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I’m going to blur a little more than it should so you can see what’s going on. I’m going to use a blur that – fast blur which allows me to repeat the edge pixels because if you don’t repeat the edge pixels, you get this edge around there like that. To show you a way to do this, I’ll type in ‘blur’ in the effects and presets, search. I’m going to apply a blur to this bottom one. I can apply effects to one or the other and to cause his face to standout. Now, I have the masked version on top and the unmasked version down below. It’s pretty amazing actually, notice how it changed the whole shape of the mask as it goes down like that which is pretty cool.īut we don’t want this disembodied head floating around, right? The way you typically work with this, you take the exact same video and put it below that video that’s masked. You can stop this by clicking that track forward button again.Īnd that actually did most of the clip. The way mask works, when you make key frames is that they don’t key frame each point but, they key frame the whole shape at once basically. It’s creating key frames for all these little points. Notice, as you see around the points there on the mask changed to accommodate the motion of his face. Notice how the mask is adjusting for the shape of the face. It should, hopefully, take on the shape of the face and it is now tracking that. To track the outline of the face, which actually goes relatively quickly, you just click on the track forward button. I want to track the outline of the face and you may wonder why I do that and I’m going to show you why in a second. We’ll go to the outline only to begin with now. There’s an outline version and a detailed version. Although, these four things are gone, these four buttons have disappeared. Once I add the mask, the mask is active, take a look at the tracker. But that has now told After Effects that this is where the face here, not really define the face but I’m telling it, “Here is where the face is located.” If I don’t let go yet and hold down the spacebar, I can move it around very easily – if you haven’t worked with ellipse before or a shape tool before.
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If you look at tracker, you can track the camera when you’re trying to simulate a 3D motion. The way you open up tracker is by going to Window > tracker. Not a Video Academy member? Click here to learn more about the BlueFx Video Academy Jeff Sengstack will demonstrate some of the new features in both updates as well as explain changes made to previewing and rendering. I rarely use the Effect due to this very vast difference in the relationship of the distortion to the object.Access your ‘After Effects CC 2015 (13.6): New and Updated Features ’ Live Class in the After Effects Academy. There's no need to expand the appearance if you use the Envelope Distort rather than the effect. This way the envelope is still editable regardless of how you may transform the object. This applies the distortion (warp) relative to the object, not the artboard.
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If you wish to retain the live aspect of the warp so it can be edited again later if needed, AND have it relative to the object use #2 above. As Bakabaka answered, if you use Object > Expand Appearance after applying the effect, you "bake in" the effect making it no longer editable and it will then rotate with the object. This means is you rotate or distort the object with the effect applied, the effect remains relative to the artboard edges and will not rotate with the object. If you use #1 above, then the effect is created relative to the artboard. Object > Envelope Distort > Make with Warp > Arc.There are 2 ways to apply the Arc warp to an object: