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The right way to Use Observe Matte in After Results


Be part of movement designer Tim Lucke as he walks by means of his character animation course of in Adobe After Results. He’ll use expression controls, monitor mattes, and character rigging to convey an animated intro to life!

On this lesson Tim will undergo easy methods to use a monitor matte in After Results to point out you easy methods to apply modifications to a number of layers without delay, after which animate these layers. To study extra, you may watch the entire free After Results course Grasp Movement Design – Dynamic Character Animation in After Results.


One of many nice new options of the newest model of After Results is that they’ve completely revamped your entire monitor matte system and it is a lot better now. Previously we would have so as to add a monitor matte above every one among our layers and it might be actually annoying to handle all of them. With the brand new system, all we now have to do is create one grasp monitor matte and we are able to apply that to all our objects and it makes issues a lot less complicated. 

A Observe Matte is usually a nonetheless picture, a video, a graphic, textual content, or a form. For instance, you should utilize a textual content layer as a Observe Matte for a video layer to permit the video to solely present by means of the shapes outlined by the textual content characters. The underlying layer (the fill layer) will get its transparency values from the values of sure channels within the Observe Matte layer—both its alpha channel or the luminance of its pixels. – Adobe

The right way to Use Observe Mattes in After Results

Create a Observe Matte Grasp

This is how one can add a monitor matte in After Results. The monitor matte goes to be based mostly on its alpha transparency so I’ll use a form layer. The color would not matter.

draw a shape layerdraw a shape layerdraw a shape layer

I am naming this Observe Matte Grasp. Then, what we have to do is choose all our related layers, in order that’s all the things besides the cloud and the sunshine bulb.

highlight layershighlight layershighlight layers

You’ll be able to see the highlighted layers above, they’re all going to make use of this monitor matte grasp.

pick whippick whippick whip

To convey up the monitor matte settings it’s a must to use the button within the backside left, second in (it is highlighted blue above) and subsequent to the monitor matte settings you may see the swirl form which is a decide whip.

Choose Whip

pick whip grabpick whip grabpick whip grab

You’ll be able to seize the decide whip below Observe Matte subsequent to one among your layers and drag that to the monitor matte grasp layer and now all these highlighted layers will use the grasp monitor matte. After Results sees that you just’re utilizing a layer as a monitor matte and it’ll flip off the visibility, however it’s nonetheless there.

Animate – Worth Graph

To animate the principle motion of this character we’ll regulate the place of the physique, if we hit P that brings up the place properties. As on this case you are kind of transferring up vertically, I choose to make use of the worth graph quite than the velocity graph as a result of it is simpler to work with.

separate dimensionsseparate dimensionsseparate dimensions

To do that, right-click on the layer – Physique on this case – and select Separate Dimensions

keyframekeyframekeyframe

Within the Y place I’ve set a keyframe to have him pop up tremendous shortly. We do not need it to be straight although so this does not look nice. We wish some overshoot. 

adjust pop upadjust pop upadjust pop up

I’ve taken this remaining place keyframe, copied it and added it additional alongside. Then pushed up the character, which goes to provide it some bounce when he pops up.

Keyframe Easing

keyframe easingkeyframe easingkeyframe easing

Subsequent, I did some keyframe easing in order that he would not slowly bounce, he will bounce up at a relentless, pretty fast velocity. 

Add Repeater

eyeeyeeye

One factor we have to tackle is the one eye. With regards to eyes, we all know that the 2 eyes are going to maneuver collectively. As an alternative of duplicating this eye after which having to animate it twice, what I love to do – and this solely applies to form layers by the best way – is add a repeater.

add repeateradd repeateradd repeater

Subsequent to the layer, you may hit Add after which select Repeater, and that provides two copies of that, we solely need one so I can delete that after which use the Rework controls to place the copy in the fitting place.

reposition eyereposition eyereposition eye

Now if I wish to animate the pupils, I solely have to do this as soon as, and it’ll apply to each, so it saves a whole lot of work.

Conclusion

Our full course video will take you thru extra examples, however you may simply repeat the steps we have outlined above so as to add extra monitor mattes in After Results. Hopefully you’ve got realized some new abilities from this free After Results tutorial and make sure to take a look at the upcoming classes from this course.

After Results Templates From Envato Components 

Envato Components has hundreds of After Results templates to select from, and you’ll obtain and use as many as you want along with your month-to-month subscription. There’s additionally entry to music tracks, SFX, inventory video, graphic templates and plenty extra.

After Effects templates on Envato ElementsAfter Effects templates on Envato ElementsAfter Effects templates on Envato Elements

You may additionally wish to take a look at Envato Components’ month-to-month free recordsdata, which regularly embrace free After Results templates, and different belongings that you just may discover helpful to make use of along with your video mission.

Extra After Results Sources and Templates

About This Web page

This web page was written by Marie Gardiner from the transcript of a course by Tim Lucke. Marie is a author, writer, and photographer. It was edited by Gonzalo Angulo. Gonzalo is an editor, author and illustrator.

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