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Color key masking in after effects11/29/2023 ![]() Please note that other Pearson websites and online products and services have their own separate privacy policies. This privacy notice provides an overview of our commitment to privacy and describes how we collect, protect, use and share personal information collected through this site. Pearson Education, Inc., 221 River Street, Hoboken, New Jersey 07030, (Pearson) presents this site to provide information about Peachpit products and services that can be purchased through this site. Context-click again, and choose Hide Locked Masks this time your view is uncluttered as well. Context-click on the mask, and choose Lock Other Masks now you can edit the active mask only. With Cycle Mask Colors checked on, which I recommend, the mask colors vary on their own.Īlso, when editing overlapping masks, you may find it helpful to use the context menu to lock and hide other masks. When Cycle Mask Colors is off, your masks are created in the same color (the mask itself and its swatch in the Timeline) each time. One is Cycle Mask Colors, which is tucked away in the User Interface Colors section of Preferences. Managing Multiple MasksĪ few features in After Effects exist specifically to help you manage multiple masks in a single layer. Thus applying these modes to the top mask in the stack has no effect. ![]() Remember that masks render from top to bottom, so each mask's mode applies to its relationship with the layers above it. Keep these in mind when combining multiple feathered or semi-transparent masks. No pixel within the combined masks will have a value that is not already represented in one of the overlapping masks either the lighter or the darker of the two will be represented.įigures 3.20a and b With a Lighten (a) or a Darken (b) mask, the transparency values are chosen either from the mask set to this mode or those overlapping it, depending on which has the lighter (higher) or darker (lower) values. That's when Lighten and Darken modes come into play.įigures 3.20a and b show the result of using each of these modes they prevent mask densities from building up the way that they do with the other modes. When combining masks that have semi-transparent areas, either because the opacity of the masks is less than 100% or, as in the examples shown here, because the edges are heavily feathered, you may not want densities to have a linear relationship, building them up. In the digital world we sometimes speak of masks and alpha channels as having "density," and overlapping semi-transparent areas must be managed to avoid having the densities build up in undesirable ways. It is therefore the inversion of opacity or alpha values the higher the density, the less light is transmitted. "Density" is traditionally a film term describing how dark (opaque) the frame of film is at a given area of the image. The Subtract mask will now operate as expected if its opacity is lowered from 100%. The workaround is to add a mask at the top of the stack, set to Add mode, giving the mask the dimensions of the entire layer (double-click the Rectangular Mask tool). This is the identical result to applying the same mask in Add mode with Invert checked, although in that case the behavior is at least anticipated. But instead of the anticipated result, displaying the layer at full opacity and the masked area at 50%, the masked area is subtracted 100% and the rest of the layer displays at 50% opacity! You create a mask for the area to be dialed back, set it to Subtract, and set Mask Opacity to 50%. ![]() Say there's one part of an overlaid element that you want to mask and reduce to partial opacity, perhaps 50%. ![]() Does a bug still count as a bug if the development team knows about it and has decided to leave it as is to be backward-compatible? I'll let you be the judge. ![]()
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