After Effects automatically connects the points for you. Click to create anchor points around the shape of the actor.This option allows you to click to create a few anchor points and After Effects automatically fills in the curves between those points for you. Also, choose the RotoBezier option in the Tools panel. As long as a layer is selected when you choose one of the drawing or shape tools, After Effects assumes that rather than create a new object, what you really want to do is create a mask. Choose the Pen tool > from the Tools panel.Scrub back to the beginning and make sure the layer is still selected in the Timeline.
First, drag the current-time indicator (CTI) forward in the Timeline to see how much space the actor is going to occupy during different parts of the movie. There’s no point in going to the effort of keying out the entire background if the actor only occupies a small part of the space, as is the case with the composition here. The first task involved in keying is creating what is referred to as a garbage mat.Hide the colorful background.psd layer by clicking the eye icon > left of the layer name.You will place him on a new background, contained in the colorful background.psd layer.įigure 1: The Man_ongreen*starter composition contains a movie of an actor shot against a green screen and a Photoshop layered document containing the new background. This composition contains the Man_ongreen.mov movie footage, in which the actor was shot on a green background. In After Effects, choose File > Open Project and open Keylight.aep.Watch this tutorial in the Adobe Creative Suite 3 Video Workshop. Requirements To follow along with this article, you will need the following software and files: In this tutorial, you’ll learn how to use Keylight and how to render the results to a QuickTime movie or a Flash video file with an embedded alpha channel. Keylight has been used to make many major motion pictures and videos. In Adobe After Effects CS3, this can be done using any one of a number of keying plug-ins. The way this is usually accomplished is by shooting the actor against a green or blue background, then removing or keying out the green or blue color, and using the results with an alpha channel over a new background.
Keying with the Keylight plug-in Chris MeyerĪ common visual effects task is to take an image of an actor that’s been shot with one background, remove the background, and place the figure over a new background.
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