After Effects Envelope Distort How Do You Outline Again

1. Afterward Effects User Guide
   
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14. Expressions and Automation
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15. Immersive video, VR, and 3D
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20. Memory, storage, performance
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After Effects includes a vast array of Distort furnishings, both native and 3rd-party plug-in, for distorting (morphing) an epitome. The Warp effects include the power to right or stabilize images with Rolling Shutter baloney.

Bezier Warp issue

The Bezier Warp event shapes an prototype using a closed Bezier curve along the boundary of a layer. The bend consists of four segments. Each segment has three points (a vertex and 2 tangents).

Andrew Kramer provides a video tutorial on his Video Copilot website that demonstrates the use of the Bezier Warp effect.

This effect works with 8-bpc and 16-bpc color.

Original (upper-left) and with variations of Bezier Warp practical (lower-left and right)

The positions of the vertices and tangents determine the size and shape of a curved segment. Dragging these points reshapes the curves that course the edge, thus distorting the image. For instance, you can utilise Bezier Warp to reshape one prototype to fit some other, as in wrapping a label around a jar. Bezier Warp is as well useful for correcting lens aberrations, such as the fisheye effect (barrel distortion) that can occur with a broad-bending lens; using Bezier Warp, you can bend the image dorsum to achieve an undistorted look. By animating the effect and choosing a high quality setting, yous can create fluid visual furnishings, such as a jiggling gelatin dessert or a fluttering flag.

Bulge result

The Bulge effect distorts an image around a specified point, making the image appear to bulge toward or away from the viewer, depending on the options y'all select.

This effect works with 8-bpc and 16-bpc color.

Original (upper-left), and with variations of Bulge applied (lower-left and correct)

Horizontal Radius and Vertical Radius

The width and superlative of the distorted area, in pixels. You can likewise set the radius values past dragging the selection handles in the layer.

Bulge Top

The apparent depth of the burl. Positive values push the bulge toward the viewer. Negative values pull the burl away from the viewer.

Taper Radius

The shallowness of the sides of the bulge. A taper radius of 0 produces a steep, pronounced bulge.

Antialiasing

The amount of edge smoothing (blending of colors) at the boundaries of the bulge. Anti-aliasing is applied only when the layer quality is set to Best.

Pivot All Edges

Prevents the edges of the layer from jutting.

Corner Pin issue

The Corner Pin effect distorts an paradigm past repositioning each of its four corners. Use it to stretch, shrink, skew, or twist an prototype or to simulate perspective or motility that pivots from the edge of a layer, such as a door opening. You can likewise use it to attach a layer to a moving rectangular region tracked by the motility tracker. Y'all tin move the corner pins in the Composition panel, the Timeline panel, or the Event Controls panel.

This effect works with eight-bpc, 16-bpc, and 32-bpc color.

Original image (upper-left), corner moved (lower-left), and terminal epitome (lower-right)

The AE Enhancers forum describes and links to an animation preset from Donat van Bellinghen for scaling a set of Corner Pin outcome points.

The CC Power Pin event—one of the Cycore FX plug-ins included with After Effects—provides some boosted features. For information, see the Cycore website.

Displacement Map issue

The Displacement Map effect distorts a layer by displacing pixels horizontally and vertically based on the color values of pixels in the control layer specified by the Displacement Map Layer property. The type of distortion created by the Deportation Map consequence tin vary greatly, depending on the control layer and options y'all select.

This effect works with 8-bpc, xvi-bpc, and 32-bpc color.

Original (upper-left), displacement map (lower-left), and displaced paradigm (lower-right)

The displacement is determined from the colour values of the displacement map. The colour values range from 0 to 255. Each value is converted into a scale ranging from -1 to 1. The displacement amount is calculated by multiplying the converted value past the maximum deportation corporeality you specify. A color value of 0 produces maximum negative deportation (–1 * maximum displacement). A color value of 255 produces maximum positive displacement. A color value of 128 produces no deportation.

The upshot uses the control layer specified by Displacement Map Layer, without considering any effects or masks. If you want to utilise the control layer with its effects, precompose it. If the command layer isn't the same size as the layer to which the effect is applied, it is centered, stretched, or tiled depending on the setting for Deportation Map Behavior.

Select Expand Output to allow the results of the consequence to extend across the original boundaries of the layer to which it'due south applied. Select Wrap Pixels Around to re-create pixels displaced outside the original layer boundaries to the opposite side of the layer; that is, pixels pushed off the right side appear on the left side, and so on.

Online resources for the Deportation Map effect

Rick Gerard provides additional explanation and an example projection for the Displacement Map event on his website.

Trish and Chris Meyer explicate how to use blending modes, layer styles, and the Displacement Map effect to brand text blend in to appear to be part of a surface in the PDF article "Writing on the Wall" on the Artbeats website.

Chris Zwar provides an instance project on his website that uses the Displacement Map result, the Turbulent Displace result, the Texturize effect, and a combination of Blur and Color Correction effects to create a transition in which an image appears as a watercolor image washed onto a rough piece of newspaper.

Robert Powers provides a video tutorial on the Glace Rock NYC website that shows how to create and use a depth matte and utilize it as a control layer for the Displacement Map result. The event is then used past the 3D Spectacles effect to create a stereoscopic image.

Liquify effect

The Liquify result lets you lot button, pull, rotate, enlarge, and shrink areas in a layer. Several Liquify tools distort the brush surface area when you hold down the mouse button or drag. The distortion is full-bodied at the heart of the brush area, and the upshot intensifies as you hold down the mouse button or repeatedly drag over an expanse.

You tin limit the expanse of a layer you distort past using Freeze Area Mask. Utilise the Reconstruction mode to lessen or undo distortions you've created.

The Liquify upshot can extend beyond the boundaries of the target layer. This extension is useful when the target layer is smaller than the composition.

This upshot works with eight-bpc and 16-bpc colour.

Original (upper-left), and with variations of Liquify practical (lower-left and right)

Andrew Kramer provides a video tutorial on his Video Copilot website that demonstrates the use of the Liquify effect to distort (morph) a homo face into the face up of a demon.

Mask properties

Freeze Surface area Mask

Determines the area of the image in which mask opacity and plumage settings impact the distortion. Areas outside the mask are distorted; areas within the mask are distorted according to Mask Opacity and Mask Feather settings.

Mask Opacity

Determines how the distortion affects the surface area within the mask. If Mask Opacity is gear up to 100%, the baloney doesn't touch the area within the mask; if information technology's prepare to 50%, the area inside the mask is affected. If y'all fix Mask Opacity to 100%, make certain to plumage the mask to prevent jagged edges on the mask.

Mask Feather

The width of the feather used to blend pixels between the masked area and the nonmasked area.

Warp

Pushes pixels forwards equally you drag.

Turbulence

Smoothly scrambles pixels. This setting is useful for creating fire, clouds, waves, and like furnishings.

Twirl Clockwise

Rotates pixels clockwise as y'all hold downward the mouse button or drag.

Twirl Counterclockwise

Rotates pixels counterclockwise as you hold downward the mouse button or elevate.

Pucker

Moves pixels toward the center of the brush area as y'all agree down the mouse button or drag.

Bloat

Moves pixels away from the middle of the castor area as y'all concord down the mouse push button or elevate.

Shift Pixels

Moves pixels perpendicular to the stroke direction.

Reflection

Copies pixels to the brush area.

Clone

Copies the distortions from around a source location to the current mouse location. Set up the source location by Alt-clicking (Windows) or Choice-clicking (Mac Bone) the source point.

Reconstruction

Reverses distortions or applies them in different ways.

Distort an image with the Liquify effect

Select the layer, and choose Effect > Misconstrue > Liquify.

In the Layer panel, create a mask to freeze areas of the prototype, and so set mask backdrop.

In the Effect Controls panel do the post-obit:

• Cull the mask yous created from the Freeze Area Mask pop-upwardly menu.

• Specify a brush size and brush pressure. A low brush pressure makes changes occur more than slowly, so it's easier to stop them at exactly the right moment.

• Specify a turbulent jitter to control how tightly the Turbulence tool scrambles pixels.

• Select View Mesh under the View Options control.

• Ready a distortion mesh get-go if desired.

• Drag the Distortion Percent slider to specify the amount of baloney.

Apply the tools to distort the preview of the image.

Employ the Reconstruction tool to fully or partially contrary the distortions or to modify the paradigm in new ways.

Disengage distortions with the Liquify effect

Use the Reconstruction tool and its modes to reverse distortions or redo them in new means.

Select the Reconstruction tool, and so cull a style from the Reconstruction Mode pop-up menu:

Revert

Changes unfrozen areas back to their predistorted state.

Displace

Reconstructs unfrozen areas to match the displacement at the starting bespeak for the reconstruction. You can apply Displace to move all or part of the preview image to a different location.

Amplitwist

Reconstructs unfrozen areas to match the displacement, rotation, and overall scaling that exist at the starting point.

Affine

Reconstructs unfrozen areas to lucifer all local distortions that be at the starting signal, including deportation, rotation, horizontal and vertical scaling, and skew.

Elevate the expanse to restore. The restoration occurs more speedily at the brush center.

Magnify effect

The Magnify outcome enlarges all or part of an image. This effect can act like a magnifying glass placed over an area of the image, or y'all can use it to calibration the unabridged image far beyond 100% while maintaining resolution.

This effect works with 8-bpc color.

Original (upper-left), and with variations of Magnify applied (lower-left and correct)

Shape

The shape of the magnified area.

Middle

The center point of the magnified expanse.

Magnification

Pct by which to scale the magnified surface area.

Link

How the Magnification setting affects the size and edge feathering of the magnified area. Setting Link to any value other than None disables the Resize Layer option.

None

The size and border feathering of the magnified area don't depend on the Magnification setting.

Size To Magnification

The radius of the magnified expanse is equal to the Magnification value (a percentage) times the Size value.

Size & Feather To Magnification

The radius of the magnified area is equal to the Magnification value (a percent) times the Size value. The thickness of the edge feather is equal to the Magnification value times the Feather value.

Size

The radius of the magnified surface area, in pixels.

Feather

The amount of edge feather, in pixels.

Opacity

The opacity of the magnified area, equally a percentage of the opacity of the original layer.

Scaling

The type of scaling used to magnify the image:

Standard

This method maintains sharpness in the prototype only produces pixelated edges at college values.

Soft

Uses spline algorithms. If you lot scale the image across 100%, Soft reduces edge pixelation and maintains image quality. Soft works well at large magnification amounts.

Scatter

Creates besprinkle or noise in the image equally the epitome enlarges.

Blending Mode

The blending style used to combine the magnified expanse with the original layer. The None option displays transparent pixels around the magnified surface area.

Resize Layer

If Resize Layer is selected, the magnified area can extend beyond the boundaries of the original layer.

Mesh Warp consequence

The Mesh Warp effect applies a grid of Bezier patches over a layer, which you tin can manipulate to distort areas of an image. Each corner of a patch includes a vertex and 2 to four tangents (points that control the curvature of the line segment that makes upward the edge of the patch). The number of tangents depends on whether the vertex is in a corner, on an edge, or inside the grid. Past moving the vertices and tangents, you can dispense the shape of the curved line segment. The finer the grid, the tighter the adjustments you can make to the area of the paradigm within the patch.

The Mesh Warp effect is commonly used to morph a pair of images to create a transition from ane image to another.

This outcome works with viii-bpc and 16-bpc colour.

Original (upper-left), with distortion mesh (lower-left), and with Mesh Warp applied (lower-correct)

To select multiple vertices, Shift-click the vertices.

Rows, Columns

Specify upward to 31 patches vertically (Rows) or horizontally (Columns). For broader distortion, use fewer patches. For finer control, employ more. Elevate the vertices and tangents to alter the grid shape. The image follows the grid shape according to the elasticity setting and the boundary created by the next patch.

Quality

Specifies how closely the epitome follows the shape defined by the bend. The higher the quality value, the more closely the image follows the shape. Higher quality settings require more than rendering fourth dimension.

Distortion Mesh

Animate the baloney over time by clicking the stopwatch.

Each patch becomes a purlieus for the distortion. For example, when you lot stretch a patch, the area of the image in the patch stretches, squishing the area of the epitome in the adjacent patch. The purlieus of the next patch protects the prototype inside information technology from being squished to zero. In other words, yous tin can't button an image out of its patch.

Mirror effect

The Mirror issue splits the image forth a line and reflects one side onto the other.

Reflection Center

The position of the line about which the reflection occurs.

Reflection Bending

The angle of the line about which the reflection occurs. An angle of 0° reflects the left side onto the right. An angle of 90° reflects the top onto the bottom.

This effect works with 8-bpc and 16-bpc color.

Offset effect

The Offset event pans the image within a layer. Visual information pushed off one side of the image appears on the opposite side. One employ of the Offset effect is to create a looping background from a layer. At Best quality, the offset is performed with subpixel precision.

Lloyd Alvarez provides a simple expression on the AE Enhancers forum that y'all can apply to the Shift Centre To holding to simulate a poorly timed film projector.

Shift Eye To

The new position of the middle point of the original epitome.

Blend With Original

The transparency of the effect. The result of the effect is blended with the original image, with the issue result composited on tiptop. The higher you lot set up this value, the less the effect affects the layer. For instance, if you fix this value to 100%, the event has no visible effect on the layer; if y'all set up this value to 0%, the original prototype doesn't show through.

This effect works with 8-bpc and 16-bpc color.

Optics Compensation effect

Use the Eyes Compensation effect to add or remove camera lens distortion. Elements composited with mismatched lens distortion cause anomalies in the blitheness. For case, tracked objects in a distorted scene don't lucifer the scene area considering linear objects don't follow the distortion of the scene.

This outcome works with 8-bpc, 16-bpc, and 32-bpc color.

Field Of View (FOV)

The field of view (FOV) of the distorted footage. The FOV is relative to the size of the source layer and the selected FOV Orientation. The distortion amount is relative to FOV. No full general dominion defines what FOV value applies to different lenses. Zooming in reduces the FOV, and zooming out increases information technology. Consequently, if footage includes different zoom values, y'all'll need to animate the FOV value.

Reverse Lens Baloney

Reverses the lens distortion. For example, to remove wide-angle lens distortion, set Field Of View to 40.0 and select Reverse Lens Distortion. Selecting Reverse Lens Baloney enables the Resize control.

FOV Orientation

The axis on which the Field Of View value is based. This setting is useful when matching estimator-generated elements to the rendered view angle.

View Center

Specifies an alternate centre point of view. This setting is useful when using custom lenses that aren't centered. However, normally, this control should exist left untouched.

Optimal Pixels

Maintains as much pixel information as possible through the distortion. When selected, FOV values are no longer reversible.

Resize

Resizes the layer when the applied baloney stretches the layer across its boundaries. To use this command, first select Contrary Lens Distortion, and then cull an option. Off doesn't resize the layer. Max 2X resizes the layer to a maximum of twice the original width and meridian. Max 4X resizes the layer to a maximum of four times the original width and height. Unlimited resizes the layer as far as it is stretched. This option may crave a large amount of memory.

Add together and match lens distortion with Optics Compensation

To match FOV values, layers must be the aforementioned size. Withal, if you select Resize, y'all tin can apply Optics Compensation again and reverse the distortion using the same value (reversed). You tin can and so apply another effect between the two instances of Eyes Bounty.

If you resize a layer using Eyes Bounty so precompose information technology into a larger limerick, you cannot reverse the distortion using the same value until yous enlarge the precomposed layer to adjust the expanded layer.

Select the layer with the baloney, and choose Effect > Distort > Eyes Compensation.

In the Issue Controls panel, conform the FOV until a distorted border or line appears straight. Annotation the FOV value.

Select the computer graphic layer you want to distort, and apply Optics Compensation to it using the FOV value from pace 2.

Select Contrary Lens Baloney.

Remove Optics Compensation from the footage layer.

Polar Coordinates upshot

The Polar Coordinates outcome distorts a layer by transposing each pixel in the (x,y) coordinate system of the layer to the respective position in the polar coordinate arrangement, or the reverse. This effect produces unusual and surprising distortions that can vary greatly depending on the image and the controls you select. The standard coordinate organisation specifies points by measuring the horizontal distance (x-axis) and the vertical altitude (y-centrality) from the origin. Each indicate is specified as (x,y). The polar coordinate arrangement specifies points past measuring the length of a radius from the origin (r) and its angle from the x-centrality (). Each point is specified every bit (r,).

This effect works with eight-bpc, 16-bpc, and 32-bpc colour.

Original (upper-left), and with variations of Polar Coordinates applied (lower-left and right)

Stu Maschwitz provides an example project on his ProLost blog that uses the Fractal Noise effect and Colorama effect to create the corona of the Sun and then uses the Polar Coordinates effect to wrap the line of noise effectually into a circle.

Interpolation

Specifies the amount of distortion. At 0%, no distortion occurs.

Type of Conversion

The conversion process to use:

Rect To Polar

Moves pixels past using (x,y) coordinates from each pixel as (r, ) coordinates. For example, an (10,y) coordinate of (ii,iii) becomes a polar coordinate with a radius of ii and a degree of 3. Horizontal lines distort into circles, and vertical lines into radial lines.

Polar To Rect

Moves pixels by using the (r,) coordinates from each pixel as the (x,y) coordinates. For example, polar coordinates of radius x and 45° go (10,y) coordinates of (10,45).

Reshape effect

The Reshape effect transforms one shape into another shape on the same layer, dragging the underlying image with it. The image is distorted to fit the shape of the new area. You create or import up to 3 masks to define the surface area you desire to misconstrue: the source mask, the destination mask, and the boundary mask (optional).

Chris Zwar provides a tutorial on the Creative COW website that demonstrates the use of the Reshape effect to morph one face into another. This tutorial provides many useful tips regarding the use and editing of correspondence points.

This effect works with 8-bpc and 16-bpc color.

Original including three masks (upper-left), and with variations of Reshape applied (lower-left and right)

Past default, Afterwards Effects assigns the masks a function (source, destination, or purlieus) based on the order in which you create or import them. Y'all can also specify different masks. Use a airtight path for each mask. All iii masks must be on the layer to which you apply the Reshape outcome, although you can copy masks from another layer.

Source Mask

The mask that contains the paradigm area you want to reshape. If not specified, After Effects uses the second mask created equally the Source mask. In the Composition and Layer panels, a cherry-red outline defines the source mask.

Destination Mask

The mask that determines the shape of the final image. If not specified, Later Furnishings uses the third mask created every bit the Destination mask. In the Composition and Layer panels, a yellowish outline defines the destination mask.

Boundary Mask

Specifies what role of the epitome is reshaped. Anything outside the boundary isn't contradistinct. If not specified, After Effects uses the first mask created equally the Boundary mask. In the Composition and Layer panels, a bluish outline defines the boundary mask.

Percent

The amount of reshaping. This value is useful for creating fractional distortions that increase over time.

Elasticity

Specifies how closely the prototype follows the shape divers by the curve. Potent acts like cold rubber, allowing the image to distort the least amount. Super Fluid acts similar hot rubber, allowing the paradigm to distort in a fluid fashion. The other settings fall between. The more fluid elasticity settings require more rendering time. If the concluding image doesn't follow the curve every bit expected, use the following elasticity guidelines:

• In full general, use the stiffest setting possible that doesn't create a polygonal image. Use a higher elasticity setting if the concluding image looks polygonal just the curves are smooth.

• Use Stiff, Less Stiff, or Below Normal if the source and destination masks are similar in shape and have low curvature (few curved segments that change management radically).

• Use Normal, Absolutely Normal, or To a higher place Average if the source and destination masks are dissimilar and have mild curvature.

• Use Loose, Liquid, or Super Fluid if the masks are unlike and have extreme curvature.

Correspondence Pairs

Shows the number of points on the source mask that are associated with, or mapped to, points on the destination mask. These points appear in the Composition console and command the interpolation of the baloney through infinite. To precisely control the distortion, y'all can add, delete, or move the points on either mask.

Y'all move the correspondence points with the Option tool, and you add together and remove correspondence points with the Add Vertex and Delete Vertex tools, which you activate by holding the Alt (Windows) or Pick (Mac OS) primal. You lot can only manipulate correspondence points when the effect instance is selected in the Issue Controls console.

A mask can take an unlimited number of correspondence points, but the more correspondence points it has, the longer the effect takes to render. If the baloney appears twisted, endeavor calculation more correspondence points at distinguishing points along the masks. (If the arc lengths of the curves between correspondence points are too different, twisting may result.)

Interpolation Method

Specifies how Later Effects determines the distortion of each video or animation frame in the interval between keyframes or if no keyframes exist.

Detached

Requires no keyframes considering it calculates the distortion at each frame. Discrete produces the nigh accurate results but requires more than rendering time.

Linear

(Default) Requires two or more keyframes and performs a straight-line interpolation between the keyframes. Linear produces steady changes betwixt keyframes and sharp changes at keyframes.

Shine

Requires three or more than keyframes and approximates the baloney using cubic curves, producing distortions with graceful motility.

Use the Reshape effect

Open up the layer in a Layer console.

Create or import the source, destination, and purlieus masks into the layer.

Name each mask so that you can easily recognize it in the Mask menu in the Consequence Controls panel.

In the Timeline console, choose None from the Manner menu for each mask.

Position the boundary mask to specify the surface area of the image that remains unaltered. Areas inside the boundary mask are distorted; areas outside the mask remain unaltered. Keep the boundary mask as far equally possible from the source and destination masks to avert foldovers.

Scale and position the source mask over the epitome.

Scale and position the destination mask to indicate the terminal shape. Distortions piece of work best if the source and destination masks are in approximately the same location.

Make the Limerick or Timeline panel agile, select the layer, and and then choose Outcome > Misconstrue > Reshape.

From the Mask menus, choose the source, destination, and boundary masks.

Adjust the Percent control, and choose an option for Elasticity.

In the Composition panel, add, delete, or movement correspondence points on the masks to control the distortion:

• To add together a point, Alt-click (Windows) or Option-click (Mac Bone) the mask.

• To delete a point, Alt-click, or Option-click the point.

• To movement a signal, drag it to a new location.

• To change the interpolation of a pair of points, Shift-click a signal. Smooth interpolation works all-time with circular masks, while linear interpolation works all-time with angular masks. You tin can combine smoothen and linear interpolation in the same composition.

Cull an interpolation method, and preview the distortion. If Linear or Polish produces undesired results, add more keyframes. If Discrete produces undesired results, choose another method.

Ripple effect

The Ripple consequence creates the advent of ripples in a specified layer, moving away from a center indicate in concentric circles. The effect is similar to dropping a stone in a swimming. Y'all tin also specify that ripples move toward the middle point.

Animate ripples at a constant speed using the Moving ridge Speed control. This command doesn't require keyframes for animation. Animate ripples at varying speeds past creating keyframes for the Ripple Phase control.

This issue works with viii-bpc and sixteen-bpc color.

Radius

Controls the distance the ripples travel from the middle point. The Radius value is a percentage of the image size. If the middle of the ripple is the centre of the layer and the radius is set up to 100, the ripples travel to the edge of the image. A value of 0 produces no ripples. Like ripples in water, ripples in the layer become smaller equally they travel farther from the middle.

To create a unmarried-wave ripple, prepare Radius to 100, Wave Width to a value in the range from xc to 100, and Wave Peak as desired.

Center Of Ripple

Specifies the centre of the outcome.

Type Of Conversion

Specifies how the ripples are created. Asymmetric produces more realistic-looking ripples; disproportionate ripples include lateral move and produce more distortion. Symmetric produces movement that travels simply outward from the center betoken; symmetric ripples produce less distortion.

Wave Speed

Sets the speed at which the ripples travel outward from the middle point. When you specify a wave speed, the ripples are automatically animated at a abiding speed (without keyframes) across the time range. A negative value makes the ripples move toward the middle, and a value of 0 produces no movement. To vary wave speed over time, set this control to 0, and then create a keyframe for the Ripple Stage property of the layer.

Wave Width

Specifies the distance, in pixels, between wave peaks. Higher values produce long, undulating ripples, and low values produce many small ripples.

Wave Height

Specifies the elevation of the ripple wave. Taller waves produce greater distortion.

Ripple Phase

Specifies the point along the waveform at which a moving ridge cycle begins. The default value of 0° starts the wave at the midpoint of its downward slope; 90° starts it at the everyman betoken in the trough; 180° starts it at the midpoint of the upward gradient, and so on.

Smear effect

Using the Smear upshot, you lot define an area within an prototype and then motion that area to a new location, stretching, or smearing, the surrounding office of the image with it. Apply masks to define the area you want to distort.

This effect works with 8-bpc and 16-bpc colour.

To use Smear, commencement create or import two masks: the source mask and the boundary mask. You lot tin can create masks on the layer in Afterward Effects or employ masks created in Adobe Illustrator. To utilize a mask created in Illustrator, copy the mask and paste information technology into a layer in Later Effects. Masks must be closed to piece of work with Smear; if a mask is an open trace, Later on Effects closes it when you select information technology. Both masks must be on the aforementioned layer as the footage to which you utilise the Smear effect, although you lot can copy masks from some other layer.

When you movement the source mask within the image, Smear stretches the portion of the image within the boundary mask to follow the edges of the source mask. The boundary mask tries to protect the paradigm outside information technology from being stretched. Both the original position of the source mask (set in the Layer panel) and the starting time position of the source mask are displayed in the Limerick console. A low-cal reddish outline indicates the first position of the source mask; a dark outline indicates the new position.

Y'all can animate the position, size, and rotation of the source mask as it moves to its first position. You can besides breathing the original position of the source mask in the Layer panel.

Processing tin accept up to several minutes with certain settings. Computation time increases as the source mask gets closer to the boundary mask. Processing is interrupted when you click a control.

Source Mask

Specifies a mask as the source mask. By default, After Effects selects the 2nd mask y'all create or import for the layer as the source mask.

Specify both a purlieus mask and a source mask to create a distortion.

Boundary Mask

Specifies a mask equally the purlieus mask. By default, After Effects selects the kickoff mask y'all create or import as the boundary mask.

Mask Commencement

Specifies a destination position for the source mask. The kickoff is a position specified by x and y coordinates, which appear to the right of the Offset push button. To fix an starting time location, click the Outset push button, and so click the epitome in the desired location. To set up the start position numerically, type a new value for each centrality. When you don't need the precision provided past Mask Start, you can but drag the source mask offset in the Composition panel.

Unwanted undulations may occur if the source mask is close to the boundary mask during animation.

Mask Rotation

Rotates the source mask around its center point, between 0° and 360°.

Mask Scale

Scales the source mask (at its offset position) larger or smaller, in relation to its original position.

Percent

Specifies what percentage of the smear is performed. For instance, when Percent is gear up to 50%, Smear performs one-half of the smear you accept specified by moving, scaling, and rotating the source mask. This value doesn't impact the location of the original and offset positions of the source mask; it affects simply the percentage of the effect that is performed.

Elasticity

Specifies how closely the image follows the shape divers by the curve. Stiff distorts the to the lowest degree, while Super Fluid distorts the most. In full general, use the stiffest setting possible that doesn't create polygonal images.

Interpolation Method

Specifies a method for the interpolation that Smear performs between keyframes. Linear requires two or more keyframes and performs a straight-line interpolation between the keyframes. Detached produces animations in which the distortions change at keyframes. Shine requires three or more than keyframes and approximates the distortion using cubic curves, producing distortions with graceful motion. If yous need further precision in the animation between keyframes, add more than keyframes. For example, a distortion representing a 90-degree rotation betwixt 2 keyframes appears every bit a folding of the image. To brand this distortion more than fluid, add a keyframe for every 10°.

Use the Smear effect

Open the layer in a Layer panel.

Create or paste the masks to use equally the boundary mask and the source mask.

Position the boundary mask to specify the area of the layer you don't want Smear to impact.

Scale and position the source mask over the area you want to motility.

Make the Composition panel agile, and cull Effect > Distort > Smear.

Enter a Pct value to specify the corporeality of smear practical.

In the Limerick panel, motion the source mask to its destination position past dragging information technology or by using the Mask Beginning value.

Use the Mask Rotation control to rotate the source mask, and use the Mask Calibration control to scale it.

Drag the Percent slider as needed, and choose a setting for Elasticity.

Spherize outcome

The Spherize effect distorts a layer by wrapping a region of the image onto a sphere. The quality setting of the layer influences the Spherize consequence. Best quality samples the displaced pixels to subpixel precision; Draft quality samples to the nearest whole pixel.

This effect works with 8-bpc and sixteen-bpc color.

Transform effect

The Transform effect applies two-dimensional geometric transformations to a layer. This outcome supplements the transform backdrop available for each layer in the Timeline panel. Ballast Signal, Position, Rotation, Calibration, and Opacity properties function much the aforementioned as the layer transform properties in the Timeline panel.

You can specify the shutter angle for motion mistiness for this layer independently of the shutter angle for the composition. (Motion blur must be enabled for the layer and for the composition for this to be relevant.)

This consequence is relative to the input layer. Therefore, to make a layer rotate around the upper left corner, open the layer in the Layer console, choose Transform from the Layer panel bill of fare, and and so movement the anchor point and the position to the upper-left corner.

This effect works with 8-bpc and 16-bpc color.

Skew Axis

The axis near which skew occurs.

Turbulent Displace effect

The Turbulent Displace effect uses fractal noise to create turbulent distortions in an image. For example, use it to create flowing h2o, funhouse mirrors, and waving flags.

This effect works with 8-bpc, 16-bpc, and 32-bpc colour.

Displacement

The type of turbulence used. Turbulent Smoother, Bulge Smoother, and Twist Smoother each perform the same operations every bit Turbulent, Bulge, and Twist, except that the Smoother options create smoother warps and take longer to render. Vertical Deportation warps the epitome vertically only. Horizontal Displacement warps the image horizontally just. Cross Deportation warps the prototype both vertically and horizontally.

Amount

Higher values cause more distortion.

Size

Higher values cause larger areas of baloney.

Offset (Turbulence)

Determines the portion of the fractal shape that is used to create the distortion.

Complexity

Determines the level of detail in the turbulence. Lower values crusade smoother distortions.

Development

Animative this setting results in changes of the turbulence over time.

Although the Evolution value is fix in units called revolutions, it's of import to realize that these revolutions are progressive. The Evolution country continues to progress infinitely at each new value. Use the Cycle Development option to render the Evolution setting to its original state at each revolution.

Evolution Options

Development Options provide controls that render the upshot for i short wheel and so loop it for the duration of the layer. Apply these controls to pre-render turbulence elements into loops, and thus speed upward rendering fourth dimension.

Cycle Evolution

Creates a loop that forces the Development state to return to its starting indicate.

Cycle

The number of revolutions of the Evolution setting that the fractal cycles through earlier it repeats. The amount of time between Evolution keyframes determines the timing of the Evolution cycles.

The Cycle control affects only the state of the fractal, non geometrics or, other controls, so you can become different results with different Size or Beginning settings.

Random Seed

Specifies a value from which to generate the fractal dissonance. Animative this belongings results in flashing from one set up of fractal shapes to another (inside the same fractal type), which is not commonly the result that you desire. For smoothen transition of the fractal noise, animate the Evolution property.

Create turbulence animations past reusing previously created Evolution cycles and changing simply the Random Seed value. Using a new Random Seed value alters the dissonance pattern without disturbing the Evolution animation.

Pinning

Specifies which edges to pin so that the pixels along those edges aren't displaced.

Resize Layer

Enables the distorted image to expand past the original bounds of the layer.

Create a seamless loop using Turbulent Displace

Set ii keyframes for the Evolution command, using total revolutions only.

Adjust the time between keyframes, and the number of Evolution revolutions until you're satisfied with the advent of the deportation.

Set a value for Bike that's evenly divisible by the number of revolutions that you set up for Evolution.

In the Timeline panel, move the current-time indicator to the time where the cycle completes. For example, if the Cycle value is 2, find the frame where the Evolution value is 2 revolutions.

Move the current-time indicator dorsum 1 frame, to forbid a indistinguishable frame in the seamless loop.

Press the right bracket key (]) to trim the layer Out point to the current fourth dimension.

Pre-render this layer, and import it into the project.

Set this prerendered footage item to loop. (See Loop a footage item.)

If you set up keyframes for any of the other controls, you must return them to their initial settings at the betoken on the Timeline panel where the cycle begins to echo. Otherwise, these properties don't loop.

Twirl effect

The Twirl result distorts an image by rotating a layer around its middle. The prototype is distorted more sharply in its center than at the edges, causing a whirlpool event at extreme settings. Because distortion in this effect is pregnant, After Effects uses special anti-aliasing techniques to produce the highest-quality paradigm. As a result, the Twirl outcome can be specially slow to render.

This effect works with 8-bpc, sixteen-bpc, and 32-bpc color.

Angle

How far to twirl the paradigm. Positive angles twirl the prototype clockwise; negative angles twirl information technology counterclockwise. For a whirlpool result, animate the bending.

Twirl Radius

How far the twirl extends from the twirl center. This value is a percentage of width or height of the layer, whichever is greater. A value of 50, for example, produces a twirl that extends to the edges of the layer.

Warp effect

Use Warp to misconstrue or deform layers. The warp styles piece of work much like the Warp effects in Adobe Illustrator and Warp Text in Adobe Photoshop.

This effect works with eight-bpc and sixteen-bpc color.

Warping a layer

Warp Stabilizer outcome

Warp Stabilizer is a new option for stabilizing unsteady footage. For details run into Stabilize motion with the Warp Stabilizer effect (CS5.5 and after).

Wave Warp effect

The Moving ridge Warp effect produces the appearance of a wave traveling across an image. You tin can produce various wave shapes, including square, circular, and sine waves. The Wave Warp effect is automatically animated at a constant speed beyond the time range (without keyframes or expressions). To vary speeds, set keyframes or expressions.

This effect works with 8-bpc and 16-bpc colour.

Wave Type

The shape of the moving ridge.

Wave Pinnacle

The altitude, in pixels, between wave peaks.

Moving ridge Width

The size of the wave in pixels.

Direction

The management the moving ridge travels across the image. For instance, a value of 225° makes the waves travel diagonally from upper correct to lower left.

Wave Speed

The speed (in cycles per 2nd) at which the waves travel. A negative value reverses the wave management, and a value of 0 produces no move. To vary wave speed over time, set this control to 0, and and then set keyframes or expressions for the Phase property.

Pinning

Which edges to pivot so that the pixels along those edges aren't displaced.

Stage

The point along the waveform at which a wave cycle begins. For case, 0° starts the wave at the midpoint of its downwardly slope, and 90° starts information technology at the everyman betoken in the trough.

Antialiasing

Sets the amount of anti‑aliasing, or edge smoothing, to perform on the image. In many cases, lower settings produce satisfactory results; a loftier setting can greatly increase rendering time. Anti-aliasing is performed just if the layer quality setting is Best.

3rd-political party effects

Third-party furnishings in this category included with After Effects are as follows:

• CC Curve It issue

• CC Bender event

• CC Blobbylize effect

• CC Flo Motility consequence

• CC Griddler effect

• CC Lens outcome

• CC Page Turn effect

• CC Power Pin event

• CC Ripple Pulse effect

• CC Camber event

• CC Smear effect

• CC Split upshot

• CC Split 2 effect

• CC Tiler outcome

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Source: https://helpx.adobe.com/after-effects/using/distort-effects.html

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