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In this tutorial, I will show you how to key out a greenscreen using the basic tools in After Effects 6.5 Standard.One thing I want to stress before I even open After Effects is to set up your shot properly! This will save you a HUGE amount of time in post. Here are a couple of tips.
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 After Effects ships with a ton of snazzy paint effects (Stroke, Scribble, Vegas, Vector Paint, Paint…), so the clunky old Write-on effect is generally ignored. Though it’s lacking advanced features, it does do something the other effects neglect: it keeps track of the virtual brush’s location at each point-in-time in a property called Brush Position. |
 The following technique from CreativeCOW member Todd Groves can be applied to situations where the actor or object that is placed before a greenscreen/bluescreen has some element about them that cannot be separated by the standard approach to keying. The situation that inspired this solution involved a blonde haired actress in front of a greenscreen. |
 How many times have you watched the opening credits of a movie and thought, “I wonder how many masks they had to use for that?” I am going to show you how to to create some interesting effects without the use of masks using a built in tool in After Effects 6.5 called the Gradient Wipe. |
 On March 1, 2005, Adobe released a free HDV plug-in for Adobe Premiere Pro 1.5. The press release went out to all of the DV sites and magazine outlets, and almost immediately, we started getting emails here at the Digital Video Professionals Association (www.dvpa.com) asking one simple question: “What’s HDV?” |
 What do still images have to do with moving video? The short answer is, a lot! Moving and static images are constantly intertwined. Still photos are always finding their way into our video edits, as photos are often easier to acquire than footage. |
 With the addition of Cycore FX in After Effects 6.5, the path was finally open for incredible particle animation in our favorite program. Mixing some of the particles with After Effects’ 3D environment can lead to some pretty interesting effects! |
 Creating an interesting title sequence can involve many different techniques. But here’s one simple trick that can be used for almost any type of project—Offset. Used in conjunction with the Displacement Map filter, it can also add much reality to a shot. |
 Getting an object in After Effects to appear to cast a shadow on a 3D-rendered background, when in fact it’s nothing more than a 2D layer, is quite a challenge—but more than easily achievable using the incredible Displacement Map filter along with a few tricks. |
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These tutorials are brought to you courtesy of Layers magazine.
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Find an Operator
Operator: T Sheik
May 2008
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