 Gizmo in 3D Space: The layer in the composition window is displayed with a gizmo with three
axis namely X,Y, and Z. Use the move tool to click and drag the respective axis and move the layer in
a specific dimension. Refer to Figure 9.4.

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Figure 9.4: Gizmo in 3D Space
9.2.4 3D Parameter in Transform option: After converting a layer to 3D the Anchor Point, Position,
and Scale appears with X,Y, and Z attributes which means that the layer can be adjusted in all the
three dimensions. The scale would only be seen in X and Y dimension as the layer doesn’t have a
thickness. Will discuss the Z scaling later in the same chapter. The rotation is split into three separate
axis for X,Y, and Z dimension. The orientation attribute appears with 3D layer which orients the layer
in 3D space. the layer can be transformed in 3D space with these attributes. Refer to Figure 9.5.
Figure 9.5: 3D Parameter in Transform Option
9.2.5 Rotation Sign in Toolbar: Select rotation tool from the toolbar, then click and drag it to the axis
of the gizmo of the selected layer. The orientation of the layer changes. Refer to Figure 9.6.
Figure 9.6: Rotation Sign in Toolbar

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9.3 3D Camera, 3D Lights, and 3D Layer Properties

9.3.1 Create Light: Right-click the timeline and go to new, it displays the new elements that are
created in a timeline. The options Camera and Light appear on screen. Refer to Figure 9.7.
Figure 9.7: Create Light
9.3.2 Camera Settings Options: When a new camera is created a new camera setting window
is displayed. This window is used to set the camera properties. Refer to Figure 9.8.
Figure 9.8: Camera Settings Options

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A: Type- It has two options. When set to one node camera the camera does not have a point
of interest. The two node camera has a point of interest that can be used to orient the camera.
Figure 9.9: Types of Camera
B: Name- It is used to assign a name for the camera.
C: Preset- It is used to define the camera setting. The presets change the lens information due to
which other properties also change.
D: Zoom- It narrows the viewing area and magnifies the objects that are located far away. It
decreases the zoom and expands the viewing area for nearby objects making them appear
smaller. Refer to Figure 9.10.
Figure 9.10: Zoom In and Zoom Out

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E: Angle of View- It is used to describe the width of the captured scene.
F: Enable Depth of Field- This option is used to acquire a focus-defocus effect with the camera.
Depth of the field defines the objects that are blur and not in focus. Refer to Figure 9.11.
Figure 9.11: Depth of Field
G: Focus Distance- It is used to set a distance from the camera so that the objects appear sharp
whereas the areas before and beyond would appear defocused.
H: Lock to Zoom- It is used to check the box and lock the values of Zoom and focus distance.
I: Aperture- It is used to set the size of the lens opening. The greater the aperture value, the greater
the depth of field.
J: Blur Level- It is used to set the blur value created through the depth of field.
K: Film Size- It specifies the size of the film used in real cameras.
L: Focal Length- The distance from the camera film to the lens.
9.3.3 A camera is created after modifying the settings appropriately. The attributes can be modified
after creating the camera. The camera layer can be expanded in the timeline to view and adjust the
attributes. Refer to Figure 9.12.

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Figure 9.12: Camera Option
9.3.4 After a camera is created, it is displayed in the timeline with the layers. In the Composition
window, change the 3D view options to view the different angles. Use custom view in the 3D
space to form a perspective angle. Use the orthogonal view to set the angle between Front and
Bottom. Refer to Figure 9.13.
Figure 9.13: Switch Orthographic and Camera View

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9.3.5 Select Active camera to view the desired camera. If there is more than one camera in the
same composition, the active camera is displayed through the uppermost camera in the timeline.
The camera can also be selected from the 3D view list.
9.3.6 The Orbit, Track XY, and Track Z Camera tools are used to move the camera in 3D space.
The Orbit Camera tool rotates the camera around the point of interest. The track XY camera tool
move the camera in the horizontal or vertical direction. The track Z camera tool move the camera
towards or away from a point of interest. The Unified Camera Tool is used with the combination of
three mouse buttons so that it functions as camera tools. Refer to Figure 9.14.
Figure 9.14: Camera Tools
9.3.7 Light Settings: 3D lights can be used in After Effects. Right-click the timeline, access new,
and select Light from the list. A light setting window is displayed. It can be used to set the light
properties. Refer to Figure 9.15.
Figure 9.15: Light Settings

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A: Name- It is used to specify a name for the light.
B: Light Type- It is used to select the light type from the drop-down list. Each light type emits light
differently. Refer to Figure 9.16.
Figure 9.16: Types of Light
C: Intensity- It specifies the brightness or luminosity of light. The greater the value the stronger
is the effect of the light. Zero value will not emit light and the environment will be black. Negative
intensity value will create a dark spot that will be visible if light is available. Refer to Figure 9.17.
Figure 9.17: Intensity Of Light
D: Color- It is used to specify the color that will emit light.
E: Cone Angle- It is the angle that surrounds the source of the light. Refer to Figure 9.18.

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Figure 9.18: Cone Angle
F: Cone Feather- It is the softness created at the edge of the light spot. Refer to Figure 9.19.
Figure 9.19: Cone Feather
G: Falloff- It specifies the decrease in the intensity of light over a distance.
H: Casts Shadow- This option is used to cast a shadow using appropriate light effects.
I: Shadow Darkness- It specifies the darkness of the shadow created through light. Refer to Figure 9.20.

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Figure 9.20: Shadow Darkness
J: Shadow Diffusion- It is used to soften or harden a shadow. Large value creates a softer shadow.
The shadow hardens when the value is decreased. Refer to Figure 9.21.
Figure 9.21: Shadow Diffusion
9.3.8 A layer with Material Options can be seen, after 3D conversion. This option is used to control
the behavior of the 3D layer with respect to light and shadow.

A: Cast Shadows- This option specifies whether a 3D layer can cast shadow or not.

B: Light Transmission- This option specifies the amount of light passing through a layer. Zero
value will not allow any light to pass through the layer. When the value is maximum light passes
through the layer and projects the layer content of other surfaces. Refer to Figure 9.22.

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Figure 9.22: Light Transmission
C: Accept Shadows- It is used to specify if a layer accepts shadows from other layers or not.
D: Accept Lights- It is used to specify if a layer is affected by a light or not.
9.4 Creating a Shot Using 3D Layers
9.4.1 Image Library: Create a shot by arranging multiple images in 3D space after converting
them to 3D layers. Arranging the layers in 3D creates a parallax effect in the shot. The final output
looks more convincing and realistic. Refer to Figure 9.23.
Figure 9.23: Working Images

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9.4.2 Create individual composition for each image. Drag all the compositions to a single new composition
and place the images in 3D space.
9.4.3 Arrange Layers in 3D Space: Enable the 3D switch and convert all the layers into 3D. Arrange
the layers in 3D space from the front to the backward order. Refer to Figure 9.24.
Figure 9.24: Arrange Layers in 3D Space
9.4.4 Create a camera and place it in a way to acquire a proper frame for the layers. Use the view
option to divide the screen in two layouts. One layout can be used to adjust the camera position
and the other layout can be used to view the camera frame. Refer to Figure 9.25.
Figure 9.25: Spilt View into Two View Window

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9.4.5 Apply transparency to the original composition of a layer and acquire depth in the final result.
Figure 9.26: Apply Transparency
9.4.6 Animate the camera to show that it is moving within the scene. The parallax effect can be
seen in the final output.
9.5 3D Camera Tracking Processes
9.5.1 After Effects is equipped with 3D camera tracking. This feature is used to track a shot having a
parallax movement. It also helps to place a 3D object in the shot. Refer to Figure 9.27.
Figure 9.27: 3D Camera Tracker

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9.5.2 3D Camera Tracking Analyzing in Background: To use the 3D tracking feature, import the
shot in the composition. In this example, the camera is moving from the bottom to the top direction
within 100 frames. Right-click the layer and select track Camera. The analysis process begins in the
Composition window. The layer effect panel is visible with 3D Camera Tracker effect. This effect can
be automatically applied to a layer when the Track Camera is selected. Refer to Figure 9.28.
Figure 9.28: 3D Camera Tracking Analyzing in Background
9.5.3 After analysis the shot is displayed with multiple colorful cross in the Composition window.
These crosses are called Track Points. The size of the track point can be adjusted through the 3D
Camera Tracker effect. The track point indicates the position of a particular point in a 3D space.
Figure 9.29: Track Points

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9.5.4 When the cursor is dragged to the track points, a red color circle is visible in the Composition
window. This circle is known as Target. It indicates the plane alignment created with minimum three
track points. Refer to Figure 9.30.
Figure 9.30: Red Circle-Mouse Rollover on Track Points
9.5.5 Press Ctrl and click multiple track points to create a plane visible to the target alignment. The
target size can be changed using the 3D Camera Tracker effect.
9.5.6 Click Create Camera button, from the 3D Camera Tracker Effect window. Create camera in
the composition with appropriate movements.
9.5.7 Create Text and Camera: After acquiring a proper camera movement, insert an object in the
footage. Select some track points and create a target. Right-click the target and acquire options to
create a text, solid or null. A shadow catcher and light can also be created from the list. The same
list can create a null, solid or text for trackers in the 3D space. In this example 30 layers can be
created from the drop-down list. Refer to Figure 9.31.

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Figure 9.31: Create Text and Camera
9.5.8 Placement of Text: Create text and rotate it. This will align the text with the wall then edit the text.
Refer to Figure 9.32
Figure 9.32: Placement of Text

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9.5.9 Placement of an Image: To create any other object on a specific track point, create a null on
a track point and then copy the position values of the null to the object that is to be placed in the
footage. In this example, insert the image of an airplane with the help of null object, then adjust its
rotation value and scale. Refer to Figure 9.33.
Figure 9.33: Add Image using Null Object
9.5.10 Adjust the opacity of image as per required. Refer to Figure 9.34.

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Things to Remember
➢ The use of 3D layer switch to enable a layer in 3D mode.
➢ The use rotation tool to rotate the layer in 3D space.
➢ The use of orbit and track tool for camera movements.
➢ A layers material options are enabled only after 3D layer switch is clicked.

AFTER EFFECTS
Exercise
1) Which of the following object is not available in the 3D space of After Effects?
(a) Lights
(b) Camera
(c) 3D mask
2) Which of the following option in 3D space is used to create a shadow?
(a) Casts Shadow

(b) Accept shadow
(c) Accept Lights
3) Which of the following option is available in the light and 3D layer?
(a) Cast Shadows

(b) Accept shadows
(c) Radius
4) Which of the following 3D camera option is not used in defocus effect?
(a) Depth of field

(b) Aperture
(c) Intensity
5) Which of the following option is not a part of the 3D tracking process?
(a) Auto Detect

(b) Typical
` (c) Quadruped Pan

chapter 10 Wire Removal
Learning Objectives
➢ Describe the importance and uses of wire rigs for shooting
➢ Describe the methods to discard unwanted images from a footage
➢ Understanding the concept and use of clean plate
➢ Describe sequence painting
10.1 Use of Wire During Shoot

Ever thought how Superman, Spiderman, or the Indian superhero Krrish fly in movies? There
is no science, miracle, or superpower but still the characters manage to fly in the air. To make
such complicated shots surreal the characters are rigged with wires or ropes as per the shot
requirement. The scenes are shot using chroma or the original background.
The camera can be still or moving. When the camera is still then the background is recorded
separately without a character. If the camera is moving, recording the background with the
same camera movement is not possible. But if the camera is mounted on a jimmy jib then
the background can be recorded with the same camera movement. The background captured
separately, is known as a clean plate.
After the shoot is completed, the next task is to discard the wire so that the character can appear floating in
the air without any support. The process of wire removal is similar to the process of cloning in Photoshop.
Not only a wire, but also unwanted objects, elements, or visual obstructions from footages can be removed
using the cloning process. Clone stamp tool can be used to remove wires from the sequence of images.

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Figure 10.1: Clone Stamp Tool
10.2 Clone Stamp Tool and Paint Panel

Select the clone stamp tool from the toolbar and then double-click the layer from the timeline to which
the cloning has to be applied. Double-click will enable the layer window with the cursor as a circular
icon. The circular icon is the clone stamp tool brush that can be used for cloning process.
After double-clicking two panels - Brushes and Paint will be displayed. To make these panels appear
manually go to Effect → Brushes and Effect → Paint. Refer to Figure 10.2.
Figure 10.2: Paint Tools

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Paint Tool Options:
A: Opacity- Replace with: It is used to adjust the transparency of the stroke by using the clone tool (this effect is
similar to the effect used in Photoshop). Refer to Figure 10.3.
Figure 10.3: Opacity Option in Paint Tools
B: Modes- It specifies the mode between the original footage and the cloned stroke. Generally it is
set as normal. Refer to Figure 10.4.
Figure 10.4: Blending Modes in Paint Tools

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C: Channels- It specifies the channels on which cloning will be performed. When set to RGB, the
cloning is performed only in the visible (opaque) area. When set to RGBA, cloning is performed in
all (transparent or opaque) areas. When set to Alpha, the cloning is performed only on the alpha
channel i.e. in the black and white areas. Refer to Figure 10.5.
Figure 10.5: Channels Option in Paint Tools
D: Duration- It specifies the duration for which a particular stroke is visible. This option is used
when the identical frames appear adjacently.
E: Preset- Five different cloning settings can be stored using this option.
F: Source- It specifies the source from which the pixels are copied. The source can be the same foot-
age or a layer from the same composition.
G: Aligned- When this option is enabled and the cursor is dragged to the composition window, it displays
the frame on which the cloning has to be performed.
H: Offset- It is used to shift the clone source horizontally and vertically.
I: Source Time Shift- It specifies the frame offset from which the cloning has to be performed.
J: Lock Source Time- When this option is enabled, the value of source time remains fixed. Otherwise
the value changes with the shift in timeline value.
K: Clone Source Overlay- It specifies the opacity of the frame that is displayed when the aligned
option is enabled and the cursor is dragged on the composition window. The brush panel attributes
are similar to the brush attributes in Photoshop.

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10.3 Wire Removal with Clean Plate in Static Camera Shot
10.3.1 To remove the wire from a footage for which a clean plate is shot, import the footage and
clean plate to the project window and then drag them to a composition. The original footage should
be at the top and the clean plate beneath it. Refer to Figure 10.6.
Figure 10.6: Original Plate and Clean Plate
10.3.2 Select the clone stamp tool and double-click the original footage to get the layer in the
window where cloning will be done. The cursor will appear as a circle that is used as a brush for
cloning.
The brush size can be scaled up or down by pressing Ctrl + Right Mouse button and by dragging
it to the layer window. The brush size can also be adjusted through the Diameter attribute in the
brush palette.
10.3.3 Set the source in the Paint palette from where cloning will be done. Change the duration to
single frame as the cloned stroke should be visible for only one frame. Refer to Figure 10.7.
Figure 10.7: Change the Duration of Clone Stroke
10.3.4 Start creating strokes on the wire for each frame. This step will reveal the pixels from the
clean plate and will remove the wire from the footage. Refer to Figure 10.8.

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10.4 Wire Removal without Clean Plate Moving Camera Shot
10.4.1 If there are multiple clean plates, cloning will be done from the available frames of the same
footage. During cloning the source is set as Current layer which takes the pixels from the same layer
for cloning. Set the duration as single frame. Refer to Figure 10.9.
Figure 10.9: Original Footage

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10.4.2 Use the Source Time Shift to drag and set the frame which will be used for cloning. Set the
offset value if there is any camera movement in the shot. Click and apply stroke on the wire to be
removed. Refer to Figure 10.10.
Figure 10.10: Use of Clone Stamp Tool in Paint Tools
10.4.3 After removing the wire from a single frame, this frame can be used as a source frame to
remove wire from the other frames.
10.4.4 For bright areas the pixels can be copied from the nearby areas of the same frame. Refer
to Figure 10.11.

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10.5 Wire Removal with Clean Plate in Moving Camera Shot

If the wire overlaps the body of the actor and surrounding static elements, clean plate will be required
for surrounding the static objects whereas sequence painting will be required for the body parts of the
actor such as face, hair, clothes, body, or any other moving element. Refer to Figure 10.12.
Figure 10.12: Wire Overlap on Elements
Clean plate image is created in Photoshop by cloning the original frames. These clean plates can be
tracked with the base footage to remove wires or unwanted elements. In this wire removal example,
the wire at the left for back pole can be used for a fall down effect whereas the wire at the right side
for front pole is not used for this shot. Left wire overlap the barrels that require a single clean plate
whereas the wires at right overlap the moving actor, smoke, and debris that require sequence painting
in Photoshop.
This chapter would include the process of removing the wire rig from the left side and the subsequent
wire rig removal on the right side shall be covered in the next chapter.
10.5.1 Import footage and create desire composition with necessary composition settings to remove
the wire at the left side.
10.5.2 Drag the dpx image sequence in the composition. The image appears to be condensed.
due to wrong pixels aspect ratio. Refer to Figure 10.13.

AFTER EFFECTS
Figure 10.13: Wrong Pixel Aspect Ratio
10.5.3 Correct Pixel Aspect Ratio: Right-click the dpx image sequence from the project window.
Choose Anamorphic 2:1(2) pixel aspect ratio option from the Interpret Footage window. Use the
Toggle Pixel Aspect Ratio button to view corrected pixel aspect ratio from the Composition window.
Figure 10.14: Correct Pixel Aspect Ratio

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10.5.4 Cineon Converter: The image may appear washed out due to the DPX image sequence that
contains log information and normal consumer monitor displaying linear color space. To correct the
footage display, go to Effects menu → Utility → choose ‘Cineon Converter’. Refer to Figure 10.15.
Figure 10.15: Correct Viewer LUT using Cineon Converter
10.5.5 Track Camera: Select dpx sequence from the composition and right-click it. Select Track Camera
to track a shot. After applying Track Camera, the footage is tracked automatically. Multiple track points are
obtained and they can be used to place solids. Ensure that the track point positions are attached to all the
frames during playback. Refer to Figure 10.16.
Figure 10.16: 3D Camera Tracker Process

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10.5.6 Image Projection on Solids: This option can be used to create solids at different position
where the wire overlaps the static objects such as barrels, boxes, and ground. As shown in Figure
10.17, Right-click track point and select the ‘Create Solid and Camera option’.
Figure 10.17: Create Solid as Per Tracker Position and Area of Wire Overlap
10.5.7 Scale up the solid to the composition width and height.
10.5.8 Import Clean Plate: Import the clean up plate that has no wires. Drag the barrels and boxes to
the composition window. Refer to Figure 10.18.
Figure 10.18: Import Clean Plate

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10.5.9 Create Point Lights: Create Point Light using Layer → New → Lights and check Cast
Shadow option from the light settings window. Refer to Figure 10.19.
Figure 10.19: Create Light
10.5.10 Camera Projection: A camera is created from the solid. Right-click the track point and
create solid and camera option. Copy the position of the Camera and paste the position values for
point light and clean plate image. Ensure that the position keys are deleted from point light and
clean plate image as they will be used for projection. Refer to Figure 10.20.
Figure 10.20: Adjust Position of Light and Clean Plate Image as Per Camera Position

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10.5.11 If the camera, light, and clean plate image are not in the same position the situation camera
will not project an image on the solid. Offset the position of clean plate image, to view the image and
project it on solid. Refer to Figure 10.21.
Figure 10.21: Adjust Clean Plate Position as Per Camera Position
10.5.12 Reduce the clean plate scale upto the boundary of composition.
10.5.13 Select clean plate and go to Material Options. Set Casts Shadow as ‘Only’ with 100%
transmission value, as the transmission parameter has to project color information on to the
solids. Ensure that Casts Shadows and Accept Lights parameter are disabled. Only RGB color
information is required for the projection of cleanplate. Refer to Figure 10.22.

AFTER EFFECTS
Figure 10.22: Adjust Shadow and Light Transmission Option
10.5.14 Select Track Solid → Material Options. The Accepts Shadows option should be switched
ON so that the solid can catch the shadow. Refer to Figure 10.23.
Figure 10.23: Adjust Shadow Option in Tracked Solids

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10.5.15 The clean plate image is projected on the Solids that are created using the tracking information.
10.5.16 Shadow Map Resolution: If the image appears blur, the Advanced tab of Composition
Settings window can be used to enhance it. Increase the Shadow Map resolution up to 4000 pixels
so that the look and feel of the image is enhanced. Refer to Figure 10.24.
Figure 10.24: Adjust Shadow Map Resolution
10.5.17 As shown in Figure 10.25, Select the Solid and use the Pen tool, to create mask where wire
overlaps the barrels.

AFTER EFFECTS
Figure 10.25: Separate Overlap Area using Mask
10.5.18 The wire that overlaps the barrel is discarded. Refer to Figure 10.26.
Figure 10.26: Wire Remove on Overlap Barrel
10.5.19 Create a solid near the boxes where the wire overlaps and repeat the same process to
remove the overlapping wires. Do not try to remove the wire or object using one solid.
10.5.20 The final output is obtained after removal of all the overlapping wires. Refer to Figure 10.27.

AFTER EFFECTS
Figure 10.27: Final Result of Wire Removal
10.5.21 In many cases, 2D tracking and Planar tracking is used for wire removal if 3D tracking does
not serve the purpose.
10.5.22 For the wire at the right side, sequence painting method has to be used as the wire overlaps
the actor, smoke, and debris. Film grain will be applied after removing all the wires. Film grain will be
discussed in detail in chapter 11.
Things to Remember
➢ During the process of cloning the source should also be in the same composition.
➢ During cloning the appropriate source should be used and set.
➢ Use the lock source time option if the clone source is a specific frame from a sequence.
➢ Modify and adjust the brush setting before starting the wire removal process.
➢ Do not try to remove wire or object using a single solid in camera the projection techniques.

AFTER EFFECTS
Exercise
1) Which of the following tools is used to create strokes during the wire removal process?
(a) Clone Stamp Tool

(b) Pen Tool
(c) Puppet Tool
2)
Which of the following option is used to shift the position of the clone source in X and Y
dimension?
(a) Offset
(b) Aligned
(c) Source Time Shift
3) The option which shows the semi transparent source frame while cloning is _________.
(a) Clone source overlay

(b) Opacity
(c) Offset
4) Which of the following is not a duration option in paint?
(a) Single Frame

(b) Constant
(c) Up to End
5) Which of the following is not an option in Paint Palette?
(a) Channels
(b) Mode
(c) Position shift
6) Camera, Solid, Light, and Image are important camera projection techniques.
(a) True
(b) False

chapter 11 Sequence Painting in Photoshop
Learning Objectives
➢ Identify the uses of a Stamp clone tool
➢ Describe how to copy textures from different frames
➢ State the relevance of video layer in sequence painting
➢ Understand the process of Degrain and Regrain in After Effects
11.1 Introduction to Cleanup Workflow

While shooting a film there are many elements on set such as dolly tracks, microphone, wires,
tracking markers, and so on. These auxiliary elements are an obstruction from the director perspective
and should be discarded. While discarding these elements the pixels and grain information should
not be impacted. The process of discarding such elements from the footage is called Cleanup or BG
preparation in VFX production. Refer to Figure 11.1.
Figure 11.1: Tracking Marker and Wires

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Artist use different types of compositing software such as Photoshop, After Effects, Fusion, Shake,
and Nuke depending on the shot complications and requirements. There are different methods that
can be used to discard unwanted elements from the footage. These methods are divided into two
categories as follows:
Unwanted Overlapping Elements on Static Elements: It implies that there are no changes in the
perspective during camera movement and a clean plate can be used for the same.
Unwanted Overlapping Elements on Moving Elements: This technique can be used to remove
unwanted elements from a frame in Photoshop or in any other compositing application. Refer to
Figure 11.2.
Figure 11.2: Wire on Static Elements and Moving Elements
After removing undesired elements from the footage a cleanup patch/part will be obtained. This
cleanup patch matches the surrounding texture pattern. It does not match the film grain of the
footage due to the cloning work process. The film grain has to be matched to the film grain of the
original footage, using grains tool in the compositing software. Refer to Figure 11.3.
Figure 11.3: Cleanup Workflow

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11.2 Working with Video Layer

In the VFX industry, video layer is widely used for frame painting. Frame painting refers to removal of
unwanted elements from the footage so that the background is revealed seamlessly.
Video layer is non destructive tool in Photoshop. If altered pixels are not to be used for a frame, access the
Layer menu → Video Layers → Restore Frame or Restore All Frames command and discard the pixels.
To add a blank video layer in Photoshop, use the Layer menu → Video Layers → New Blank video layer.
Ensure that timeline (CC, CS6) or the Animation (CS5) panel is displayed in the timeline mode.
11.3 Sequence Painting in Photoshop

The Stamp clone tool is a tool used to clone textures from different references. It can be used for
BG preparation/Cleanup process in the VFX pipeline. In this example, there is a wire that overlaps
the moving elements. For example, from the eighth frame onwards the wire on the actor should be
removed using the frame by frame cloning method. Follow the steps to remove the wire overlapping
the actor:
11.3.1 Open the image sequence with frame rate 24, using the Ctrl + O or Choose File → Open. Ensure
that Image Sequence Option is checked in the Open window. Refer to Figure 11.4.
Figure 11.4: Open as Image Sequence

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11.3.2 The image is condensed in the image sequence as the viewer pixel aspect ratio is not
detected correctly by Photoshop. Choose View menu → Pixel Aspect Ratio Anamorphic 2:1 (2)
to view the correct pixel aspect ratio. Refer to Figure 11.5.
Figure 11.5: Correct Pixel Aspect Ratio
11.3.3 The mage is not visible. It appears faded as the correct color setting for Cineon and Open
EXR images are not detected in Photoshop. There are many ways to adjust color settings. Use a
combination of Levels and Adjustment layer. A temporary LUT (look up table) has to be created or
color correction has to be applied, to display the colors information correctly. Click Adjustment layer
button and select the Levels required to create Viewer LUT/Color correction layer. Adjust Black point
and White point in Levels as per requirement. Refer to Figure 11.6.

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Figure 11.6: Create Custom Viewer LUT
External 3D LUT: If LUT table is provided by clients, click the adjustment layer and choose select
Color Lookup in Layer tab. Click the Load 3D LUT and select same from the drop-down menu to
load the external LUT. Refer to Figure 11.7.
Figure 11.7: External 3D LUT for Display

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11.3.4 Introduction to Timeline: The interface can be enabled using Windows menu → timeline.
The timeline tab is located towards the bottom in Photoshop. Refer to Figure 11.8.
Figure 11.8: Timeline
The navigation controllers in timeline are as follows:
➢ Playback Control
This function helps to play footage/image.
➢ Control Timeline Magnification

This function helps to magnify the timeline during work.
➢ Render Video
This function renders final output to many image formats and Quick time formats.
➢ Layers
Artists spend a lot of time on cleanup work. The layers function serves their purpose.
11.3.5 Add Blank Video Layer: Go to Layer → Video Layers → New Blank Video Layer to create
new clone strokes. Blank layer has In point and Out point to specify the frame range when a layer
appears as a video layer. For example, frames can be trimmed (hide) at the beginning or end of a
layer. This modifies the start and end points of a layer in a video or animation. (The first frame is
called the In-point and the last frame is called the Out-point). The layer duration bar can be dragged
to a different portion of the timeline. Refer to Figure 11.9.

AFTER EFFECTS
Figure 11.9: In Point and Out Point
11.3.6 Frame 9: Wire Overlaps the Face. Find reference texture around wire and copy the same texture
using the Stamp Clone tool with hard edge brush and 100% opacity. Refer to Figure 11.10.
Figure 11.10: Reference Texture for Cloning

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11.3.7 The Adjustment layer and color correction tool can be used if there are brightness and contrast
issue. Repeat the same process for frame number 10 and the other frames. Refer to Figure 11.11.
Figure 11.11: Reference Texture
After removal of the wire that overlaps the character from all frames the output should resemble.
Figure 11.12: Before and After

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11.3.8 Render the complete frame range for degrain and regrain process by using File → Export → Render
video.
11.3.9 In this example, the PSD format is used as down the line compositing pipeline available in
After Effects. PSD format can save multiple layers in a single file and offers flexibility to manipulate
the color information of a work piece. Make necessary changes in Render Video window and click
Render button for completion of render. Refer to Figure 11.13.
Figure 11.13: Render Video
Ensure that the visibility of Viewer LUT/color correction layer is OFF. The Alpha channel option
should be used if image format such as Tiff 16-bits, DPX, Cineon, and Open EXR are selected.

AFTER EFFECTS
11.4 Project Settings and Create Composition

11.4.1. Access, Edit → Preference → Import and set 24 frame per second in the Sequence footage
option. Therefore, when an image sequence is imported in After Effects, it will automatically detect
24 frame per second. Refer to Figure 11.14.
Figure 11.14: Frames Per Second Settings in Preference

11.4.2. Import Original footage and Cleanup render in Project window.
11.4.3. Access, Composition → New Composition or Drag and drop the original footage to the
Composition button and create a composition with the footage settings. Refer to Figure 11.15.

AFTER EFFECTS
11.4.4. Ensure that the project setting is 16 bits per channel by using File → Project Settings or press
Alt + LMB on 8 bpc button that is located at the bottom of the Project window. Refer to Figure 11.16.
Figure 11.16: Project Settings - 16 Bits Per Channel
11.4.5. Access, Effect → Utility → Cineon Convertor to change the color space and discard the
washed out look from the footage. Refer to Figure 11.17.

AFTER EFFECTS
Figure 11.17: Color Space
11.5 Degrain Process in After Effects
11.5.1. Select the original layer and access, Effect → Noise & Grain → Remove Grain to discard the
grains from the footage.
11.5.2 A white rectangle at the center of the image will be obtained. White rectangle represents
a preview window of the Removed Noise. It displays softness of textures and how much grain is
removed from the footage.
11.5.3. Place that white rectangle on the flat part (it is a green wall in this example). Reduce the width
of rectangle using the Preview Region parameter available in the Remove Noise effects. Refer to
Figure 11.1.8.
Figure 11.18: Placement of Preview Window of Remove Noise Effects
11.5.4. The grain is more dominant in the Blue channel in comparison to the Red and Green chan-
nel as the footage is in the dark tone. Refer to Figure 11.19.
AFTER EFFECTS
Figure 11.19: More Grain on Blue Channel

AFTER EFFECTS
11.5.5. Select ‘Remove Noise’ effects and work with the values of Noise Reduction Settings till all the
details of textures are discarded. Refer to Figure 11.20.
Figure 11.20: Channel Wise Grain Remove
11.5.6 The footage is ready for compositing.
11.5.7 Repeat the same process for the Cleanup of the image sequence.
After degrain process, we should check by using RAM preview.
11.6 Regrain Process in After Effects
Regrain process is reverse of degrain process it means add grain on cleanup part at the end of the
compositing and match with original footage’s grain.
11.6.1 Take both image sequence into composition and check placement of cleanup image sequence.
11.6.2 If you find everything is OK then apply Add Grain by using Effects menu → Noise & Grain →
Add Grain on Cleanup part footage.
11.6.3 Make sure that Grain properties such as Size, Color, Softness, Intensity, and Animation
should be matched with original footage’s grain. Refer to Figure 11.21.

AFTER EFFECTS
Figure 11.21: Add Grain
11.6.4 You would use RGB channel of footage as a reference to match Grain properties. Use
RAM preview to match Animation of Grain.
11.6.5 After complete all process your output look like Refer to Figure 11.22.

AFTER EFFECTS
In this example, you learned wire removal on moving elements by using Photoshop and final compositing
with After Effects. Whereas you can remove wires on static elements using Cleanplate method means
remove actor and wire in single frame where there is no motion blur or minimize blur then compositing
with original footage.
Things to Remember
➢ If LUT table is provided by clients then click Adjustment Layer and choose Color Lookup in
Layer tab. Now, click Load 3D LUT and select same in drop-down menu to load external LUT.
➢ Use difference mode to take reference texture for Stamp Clone tool.
➢ Maintain motion blur edge with surrounding reference texture.
➢ 10-bit Log images open as 16-bits in Photoshop.
➢ After degrain process, we should check by using RAM preview. To play footage Press ‘0’ on
numeric keypad for RAM preview or you can choose Composition → Preview → RAM Preview.
➢ Retiming of footage may cause grain movement in frame by frame.

AFTER EFFECTS
Exercise
1) 10-bit Log images open as 8-bits images in Photoshop.
(a) True
(b) False
2) __________ curve describes how the middle tones of an image appear.
(a) Gamma
(b) Black
(c) Grade
3) Clean Plate is widely use in ___________ film.
(a) 3D animation
(b) 2D animation
(c) Live action
4) _____________is the random optical texture of processed photographic film.
(a) Noise
(b) Film grain
(c) Digital effects
5) ______________ is 8 bits image.
(a) OpenEXR
(b) JPG
(c) Cineon

chapter 12 Working with Displacement Map
Learning Objectives
➢ Explain the process of understanding Luminance information
➢ Explain the use of the displacement map
12.1 Displacement Map
12.1.1 The term ‘Displace’ means to shift something from its original position. The displacement
map effect is used to shift the pixels of an image from their original position to a new position. The
shifting takes place in a horizontal or vertical direction.
12.1.2 Create a new composition, enter text and rename it as TEXT. Apply the displacement map
effect to the composition. Refer to Figure 12.1.
Figure 12.1: Create Text Layer
12.1.3 Create another composition of the same setting and name it as MAP. Create a new solid in
this composition. Go to Effect → Generate → Ramp for creating a black to white gradient. Refer to
Figure 12.2.

AFTER EFFECTS
Figure 12.2: Gradient Layer
12.1.4 Create a third composition and name it as DISPLACEMENT. Drag both the previous
compositions to DISPLACEMENT composition. The ‘Displacement’ composition has two layers
TEXT and MAP. Refer to Figure 12.3.
Figure 12.3: Create Displacement Composition
12.1.5 Make the MAP layer invisible and add displacement map to the TEXT layer. To add the displace
effect go to Effect → Distort → Displacement Map. Refer to Figure 12.4.

AFTER EFFECTS
Figure 12.4: Apply Displacement Map
12.1.6 Lets check the attributes of Displacement Map.
12.1.7 Displacement Map Layer: Select the layer from the drop-down list that will be used as the
displacement map. The layer should be in the same composition. Refer to Figure 12.5.
Figure 12.5: Assign Displacement Layer
12.1.8 Use For Horizontal/Vertical Displacement: Use this option to select the channel from the
displacement map. Refer to Figure 12.6.
Figure 12.6: Select Channel for Horizontal/Vertical Displacement

AFTER EFFECTS
12.1.9 Max Horizontal/Vertical Displacement: Use this option to set the displacement value for
the layer. The value is expressed in pixels. Refer to Figure 12.7.
Figure 12.7: Direction of Displacement
12.1.10 Displacement Map Behavior: This option is used to set the size of the displacement map.
Figure 12.8: Displacement Map Behavior Parameter
A: Centre Map- The Centre Map is used when the size of the displacement map is appropriate for
displacement.
B: Stretch Map to Fit- The Stretch Map to Fit is used if the size of displacement map is bigger or
smaller than the current composition size. This option helps to adjust the size of the displacement
map by scaling it up or down virtually.
C: Tile Map- Tile Map is used when the displacement map size is smaller than the current composition
size. It creates a virtual tiled displacement map.
12.1.11 Edge Behavior: This option is used to obtain a wrap effect during displacement. The pixel
that disappears from the frame during displacement becomes visible in the opposite edge. Refer to
Figure 12.9

AFTER EFFECTS
Figure 12.9: Edge Behavior
12.1.12 Many effects can be created using the Displacement Map option.
12.2 Fractal Noise
Fractal noise is an important effect in After Effects used to distort an image. Fractal Noise effect is
used to create displacement maps, backgrounds, fire, lava, steam, or vapor.
Fractal Noise: Fractal Noise is formed with gray values randomly spread over the composition. Fractal
Noise can be used to create fog, smoke, vapor, and so on. To add fractal noise to a layer add fractal noise
through Effect → Noise and Grain → Fractal Noise. Refer to Figure 12.10.
Figure 12.10: Fractal Noise Effect

AFTER EFFECTS
12.2.1 Fractal Type: As shown in Figure 12.11, different noise patterns can be selected from the list.
Figure 12.11: Fractal Type
12.2.2 Noise Type: It varies from hard blocks to smooth pixels. Refer to Figure 12.12.
Figure 12.12: Noise Type in Fractal Noise

AFTER EFFECTS
12.2.3 Invert: It inverts the pixel value. The RGB value of a pixel is subtracted by 255.
12.2.4 Brightness/Contrast: It is used to control the brightness and contrast of the fractal noise
pixels.
12.2.5 Transform: It is used to rotate, scale, or position the noise in the layer. Offset Turbulence is
used for position. Enabling the perspective offset creates a depth by generating a parallax in noise
movement. Refer to Figure 12.13.
Figure 12.13: Transform Parameter in Fractal Noise
12.2.6 Complexity: Increasing value increases the sharpness and details in noise. Refer to Figure
12.14.
Figure 12.14: Complexity Parameter in Fractal Noise
12.2.7 Sub Settings: A fractal is generated by combining multiple noise layers, the sub setting
controls the scale, rotation, position of these noise. Refer to Figure 12.15.
Figure 12.15: Sub Settings Parameter in Fractal Noise

AFTER EFFECTS
12.2.8 Evolution: It creates a change in the pattern of noise.
12.2.9 Opacity: It sets the opacity of the noise. Reducing the opacity will reveal the original pixels
of the layer.
12.2.10 Blending Mode: It specifies the blending mode of the noise and the layer on which the
noise is applied.
12.3 Creating Moving Water

12.3.1 Moving water in a still image can be created in After Effects using displacement map and
fractal noise. Refer to Figure 12.16.
Figure 12.16: Example Image
12.3.2 Import the image and create a composition for the image. Rename the composition as MAIN.
Create a mask around the water and save it as a new composition. Rename the latest composition as
WATER. Refer to Figure 12.17.
Figure 12.17: Create a Mask Around Water Surface

AFTER EFFECTS
12.3.3 Create a new solid in this WATER composition and apply fractal noise to it. Rename the
solid as MAP.
12.3.4 Animate the noise attributes such as Evolution for the turbulence effect in the water. Animate
Offset Turbulence to create a movement of noise in Y dimension. Enable perspective offset to get
a depth effect in fractal noise. If required then scale can also be adjusted. Increase complexity for
a sharper result.
12.3.5 All the other attributes can be changed or animated according to the requirement.
12.3.6 Apply Basic 3D through Effect → Obsolete → Basic 3D(for CS 6 and later versions) or
Effect → Perspective → Basic 3D(For older versions) to give it a perspective rotation according
to the image. Refer to Figure 12.18.
Figure 12.18: Basic 3D Effect
12.3.7 To adjust the basic 3D properly, import the original river image for reference. Adjust the Tilt
value to rotate the MAP layer in perspective with image. Adjust Distance to Image value to adjust
the MAP layer in Z dimension. Refer to Figure 12.19.
Figure 12.19: Adjust Basic 3D Property

AFTER EFFECTS
12.3.8 After setting the MAP layer create a new solid and apply ramp to it. Rename this solid as RAMP.
Hide all the other layers except MAP and RAMP. Set the blend mode between RAMP layer and the MAP
layer as multiply. Refer to Figure 12.20.
Figure 12.20: Apply Ramp Effect on New Solid
12.3.9 Adjust the Ramp value so that the area near is visible and the area far becomes dark after
blending. Refer to Figure 12.21.
Figure 12.21: Adjust Ramp

AFTER EFFECTS
12.3.10 Select RAMP and MAP then go to Layers → Pre-compose. During the Pre-compose the
selected layers will be placed in a new composition. It will later be replaced by a single layer that
is a nested composition. Rename the Pre-composition layer as DISPLACEMENT LAYER. Refer to
Figure 12.22.
Figure 12.22: compose
12.3.11 Hide all the layers, except the MAIN layer from the current composition. Apply Displacement Map
effect on the MAIN layer. Use the DISPLACEMENT LAYER as the displacement map to displace the
MAIN layer. Refer to Figure 12.23.
Figure 12.23: Apply Displacement

AFTER EFFECTS
12.3.12 Increase the Max Horizontal Displacement value to distort the MAIN layer. Refer to
Figure 12.24.
Figure 12.24: Adjust Max Horizontal Displacement Value
12.3.13 Enable the river layer and use the MAIN layer to transform the distorted results. Refer to
Figure 12.25.
Figure 12.25: Adjust Main Layer

AFTER EFFECTS
12.3.14 The reflection of the trees appear slant in the water. To adjust the reflection duplicate the
displacement map effect and set the Max Horizontal Displacement value in negative. Refer to
Figure 12.26.
Figure 12.26: Adjust Tree Reflection using Max Horizontal Displacement
12.3.15 After obtaining the perfect reflection, play the timeline and check the reflection quality and
displacement movement. Adjust the fractal noise and the ramp position in the original composition
if required. Refer to Figure 12.27.

AFTER EFFECTS
12.3.16 Blend the DISPLACEMENT LAYER with the MAIN layer using color dodge to acquire the
specular in water. Adjust the opacity for appropriate results. Other blending modes can also be used
as required. Refer to Figure 12.28.
Figure 12.28: Adjust Specular of Water using Color Dodge
12.4 Look Enhancement
12.4.1 For further enhancements drag the displaced output to a new composition. Scale the layer
and apply motion sketch to it for a hand held camera effect.
12.4.2 Enable the motion blur switch in the timeline to obtain motion blur in the output.
12.4.3 Pre-compose the layer and add grains to it through Effects → Noise and Grain → Add
Grain. Adjust the Intensity and size attributes Adding grains would make the output appear like a
video. Refer to Figure 12.29.

AFTER EFFECTS
Figure 12.29: Add Grain Effect
12.4.4 Scale the layer to crop the outer undistorted region and animate the position. Add a cinemascope
strip to get a widescreen look to the output. Refer to Figure 12.30.
Figure 12.30: Add Cinemascope Effect

AFTER EFFECTS
12.4.5 Use color correction for the final look. Refer to Figure 12.31.
12.5 Creating Mirage Effect on Road
As same techniques using you would create mirage effect on road using Fractal Noise and
Displacement map.
12.5.1 Create Composition with the name of ‘Mirage_comp’ with 960X540 resolutions. Import
image of road in project window then drag into Mirage_Comp. Refer to Figure 12.32.
Figure 12.32: Mirage Image

AFTER EFFECTS
12.5.2 Create New Composition to create Displacement map with name ‘displacement comp’.
12.5.3 As you know mirage effect seen far from the viewer’s and intensity of heat wave is different as
compared to viewer’s place and a place where mirage seen. To create mirage heat wave displacement,
create New Solid and apply Fractal Noise effect for small wave. Adjust Scale around 5 to 6 in Transform
parameter. Refer to Figure 12.33.
Figure 12.33: Fractal Noise
12.5.4 Use expression in Evolution parameter to animate Fractal Noise using Animation menu → Add
Expression or press Alt + LMB on stopwatch of Evolution. Now, add ‘time*800’ in expression space. Refer
to Figure 12.34.
Figure 12.34: Add Expression

AFTER EFFECTS
12.5.5 Now, Create ellipse mask around end of the road and adjust feather as per the need.
Figure 12.35: Create Mask
12.5.6 Repeat the same process for medium wave and large wave. For medium wave scale should
be around 20 to 30 value whereas large wave scale should be around 60-80. Use Mask Expansion
parameter to adjust depth of fractal noise in medium and big heat wave. Refer to Figure 12.36.
Figure 12.36: Define Mask for Different Heat Wave

AFTER EFFECTS
12.5.7 As the Mirage effect is not seen near the camera and the effect increases as you move away
from the camera at a distance, we need to restrict the Mirage effect to the given part of the image.
To do so remove the unwanted area by creating another solid with Black color and keep it above
all layers. Use mask tool to subtract unwanted area. Refer to Figure 12.37.
Figure 12.37: Reduce Heat Wave Effect
12.5.8 Drag ‘displacement comp’ into Mirage_comp and select road image. Apply Displacement Map on
road image and choose ‘displace’ in Displacement Map Layer. Set Luminance as Horizontal and Vertical
displacement map with desire value in Max Horizontal and Vertical displacement. Refer to Figure 12.38.
Figure 12.38: Set Max Horizontal and Vertical Displacement

AFTER EFFECTS
12.5.9 Now, play a mirage_comp and check how mirage effect look.
12.5.10 To make interesting mirage effect, create text ‘Mirage’ and create reflection using negative
value of scale. Apply Directional blur on reflection part whereas Gaussian Blur on main text. Make sure
that all text work should be in new composition which is dedicated for text only. Refer to Figure 12.39.
Figure 12.39: Reflection of Text using Blur Effect
12.5.11 Placement of mirage text on horizon of road and animate scale value so text looking like
coming towards viewers.
12.5.12 Drag text composition into ‘mirage comp’ and apply same Displacement effect which you
applied on road so text looks like part of the overall scene.
12.5.13 To make burning effect end of the road, create New Adjustment layer and apply Exposure effects
on it. To enhancement create ellipse mask on adjustment layer where the road ends in the image. Do
necessary adjustment on feather value so exposure blend with other parts. Refer to Figure 12.40.
Figure 12.40: Enhance Exposure

AFTER EFFECTS
12.5.14 You would see final output using RAM preview Refer to Figure 12.41.
Figure 12.41: Final Output of Mirage Effect
Things to Remember
➢ The displacement happens in vertical or horizontal direction.
➢ The displacement map behavior helps to map with respect to the size of the composition.
➢ In fractal noise, enable the perspective offset option to obtain a parallax illusion.
➢ Evolution in fractal noise can be used to change the pattern in fractal noise.

AFTER EFFECTS
Exercise
1) Which of the following channel is not used in a displacement map?
(a) Red
(b) Hue
(c) Purple
2) Which of the following is not a fractal type?
(a) Max
(b) Rocky
(c) Fringe
3) The complexity in fractal noise makes the fractal _________.
(a) Brighter/darker
(b) Sharpen/Blur
(c) Saturated/Desaturated
4) To use a solid layer as a displacement map, it should be __________________.
(a) Pre-composed
(b) Made invisible
(c) Scaled
5) Which of the following is not a part of fractal noise?
(a) Offset turbulence

(b) Evolution
` (c) Blur

chapter 13 Working with Particles
Learning Objectives
➢ Explain particle emission with particles property
➢ Describe how to create customize particles
➢ Explain how to create shatter effects
➢ Describe how to create shadow using Blur & Sharpen tool
13.1 Introduction to Particles Playground

Particles are similar objects that are huge in number. They have same properties but vary in their
individual particle properties. For example, rain, snow, sparks. The particles can be added to any
layer in the timeline. To add particles effect, select the layer. In the menu bar, go to Effect → Simulation
→ Particle Playground. Refer to Figure 13.1.

AFTER EFFECTS
Figure 13.1: Particle Playground Effects
Simulation is the imitation of real behavior through a computer generated system to represent a dynamic
response (force, friction). The After Effects particles consist of all the natural forces (gravity, velocity, force)
in the virtual environment.
After adding particles press the space bar to view the behavior of the particles. It can be observed that
some particles appear to be emitted from a point and are falling down. Refer to Figure 13.2.

AFTER EFFECTS
Figure 13.2: Use of Gravity and Velocity
Particle Playground Property

To comprehend the particles system, the particle attributes available in particle playground should
be checked and validated. Refer to Figure 13.3.
Figure 13.3: Particle Playground

AFTER EFFECTS
●● Cannon: Cannon is an artillery or gun that emits a bullet or missile. In After Effects, cannon emit
particles from a specified point with some force in a given direction. The cannon option can be
expanded to view the attributes. Refer to Figure 13.4.
Figure 13.4: Canon Parameter in Particle Playground
●● Position: The (x, y) coordinates from where the particles are created on specific location. Refer
to Figure 13.5.
Figure 13.5: Position Particle Playground
●● Barrel Radius: Specifies the area from which the particles will be emitted. Positive value
creates an effect where particles seem to be emitted from a square volume. Negative value
creates an effect where particles seem to be emitted from a sphere volume. Change the respective
values and observe the difference. Refer to Figure 13.6.

AFTER EFFECTS
Figure 13.6: Barrel Radius in Particle Playground
➢ Particles Per Second: It specifies the number of particles emitted per second. Refer to Figure 13.7.
Figure 13.7: Particle Per Second Parameter in Particle Playground

AFTER EFFECTS
●● Direction: The value of the direction in which the particles will be emitted is represented in de-
grees. Refer to Figure 13.8 and Figure 13.9.
Figure 13.8: Direction Parameter in Particle Playground
Figure 13.9: Direction Random Spread in Particle Playground

AFTER EFFECTS
●● Velocity: It specifies the initial speed of particles when emitting from the cannon. The speed
represented is in pixels per second. Refer to Figure 13.10.
Figure 13.10: Velocity Parameter in Particle Playground
●● Velocity Random Spread: It specifies randomness in the velocity of the particles. The velocity
of the particles varies.
●● Color: It is used to sets the color of the particles. The default color is red. As Refer to Figure 13.11.
Figure 13.11: Color Parameter in Particle Playground

AFTER EFFECTS
●● Particle Radius: Tt specifies the size of particle, in pixels. Refer to Figure 13.12.
Figure 13.12: Particle Radius Parameter in Particle Playground
Important: To stop a cannon from emitting particles set the particles per second value as 0
(zero).
●● Grid: In a Grid the particles are emitted through a row and column arrangement and from the points
where there is a grid intersection. As Refer to Figure 13.13, the grid option can be expanded to view
the attributes.
Figure 13.13: Grid Parameter in Particle Playground

AFTER EFFECTS
● Position: It specifies the (x, y) coordinate of the grid centre.
● Width/Height: It Specifies the distance between the rows and columns.
● Particle Across/Particle Down: It specifies the number of rows and columns. Refer to Figure 13.14.
Figure 13.14: Particle Across/Particle Down Parameter in Particle Playground
● Color: It is used to set the color of the particles. Default color is red.
● Particle Radius: It specifies the size of particle, in pixels.
●● Layer Exploder: Layer Exploder explodes a layer of content in the new particles. The layer
should be in the same composition. If the exploding source layer has any effect or mask
then it will not show any applied effects or mask while exploding. The applied effect is not
displayed till the layer is Pre-composed with all the effects in original composition. Refer to
Figure 13.15.
Figure 13.15: Layer Exploder Parameter in Particle Playground

AFTER EFFECTS
●● Explode Layer: It specifies the layer to be exploded from the list of layers in the composition.
If a layer has some applied effects or mask then it has to be Pre-composed with all attributes of
the composition. Refer to Figure 13.16.
Figure 13.16: Specified Layer for Explode
●● Velocity Dispersion: Specify the speed with which the exploded particles go away. The value
is in pixels per second. Particle exploder explodes the emitting particles into more new particles.
Figure 13.17: Radius of New Particles Parameter in Particle Playground
●● Radius of New Particles: Specifies the size of particles resulting from explosion of the particles

AFTER EFFECTS
Figure 13.18: Individual Particle Exploding
➢➢ Layer Map: Layer Map replaces the emitted particles with an image, sequence of images or a
video. Refer to Figure 13.19.
Figure 13.19: Layer Map Parameter in Particle Playground
●● Use Layer: It specifies the layer to which the particles are emitted. The layer has to be in a
similar composition so that the layer can be edited in the original composition. As Refer to Figure
13.20.

AFTER EFFECTS
Figure 13.20: Specifies the Layer to Emit as Particles
● Time Offset: It specifies the frame from which the emitted particles should be played.
➢➢ Gravity: Gravity provides a force for the particles so that the particles move in a particular di-
rection. When particle effect is applied to a layer, the gravitational force on the particles leads
to the downward fall of the particles. Refer to Figure 13.21.
Figure 13.21: Gravity Parameter in Particle Playground
● Force: It specifies the force of gravity. By default the value is set as 120.
● Force Random Spread: It creates randomness in the force.
● Direction: It specifies the direction from which gravitational force occurs.
➢➢ Repel: Repel controls the particles that are to be repelled from or at traced towards each other.

AFTER EFFECTS
Figure 13.22: Repel Parameter in Particle Playground
●● Force: It specifies the force with which the particles repel. The positive value creates repel force.
The negative value leads to attraction.
● Force Radius: It specifies the radius (measured in pixels) through which the force will active.
➢ Wall: Mask can be used as a boundary that obstructs particle crossing. Refer to Figure 13.23.
Figure 13.23: Wall Parameter in Particle Playground
●● Boundary: It specifies the mask to be used as a wall. The mask should be drawn on the layer
to which particle effect is applied. Refer to Figure 13.24.
Figure 13.24: Boundary Parameter in Particle Playground

AFTER EFFECTS
➢➢ Affects: In particle exploder, layer maps, gravity, repel, and wall, there are a few options available.
These options are used to change the particle behavior as per the situation. Refer to Figure 13.25.
Figure 13.25: Affects Option Parameter in Particle Playground
● Particles from: It is used to select the particle source for applying a condition.
●● Selection Map: A black and white or a grayscale map is created and is Pre-composed. The
Pre-composed layer is set as a map. When the particle enters the white area, the effects (particle
exploder, layer map, gravity, repel, and wall) are enabled and get disabled in the black area.
●● Characters: This option is used if the emitted particles are characters. From this option a Selection Text
is chosen and predefined in options. Only the character mentioned in Selection Text are affected. Refer
to Figure 13.26.
Figure 13.26: Particles Shape as Text Characters

AFTER EFFECTS
➢➢ Older/Younger than: The effect is applied after a specified time as preset in this option.
➢➢ Age Feather: It Creates smoothness while applying an effect.
➢➢ Persistent Property Mapper: This option changes the particle behavior as per the individual
RGB value of a map. The changes made in the particles remain with it even if the particle exists
the map zone. Refer to Figure 13.27.
Figure 13.27: Persistent Property Mapper Parameter in Particle Playground
➢➢ Ephermal Property Mapper: This option changes the particle behavior according to the individual RGB
value of a map provided. The changes happened in the particles are seen only when the particles are
in the map zone. The moment in which particle leaves the zone, it returns to its original state. Refer to
Figure 13.28.
Figure 13.28: Ephemeral Property Mapper Parameter in Particle Playground
The two property mappers have a layer map option that is used to set a layer as map. After selecting
a layer as a map, the map Red/Green/Blue option is used to specify a behavior from the drop-down
list for the particles overlapping the respective channels. Refer to Figure 13.29.

AFTER EFFECTS
Figure 13.29: Comparison Between Persistent and Ephermal Property Mapper

AFTER EFFECTS
The Min and Max option specifies the minimum and maximum value for a behavior selected from the list
in both property mapper.
➢➢ Particles Text: The particle playground is capable of emitting keyboard characters as particles. Refer to
Figure 13.30, click the options available in the particles playground to specify the characters for emission.
Figure 13.30: Particles Emit as a Text Options
Click Options to create a new window that can be used to enter text for emission. Refer to Figure 13.31.
Figure 13.31: Define Text as Particles
Click Edit Cannon Text or Edit Grid Text and enter text. The described characters will be emit-
ted from the particle emitter. Refer to Figure 13.32.

AFTER EFFECTS
Figure 13.32: Font Settings
After the test is described the text will be emitted in the place of particles. As Refer to Figure 13.33.
Figure 13.33: Final Result of Text as a Particles
13.2 Example of Playground Effect
In this example, create illusion of Bees roaming around street lamp using Particle playground
effect.
13.2.1 Flies have to be created around the lamp. Refer to Figure 13.34.

AFTER EFFECTS
Figure 13.34: Original Background Image
13.2.2 Apply Particle Playground Effect: After importing the image to a new composition, create a
new solid layer and add Particles Playground to it. Set the particles color as bright gray and reduce
the size as per requirement. Set the position at lamp and increase the number of particles. Refer to
Figure 13.35.
Figure 13.35: Apply Particle Playground Effect on New Solid to Emit Particles

AFTER EFFECTS
13.2.3 As the flies always keep moving around the lights, there should be no gravity effect; so set
the gravity value to zero.
13.2.4 Set the Direction Random Speed to 360 degree so that the emitted particles spread in all
directions.
13.2.5 Particles stay together: Set the repel value to negative so that the particles stay together
forming a bunch. Press the spacebar to see the movement. Set the barrel radius in negative so that
the particles are emitted in a spherical area. Increase the velocity. Refer to Figure 13.36.
Figure 13.36: Particles Stay Together using Repel Value
13.2.6 Enable motion blur for composition and layers so that there is motion blur effect in the
particles. Refer to Figure 13.37.
Figure 13.37: Enable Motion Blur

AFTER EFFECTS
13.2.7 Pre-compose the particles layer then duplicate the layer and fill it with black color. Apply
mask to this layer so that the black particles overlapping the lamp are visible. Refer to Figure 13.38.
Figure 13.38: Duplicate Particle Layer and Fill Black Color
13.2.8 Apply mask to the bright particles layer so that it is visible in the area near the lamp. Apply
softness to the mask if required. Refer to Figure 13.39.
Figure 13.39: Create Mask for White Particles

AFTER EFFECTS
13.2.9 Drag the result to another composition and make it a single composition. Add some position
animation to the final result using the motion sketch to get a handheld camera type result. After adding
camera shake effect, apply motion blur to the layer. Scale the layer to discard transparent areas. Refer
to Figure 13.40.
13.3 Shatter Effect
Shatter effect is used to explode the text or an image. Different shapes form the library can be
selected while applying this effect. The particles can be added to any layer in the timeline. To add
particles effect, select the layer. In the menu bar go to Effect → Simulation → Shatter.
After adding shatter effect in layer a default Wireframe preview with applied forces will be obtained.

AFTER EFFECTS
Figure 13.41: Preview Window in Shatter Effect
The parameter of Shatter effects are as below. Refer to Figure 13.42.
Figure 13.42: Shatter Effect Option
View: It provides different view options with wireframe and renders display with forces.
Render: It determines the final output with textures and lighting of shatter pieces.
Shape: As Refer to Figure 13.43, it specifies the shape and the appearance of the shatter pieces.

AFTER EFFECTS
Figure 13.43: Shape Parameter in Shatter Effect
Pattern: It is a collection of the preset pattern to be used for the exploded pieces. For example,
bricks, glass, puzzles, triangle, and many more.
Custom Shatter Map: It defines the layer to be used as the shape of the exploded pieces.
White Tiles Fixed: It prevents the pure white area in a custom shatter map from being exploded.
This option can be used as an image in custom shatter map.
Repetitions: It defines the scale of the pattern. This parameter should not be animated to avoid
jerks in the number and size of shatter pieces.
Direction: It determines the orientation of the shatter map. This parameter should not be animated
to avoid jerks in the animation.
Origin: It positions the shatter map on the layer. This parameter should not be animated to avoid
jerks in the animation
Extrusion Depth: It specifies the thickness of the shatter pieces.
Force 1 and Force 2: These forces can be used to define the blast area. Refer to Figure 13.44.

AFTER EFFECTS
Figure 13.44: Forces Parameter in Shatter Effect
Position: It defines the X & Y position in composition.
Depth: It defines the center point in the Z space of the layer.
Radius: It controls the size of the blast.
Strength: It controls the intensity of blast.
Gradient: It controls the timing of an explosion. Refer to Figure 13.45.
Figure 13.45: Gradient Parameter in Shatter Effect
Shatter Threshold: It controls the blast as per the luminance value of the Gradient Layer. At 0% the
layers do not explode whereas at 100% all the pieces explode and at 50% all pieces participate in the
range of 0-50% white to grey area.
Gradient Layer: It specifies the layer to be exploded as per luminance. The white area shatters
first whereas black area shatters at the end.
Invert Gradient: It inverts the pixels in a gradient ramp. For example, black color becomes white
color and white color becomes black color.
Physics: It controls the movement of exploded pieces in space. Refer to Figure 13.46.

AFTER EFFECTS
Figure 13.46: Physics Parameter in Shatter Effect
Rotation Speed: It specifies the spine axis of the shattered pieces as per the Tumble Axis selection
and the speed can be used to identify the pieces of materials. For example, brick spins faster than
thermocol.
Tumble Axis: It identifies the axis around which the pieces spin.
Randomness: It adds or subtracts the value of rotational speed.

.
Viscosity: If the viscosity is high, the pieces stop spinning immediately. Viscosity is high in water,
medium in air and set to zero in space.
Mass Variance: It specifies the theoretical weight of the pieces during explosion. For example,
larger pieces are heavier than small pieces and smaller pieces are scattered away from larger
pieces during the blast.
Gravity: It controls the falling pieces based on the gravity value. Higher value results in faster
movement depending on the gravity direction and inclination.
Gravity Direction: It controls the direction in the X & Y space when the pieces are affected by
gravity.
Gravity Inclination: It controls the direction in Z space when pieces are affected by gravity.
Textures: It determines the textures of the pieces. Refer to Figure 13.47.

AFTER EFFECTS
Figure 13.47: Textures Parameter in Shatter Effect
Color: It controls the color of the front, side, and back layer. Visibility of front, side, and back layer
color depends on the Mode settings. When a Mode setting is Color, Tinted Layer, Color + Opacity,
or Tinted Layer + Opacity, the selected color is factored in the form of the piece.
Opacity: It controls the opacity of the mode settings.
Front Mode, Side Mode, and Back Mode: It controls the appearance of an object based on color,
tinted layer, color + opacity, or tinted layer + opacity.
Front Layer, Side Layer, and Back Layer: It specifies the layer for the front, sides, and back side
of the shattered pieces. Effects are not applied to a layer till the layer is Pre-composed.
Camera System: It specifies the camera based on your Camera Position, Corner pins effect, and
Comp Camera.
Camera Position: It controls the transformation of the camera.
Corner Pins: It controls the four corners of the layer if a corner of layer has to be adjusted.
Comp Camera: If a 3D camera is present in the composition then the Comp Camera option assumes
the property of a 3D camera.
Lighting and Material: It controls the lighting and material parameter by adding the lights and
changing material option.

AFTER EFFECTS
13.4 Example of Shatter Effect–Reveal Skull from the Wall
In this example, skull mark on the wall will be revealed using the shatter effect and other After Effects tools.
13.4.1 Creation of BG: Create a new composition with 960X540 with 24 fps and rename it as ‘BG’.
Import the Concrete image into a project and drag in the composition and position it as per requirement.
This composition works as the BG layer in this example. Refer to Figure 13.48.
Figure 13.48: Background Image
13.4.2 Creation of Transparent Skull: Create a new Composition and rename it as ‘Skull Reveal’.
Import the Skull image with the crack image and drag it in the ‘Skull Reveal’ composition. Ensure that
the Skull and cracks are isolated in Photoshop and save it in the PNG format. Mask and Track Matte
option in After Effects can also be used to isolate skull and cracks. Refer to Figure 13.49.
Figure 13.49: Creation of Transparent Skull

AFTER EFFECTS
13.4.3 Create a new dark grey solid and place it between the skull and cracks. Press F4 to enable the
Mode and Track Matte option. Choose Luma Matte ‘Skull.png’ from the Track Matte option. Perform
the necessary color correction on the skull and cracks to create a transparent image output. This step
adds transparency to the composition. Refer to Figure 13.50.
Figure 13.50: Use of Track Matte Option
13.4.4 Create a new Composition and rename it as ‘Texture Map’. Drag ‘BG’ and ‘Skull Reveal’
composition from Project window into ‘Texture Map’ composition and choose Alpha Matte “[Skull
Reveal]”. This step will help us to apply texture map for skull and cracks. Refer to Figure 13.51.

AFTER EFFECTS
Figure 13.51: Creation of Texture Map
13.4.5 Create a new Composition and rename it as ‘Shatter Activate’. Drag the ‘Texture Map, com-
position’ to the ‘Shatter Activate’ composition and apply Shatter effects from Effect → Simulation →
Shatter.
13.4.6 Animate Position from the left to the right side in Force 1 parameter available in Shatter ef-
fects. Set Rendered in View and Pieces in Render parameter. It will display the render shattered
pieces with textures and Glass in Pattern from Shape parameter. Increase value of Repetition to add
more shatter pieces. From Physics parameters set all parameters to zero such as gravity, rotational
speed, viscosity. Refer to Figure 13.52.

AFTER EFFECTS
Figure 13.52: Adjust Position of Force1 Parameter in Shatter Effect
13.4.7 Ensure that the Strength is set as zero so that the shattered pieces do not fly in space and stick
to the image.
13.4.8 Creation of Skull Reveal Surface: Create a new composition and rename it as ‘Skull Reveal
Surface’. Drag ‘Skull Reveal’ and ‘Shatter Activate’ Composition to the ‘Skull Reveal Surface’
composition. Ensure that the ‘Shatter Activate’ composition is above the ‘Skull Reveal’ composition.
Select Skull Reveal layer, and Alpha Matte ‘Shatter Activate’ in Track Matte option. The composition
will be super imposed on the BG. Refer to Figure 13.53.

AFTER EFFECTS
Figure 13.53: Creation of Skull Reveal Surface
13.4.9 Creation of Shatter Effect: Create a new Composition and rename it as ‘Shatter’ Composition. Drag
‘Texture Map’ to the Shatter composition. Copy Shatter effects from ‘Shatter Activate’ composition’s layer
‘Texture Map’ and apply it to the Shatter Composition Textures Map layer. This copy and paste procedure
animates the Force 1 Position parameter.
13.4.10 The motion of shattered pieces is controlled by the Physics parameter. Set the value of gravity
as 3 because the shattered pieces should fall below. Shattered pieces should have some initial rotation
speed so set the value as 1 in Rotational Speed. Set the value as 1 value in Randomness. Set 0.1 value
in the viscosity parameter as the pieces should be floating in space. To match the lighting condition of the
shattered pieces with the wall, create Light in composition and increase the intensity upto 150%. It will
illuminate as per the position of the shatter pieces. Refer to Figure 13.54.

AFTER EFFECTS
Figure 13.54: Adjust Motion of Shattered Pieces
13.4.11 Creation of Final Composition: Create a composition with the name ‘Main Comp’. Drag
and arrange the BG over the Skull Reveal Surface in the Shatter composition. The Skull Reveal
Surface blending mode should be set as Multiply. Refer to Figure 13.55.
Figure 13.55: Creation of Final Composition

AFTER EFFECTS
13.4.12 If the Shatter pieces does not have a shadow, to create a Shadow, duplicate the Shatter layer
twice and rename it as Shatter Shadow_long and Shadow_small. Select both layers, access Effect →
Generate → Fill and choose Black color.Access Effects → Blur & Sharpen → CC Radial blur and set
Fading Zoom in Type parameter. Set value upto 500 in the Y axis so that the Blur becomes a shadow
of the shattered pieces. Place both the shadow layers over the Shatter layer in the Main Comp. Refer
to Figure 13.56.
Figure 13.56: Create Shadow for Shatter Pieces
13.4.13 Creation of Small Particles: If small pieces are missing in the overall composition
,duplicate the Shatter Composition from the Project tab. Rename it as ‘Shatter Small Particles’.
Keep the composition below the Shatter layer in the Main Comp.
13.4.14 Access the ‘Shatter Small Particles’ composition by clicking the same layer twice. Set the
Repetitions count up to 150 and Strength to 1.75 in Shatter effects so that the small particles do
not resemble the big pieces. Repeat the same process to create a shadow and retain the Shatter
Small Particles layer. Refer to Figure 13.57.

AFTER EFFECTS
Figure 13.57: Create Small Particles
13.4.15 Apply Motion Blur: Play the Main Comp using RAM preview. Motion blur is missing from the
comp. Go to Effect → Blur & Sharpen → CC Force Motion Blur to add motion blur in Small particles
or pieces. Set the desired value in the Motion Blur Samples and Shutter Angle. Increase Motion blur
samples. This will result in good enhanced motion blur however the rendering time as well processing
time will increase.
13.4.16 Play the Main Comp using the RAM preview. The Skull image will be revealed from the
wall.
13.4.17 Look & Feel: To enhance the overall look, create a new Solid layer and retain all the layers. As
shown in Figure 13.58, create a big mask around skull image and select Subtract from the Mask Boolean
operation.
Figure 13.58: Create Vignette Effect for Look Enhancement

AFTER EFFECTS
13.4.18 Make the necessary changes in the feather value and select the Classic linear burn from
the blending mode. Set Opacity from 100% to 25% so black vignette becomes lighter.
13.4.19 Play the Main Comp by using RAM preview option. The final output will be displayed using
the burning color effect. Refer to Figure 13.59.
Things to Remember
➢ The particles playground can be applied to any layer.
➢ Enter text in options to emit text as particles.
➢ Create a mask in particle layer and then set it as wall for bouncing the particles.
➢ Use persistent property mapper to make permanent behavioral changes in the particle.
➢ Use the ephermal property mapper for a temporary change in behavior in particle.

AFTER EFFECTS
Exercise
1) Which of the following option is activated by default when particles are created?
(a) Gravity
(b) Wall
(c) Property Mapper
2) Which of the following option emits a layer as particles?
(a) Layer Map

(b) Particle exploder
(c) Repel
3) Particle emission area is controlled by ___________.
(a) Barrel Radius

(b) Particle Radius
(c) Repel Force
4) Which of the following option is not available in the particle playground?
(a) Older/Younger than

(b) Repel
(c) Particle Size
5) Which of the following attribute is represented in degrees?
(a) Direction Random Spread

(b) Velocity
(c) Gravity

chapter 14 Motion Graphic-TV Program Promo
Learning Objectives
➢ Understand process of how to create promo for TV
➢ Explain different approaches of Masking, Color correction tool, and Animation techniques
➢ Use of expression controller in After Effects
14.1 Introduction to Program for TV
In this chapter, a promo based on ancient mysteries will be created for a National TV channel. This
program will broadcast ancient mysteries based on different cultures of the world. It will substantiate
this information with supportive data and research on different religions, education patterns, trades
practices, and human activities. Refer to Figure 14.1.
Figure 14.1: Program Theme

AFTER EFFECTS
14.2 Reference Collection for Promo
Some graphical reference of the ancient era will be used. This reference can be obtained from the
Internet and library. Refer to Figure 14.2.
Figure 14.2: Reference Collection of Images
14.3 Finalization of Reference

When you are collecting all reference make sure that reference images gives you fragrance of given
concept. If the required visual content has to be sourced from multiple reference images then edit in
Photoshop as per the need. As Refer to Figure 14.3.
Figure 14.3: Edited Images

AFTER EFFECTS
14.4 Example-Program Promo for TV Broadcast

While creating the motion graphics the promo is divided into three important task categories as follows:
➢ Use of Storyboard
➢ Creation of ring motion using Expression control tools in After Effects
➢ Creation of text graphics
Use of Storyboard
Storyboard is an integral part of the planning a concept or idea. It is a medium of storytelling and is
widely used in film, commercial, TV series, and motion graphics. A storyboard for camera placement,
animation, and layout of different elements is used for creating the promo. Refer to Figure 14.4.
Figure 14.4: Storyboard

AFTER EFFECTS
Creation of Ring Motion Using Expression Control Tools in After Effects

14.4.1 Create a Composition of 900X900 pixels resolution and 100 frame duration. Name it as ‘base sign’.
14.4.2 Import image for a ring and create a mask using Ellipse tool (Q). Select the Subtract mode in Mask
1 to subtract the contents. Refer to Figure 14.5.
Figure 14.5: Creation of Ring

AFTER EFFECTS
14.4.3 Create a composition with 900 X 900 pixels resolution and with duration of 100 frames and
name it as ‘sign_comp’.
14.4.4 Drag and drop the ‘Base Sign’ composition into ‘Sign_Comp’ composition. Make sure that all
composition layers are in the 3D format so that the 3D environment can be applied.
14.4.5 Create Null object using Layer → New Layer → Null Object and place it above all the other
layers. Apply Slider Control using Effect → Expression Control → Silder Control.
14.4.6 Completion as per requirement, and then select the ‘Counterclockwise’ option from Wipe
parameter. The Transition Completion option is used to acquire the crop effect whereas the Coun-
terclockwise is used to acquire the Counterclockwise crop direction. As Refer to Figure 14.6.
Figure 14.6: Use of Radial Wipe
14.4.7 Select Z Rotation parameter for the base sign composition and then access Animation menu
→ Add Expression or Alt + LMB. Click the stopwatch to acquire a round shape icon. This is useful
for inserting reference for targets. Insert a reference for targets using numeric values to achieve
global control. Refer to Figure 14.7.

AFTER EFFECTS
Figure 14.7: Use of Expression
14.4.8 As shown in Figure 14.8, drag the circular shape (insert a reference to the targets) to
the Slider Value of the Null object. (rename it as RotateCtrl)
Figure 14.8: Connect Z Rotation with Rotatectrl Slider using Expression
14.4.9 Duplicate the ‘Base Sign’ composition. A layer gets added after duplicating ‘base sign’ composition
with ‘base sign 2’ composition. Select ‘base sign 2’ and press Alt + LMB on the stopwatch that is located near
Z Rotation. Drag the circular shape (insert a reference to targets) to Z rotation of ‘Base Sign’ composition.

AFTER EFFECTS
Figure 14.9: Add Expression
14.4.10 If the value of RotateCtrl slider is modified, the sum of both layers will be obtained. Refer
to Figure 14.10.
Figure 14.10: Check Value if Rotatectrl Slider

AFTER EFFECTS
14.4.11 The religious signs appear twice and appear flat. To remove flatness of the overall image apply
the Drop Shadow effects to both the layers. Refer to Figure 14.11.
Figure 14.11: Apply Drop Shadow Effect
14.4.12 As shown in Figure 14.12, change the Start Angle value and select Clockwise instead
of Counterclockwise to display a different religious sign. Change the start angle by shifting the
start point of crop transition.
Figure 14.12: Work with Radial Wipe

AFTER EFFECTS
14.4.13 Create 12 duplicates for the ‘base sign’ composition as the image has 14 different religious
signs. Repeat the same process of linking the expression to Z rotation value of the above layer.
Set the Start Angle value in Radial Wipe transition to get the desired output. Refer to Figure 14.13.
Figure 14.13: Duplicate Base Layer
14.4.14 Now, animate value of RotateCtrl (Null object) as per requirement. Hit 0 to play the realtime
playback and check if the motion is correctly applied.
14.4.15 Repeat the same process for the other circle. To differentiate between the two circles apply
Drop Shadow effects from Effects menu and Bevel & Emboss layer style from Layer menu → Layer
Style → Bevel and Emboss. Refer to Figure 14.14.
Figure 14.14: Create New Circle using Same Techniques

AFTER EFFECTS
Creation of Text Graphics

14.4.16 Create graphics using Photoshop, a mask, and some required effects with animations using
After Effects. Refer to Figure 14.15.
Figure 14.15: Create Mask and Import Graphics

AFTER EFFECTS
14.4.17 Use the CC Sphere effects to create a globe and animate it in the Y axis as per requirement.
Figure 14.16: Creation of Globe
14.4.18 Create all shots, composite them together in single composition and complete the camera
animation work as per the storyboard. After completion of some compositing work, the desired output
will be obtained in the form of a program promo. Refer to Figure 14.17.

AFTER EFFECTS
Things to Remember
➢ Expression is useful during random movement and repeating linking process.
➢ Radial Wipe Transition effect is used to achieve an Angular crop in the image.
➢ Expressions can be used to create relationship between layer properties and the key frame.

AFTER EFFECTS
Exercise
1) Mask is used to create expression.
(a) True
(b) False
2) ______________ is used to create spherical effects.
(a) CC Sphere
(b) CC Box
(c) CC Circular
3) The shortcut for __________________ is Ctrl + Shift + C.
(a) Pre-compose
(b) New Layer
(c) New Solid
4) The shortcut for ________________ is Ctrl + Alt + Y.
(a) Adjustment Layer

(b) New Solid
(c) New Layer
5) Z axis is an important property of __________.
(a) 3D layer
(b) 2D layer
(c) None

chapter 15 Motion Graphics-Creation
of Holographic Images
Learning Objectives
➢ Create noise texture using procedural effects
➢ Understand few blending modes
➢ Understand 3D environment in After Effects
15.1 Introduction to Holographic
A hologram is the representation of an object or a person in a three dimensional space. Holography

is a technique that creates three dimensional images using laser, interference, and diffraction, light
intensity recording, and suitable illumination of the recording. The projected image changes with
the movement in the viewing system.
This technique was widely used in blockbuster movies such as Avatar, Prometheus, Ironman,
Avengers, Startrek, and many Hollywood movies.
15.2 Example-Creation of Holographic Motion Graphics

In this example, a holographic galaxy with supporting background image will be created using After
Effects. To create a galaxy, a globe with energy lines, rings, small galaxies, and environment between
galaxies as seen in Prometheus should be created.
15.2.1 Use After Effects to create a new composition with the desired resolution and frame rate.

AFTER EFFECTS
15.2.2 Globe images: As shown in Figure 15.1, import globe images with different sizes in the project tab.
These globe images are created in 3D Max but you can create this images using your illustration skills or
any other techniques.
Figure 15.1: Wire Frame of Globe with Different Density
15.2.3 Create 3D illusion using mask: Create a basic globe using the anterior and posterior images
of geosphere. Use the mask tool to display the roundness of the globe. Refer to Figure 15.2.
Figure 15.2: Use of Mask

AFTER EFFECTS
15.2.4 Creation of environment inside globe: Use geo sphere images with high mesh density to
create movement inside the main globe thereby giving the filled volume effect to the globe. Now,
duplicate the same image, 6-8 times with 3D settings so as to arrange it in the 3D environment.
The mask tool can be used to introduce randomness in geosphere images. Refer to Figure 15.3.
Figure 15.3: Creation of Environment
15.2.5 The rotation animation can be created individually. Null option can be used to apply animation on all
layers. The Null option should be applied to all the selected layers and parent layer. The transform control
option is used to apply animation to all the parented layers. This animation has to be placed within the
globe composition with the desired opacity and blending mode. Refer to Figure 15.4.
Figure 15.4: Use of Null Object

AFTER EFFECTS
15.2.6 As shown in Figure 15.5, create outer globe rings using the same techniques.
Figure 15.5: Creation of Outer Globe
15.2.7 Create Rings: Create 900 px X 900 px resolution composition, with two solids. Apply Fractal
Noise on upper solid with the desired noise movements using the Evolution option. Create Ellipse mask
on the second layer or lower layer solid and apply the stroke effects. Select desired stroke thickness.
Use Track Matte option to discard the noise layer in accordance with the white stroke thickness. The
‘Luma Matte’ option is used as the noise has Luminance information and not alpha information. Refer
to Figure 15.6.
Figure 15.6: Creation of Ring

AFTER EFFECTS
15.2.8 Create Smoke Environment and Stars Background: Fractal noise has significant impact
on the creation of smoke and stars. For smoke, increase fractal noise size and reduce the noise size
for stars. The small stars and the big stars should be in different layers so as to control the number
of stars using fractal noise size. Use Curve tool or Levels or Color balance for desire color correction
of smoke and stars. For smoke effects use the Evolution option in fractal noise. Refer to Figure 15.7.
Figure 15.7: Creation of Smoke Environment
15.2.9 Final Composition: Now, compile globe, rings, smoke, and stars in one composition and
rename it as galaxy_comp. Duplicate the rings with 3D layer transform and reposition for the given
image. Color correction should be applied as per requirement. The rings should be in the rotational
motion so that the galaxy looks more appealing. Use the Orbit camera tool to check placement of rings
in the 3D space. Refer to Figure 15.8.
Figure 15.8: Final Composition of Rings

AFTER EFFECTS
15.2.10 Import the background in the project tab and drag the final composition placing it in the last
in the layer. Refer to Figure 15.9.
Figure 15.9: Comp Output
15.2.11 Placement of man animation using 4 different poses: Import the welcome pose image se-
quence that has four images. Place the image within the globe with appropriate color correction. The
image sequence has four images only and it is playing very rapidly. Therefore, retime footage is used.
The retime footage can be accessed using time remapping option from Layer → Time → Enable time
remapping. Time remapping helps to adjust the speed at which the image sequence is played. Refer to
Figure 15.10.

AFTER EFFECTS
Figure 15.10: Placement of 4 Poses into Final Comp with Time Remapping
15.2.12 Add Small Galaxies
Now, duplicate ‘galaxy_comp’ composition in the Project window and rename it as a small galaxy. Add
gaseous clouds in the galaxy using Fractal Noise effects and blending mode. The small galaxy should
be duplicated and placed around the main galaxy. The small galaxies should revolve around the main
galaxy. Apply color correction, opacity of layer and select proper blending mode for small galaxies.
After applying color correction the desired output will be obtained. Refer to Figure 15.11.
Figure 15.11: Add Small Galaxy
15.2.13 If the galaxy has to be expanded as per the welcome pose, the layers after 3-4 frames for
each elements such as globe, rings, small galaxies should be revealed simultaneously.

AFTER EFFECTS
Things to Remember
➢ The Screen or Add blending mode are used to enhance the brightness of the pixels.
➢ The Fractal Noise effects are used to create stars, moving smoke, or gaseous environment.
➢ Time remapping is used to retime the footage.
➢ Orbit Camera tool helps to check and validate the placement of elements in 3D space.

AFTER EFFECTS
Exercise
1) ________tool cannot be used without camera.
(a) Orbit Camera

(b) Mask
(c) Selection
2) Mask tool is used to isolate the elements.
(a) True
(b) False

3) Luminance channel contains the alpha information.
(a) True
(b) False

4) ________ uses black and white values to cut the matte.
(a) Selection
(b) Track Matte
(c) Opacity
5) Which of the following is only applied to a 3D layer?
(a) Camera tool

(b) Selection tool
(c) Mask tool

16
Pack Shot–Television
chapter Commercial AD
Learning Objectives
➢ Explain how to create customized particles using CC Particle World system
➢ Explain motion blur
➢ Describe working with 3D environment in After Effects
16.1 Introduction to Television Commercial Ad
The print medium uses newspapers whereas the broadcast medium uses television commercial
to market a product. Print advertisements use static graphics whereas TV advertisements use
moving images or video. A commercial advertisement on Television is called a TV commercial
or an ad film. Television advertisement is a medium of branding or marketing a product or ser-
vice directly to the end user using the television broadcast medium. These advertisements are
sponsored by a specific company.
Television advertisement involves two important tasks given as follows:
➢ Television advertisement should meet the broadcast standards.
➢ The correct air time slot should be booked to reach the appropriate target audience.
Animation is widely used in television advertisements. This animation can be traditional animation (hand
drawn) or computer animation. Computer animation is used when actors or other supporting props do not
serve the purpose of product display appropriately. In this chapter, we will create a television commercial
for a detergent powder which is product of well known company. Detergent powder is used for washing
clothes and the suitable air time is afternoon or evening when housewives are watch television during their
leisure time. In this example, we are focusing on the product (Washing powder 1 kg pouch) display with
supporting motion graphics in After Effects software.

AFTER EFFECTS
16.2 Example-Product Washing Powder
There are two shots in this example.

• Shot 1: A man with a surprised expression on his face when the washing powder cleans a
patch of shirt easily.
• Shot 2: Product display with supporting motion graphics.

16.2.1 Use color correction tools (Levels, Brightness, and Contrast) to brighten the white color shirt.
Figure 16.1: Highlight the White Patch of Shirt using Color Correction Tool

AFTER EFFECTS
16.2.2 Working with CC Particle world’s Emitter: Create particles using CC Particle World. Arrange the
particle producer as per the mask position and wide particle Producer radius in X axis. Refer to Figure 16.2.
Figure 16.2: Adjust Position of CC Particle World’s Emitter
16.2.3 Define Particle Shape: Import the flower image and drag it to the composition. This flower image is
useful to create flower shapes particles in the CC Particle World. Go to particle drop-down and select Textured
Disc in Particle Type parameter. Now, the particle changes its shape to a flower. Refer to Figure 16.3.
Figure 16.3: Define Particle Shape using Flower Image

AFTER EFFECTS
16.2.4 Adjust the birth rate and particle physics property such as Gravity set as minus, Velocity with
lower value, Rotation speed, and Initial Rotation set to a higher value so that the flower rotates upwards.
Figure 16.4: Adjust Physics Property of Particles
16.2.5 A flower moving in upward direction can be seen. Also the rotation movement of the flower
vanishes during playback. Refer to Figure 16.5.
Figure 16.5: Flower Moving in Upward Direction

AFTER EFFECTS
SHOT 2: Product Display with Supporting Motion Graphics.

16.2.6 Create Pouch Animation: Create Animation: Washing Powder Packet In shot 2, the product
of a prominent company (i.e. washing powder) is used. As shown in Figure 16.6, create some de-
signs of a washing powder packet in Photoshop that will be used as motion graphics.
Figure 16.6: Front and Back Side of Tido Pouch
16.2.7 Import both front and back packing design to After Effects and create composition with 960 X540
resolution and 24 fps. Create both layers in 3D format. Select the back layer and link it to the front layer.
Therefore, when the front layer is rotated 360 degree in the Y axis, the back layer will also rotate. Refer
to Figure 16.7.
Figure 16.7: Animation Packet
16.2.8 Create Background for Pouch: Create solid and applied Ramp effect. In Ramp effects, set start
color as white and end color as light blue.
16.2.9 Now, select the solid layer and make it a 3D layer so that the layer can be pushed to the Z axis.
16.2.10 Duplicate the solid using Multiply Blending mode and then select Linear Ramp in the Ramp
Shape parameter. Refer to Figure 16.8.
AFTER EFFECTS
Figure 16.8: Creation of Background
16.2.11 Creation of New Camera: Create a Camera with 24 mm Focal length. Create a new Null ob-
ject and link the transform control to the Camera. When null objects transform control are moved the
camera also emulates the same motion. Refer to Figure 16.9.
Figure 16.9: Creation of New Camera

AFTER EFFECTS
16.2.12 Add Talcum Powder Container image: Import talcum powder container in the composition
and make it a 3D layer. Now, place this layer over the detergent packet. Refer to Figure 16.10.
Figure 16.10: Add Talcum Powder Container
16.2.13 Create Falling Flowers on the Detergent Packet: Create a solid with a 3D layer and apply
the CC Particle World effects to it. Select the Texture disc in particle types and then select flower
image as the texture. Adjust Velocity and Gravity of the flower particles that will fall on the washing
powder packet.
16.2.14 Create Falling Particles of the Talcum Powder: Adjust position of producer icon against
container lid so flower particles emit from lid look alike. Refer to Figure 16.11.
Figure 16.11: Creation of Falling Particles from Container

AFTER EFFECTS
16.2.15 Creation of Powder Particles: Duplicate the flower particle layer and rename it as Talcum
Particles. Select Tetrahedron particle type from the Particle parameter and adjust the size of particles
in birth and death parameter as per requirement. The displayed particles should resemble the powder
form. Refer to Figure 16.12.
Figure 16.12: Creation of Powder Particles
16.2.16 Create Ground Particles: Create a solid for the ground and select flower shape particles
from particle types. Adjust the particle position on the ground and animate the flower particles using
velocity and gravity parameter. Ensure that the animation of the flower particles spread outs and van-
ishes from the frame. Refer to Figure 16.13.
Figure 16.13: Creation of Ground Particles

AFTER EFFECTS
16.2.17 Create a new composition and drag shot 1 and shot 2 to the new composition. Use RAM
preview for real time playback. Refer to Figure 16.14
Things to Remember
➢ Use of Pre-compose for procedural compositing. Pre-compose can be used to change or

alter base image.
➢ Use of Orbit Camera tool to arrange layers in 3D spaces and environment.
➢ Use of motion blur effect on moving elements to enhance the look and feel.

AFTER EFFECTS
Exercise
1. The shortcut for Pre-compose is _________________.
(a) Ctrl + Shift + C

(b) Ctrl + Shift + P
(c) Alt + Shift + C
2. Textured Disc is parameter of ______________.
(a) CC Particle World

(b) CC Particle System
(c) CC Pixel poly
3. Velocity and Speed are terms that have the same meaning.
(a) True
(b) False
4. ____________is useful to create custom particles in CC Particle World.
(a) Textured Disc

(b) Textured Pillar
(c) Textured Triangle

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After Effects - DOM

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1. New Composition, Animation, and Blending in Layers.............................. 8

2.1 New Text Layer................................................................................................................30

4.1 Rotoscopy of Character..................................................................................................72

5.1 Introduction to Keying and Use of Chroma.....................................................................80

6.1 Color Theory and Technical Color Wheel......................................................................99

7.1 Chroma Removal with Translucent Subjects..............................................................114

8. Tracking and Stabilizing.............................................................................139

10. Wire Removal..............................................................................................174

10.1 Use of Wire During Shoot..........................................................................................174

11. Sequence Painting in Photoshop...........................................................192

12.1 Displacement Map......................................................................................................209

13. Working with Particles..............................................................................231

13.1 Introduction to Particles Playground..........................................................................231

14.1 Introduction to Program for TV......................................................................................268

15.1 Introduction to Holographic...........................................................................................281

16. Pack Shot-Television Commercial Ad......................................................290

16.1 Introduction to Television Commercial Ad....................................................................290

1.1 Introduction to Compositing

1.2 After Effects Interface

A snapshot of After Effects Interface is given here. Refer to Figure 1.1.

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Figure 1.1: After Effects Interface

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1.3 Composition Settings

Figure 1.2: New Composition

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Figure 1.3: Composition Settings

A: Composition Name- It is used to assign a name to the composition.

C: Width- It is used to define the horizontal measurement of the frame size.

D: Height- It is used to define the vertical measurement of the frame size.

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Figure 1.4: Solid Settings

A: Name- It assigns a name to a new solid layer.

B: Width- It defines the horizontal measurement of the solid.

C: Height- It defines the vertical measurement of the solid.

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D: Units- It is used to set the unit of the measurement i.e. pixels.

1.3.4 Transform Options

Figure 1.5: Transform Option in Timeline

Position: It translates the layer from its current position. [Shortcut: P]

Rotation: Rotates the angle of the layer. [Shortcut: R]

Scale: It increases or decreases the scale value of the layer. [Shortcut: S]

Opacity: It increases or decreases the visibility of the layer. [Shortcut: T]

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1.4 Basic Key frame Animation

Figure 1.6: Stopwatch for Animation

Figure 1.7: Key frame

1.5 Motion Sketch Animation

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Figure 1.8: Motion Sketch

Figure 1.9: Motion Sketch Parameter

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Figure 1.10: Position Capture of Mouse Movement

1.6 Motion Blur

Figure 1.11: Reference of Motion Blur

Figure 1.12: Motion Blur Switch

Figure 1.13: Advanced Tab for Motion Blur Settings

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A: Shutter Angle- It controls motion blur.

Figure 1.14: Impact of Motion Blur

1.7 Blending Modes

Figure 1.15: Blending Modes