When you create a title or graphic in After effects, you may want to composite the render over footage in your editing application instead of AE. To do this you need to simply export your video with the alpha/transparency information.
To render it this way, add your comp tot the render queue (be sure to have no background layer) and use QuickTime as the output format. Select a codec like Animation or PNG and be sure to change the depth to RGB + Alpha. This option is not available for all codecs.
Some editing applications like Vegas video require you to set the properties of the footage to premultiplied so that it will interpret the transparency correctly.
It’s no secret that After Effect can stabilize footage based on a single point for position and another for rotation with the “stabilize motion” feature. If you have a somewhat static shot and need to “lock” it off, this method can be helpful for holding this shot in place. However, what about if your footage has a dolly movement or the camera man is walking around? How can you stabilize footage that doesn’t stay in one place?
Well there is a way. Using some of the powerful techniques (with permission) from Mark Christianson and his expert book on After Effects, I plan on showing you a few ways to “smooth” out footage but without changing the shape or movement of the shot. Imagine being able to simply remove fast bumps or jerks in a shot without affecting the natural feel of the cinematography.
I plan to demonstrate several examples and solution but I’m curious if people have come across this subject while working in After Effects…
We’re not blowing up buses or traveling through time with this tutorial but I can tell you this technique by Marc just impresses me thoroughly and I look forward to presenting it.
The texture has also been changed to a static mask for distribution using the Auto-Trace Tool, although the actually texture can be acquired as part of our Evolution DVD along with many other great design elements. You can see a Comparison Here.
The only difference between this composite and the tutorial is the “cut map” used was modified for a larger “hole-in-the-face” and then the PreComp was used to matte the terminator skull into the shot. There is also a shadow layer used to make the cut appear deeper. Of course this was simply for entertainment and to show other possibilities.
In this new tutorial we’ll take a look at creating a healing wound effect in After Effects. We’ll also cover some advanced motion tracking techniques and we will also uncover a shocking secret about Sam…
Using various roto and split-screen effects we transformed a two-man SWAT team into a full squad for this demo scene. Sam Loya reprises his role as the “guy who probably gets killed”, in this exciting industrial saga. The main goal of this scene was to film everything as if we had a dozen guys instead […]