Adobe After Effects Projection Mapping
Tutorial: Projection Mapping onto Extruded Shapes in After Effects CS6+. Exporting images to After Effects. Site Map; Upgrade.
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The positions of the vertices and tangents determine the size and shape of a curved segment. Dragging these points reshapes the curves that form the edge, thus distorting the image.
For example, you can use Bezier Warp to reshape one image to fit another, as in wrapping a label around a jar. Bezier Warp is also useful for correcting lens aberrations, such as the fisheye effect (barrel distortion) that can occur with a wide-angle lens; using Bezier Warp, you can bend the image back to achieve an undistorted look. By animating the effect and choosing a high quality setting, you can create fluid visual effects, such as a jiggling gelatin dessert or a fluttering flag. The displacement is determined from the color values of the displacement map.
The color 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 by the maximum displacement amount you specify.
A color value of 0 produces maximum negative displacement (–1. maximum displacement). A color value of 255 produces maximum positive displacement. A color value of 128 produces no displacement. The effect uses the control layer specified by Displacement Map Layer, without considering any effects or masks.
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If you want to use the control layer with its effects, precompose it. If the control 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 Displacement Map Behavior. Select Expand Output to allow the results of the effect to extend beyond the original boundaries of the layer to which it’s applied. Select Wrap Pixels Around to copy 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. Rick Gerard provides additional explanation and an example project for the Displacement Map effect on. Trish and Chris Meyer explain how to use blending modes, layer styles, and the Displacement Map effect to make text blend in to appear to be part of a surface in the PDF article “Writing on the Wall” on the.
Chris Zwar provides an example project on that uses the Displacement Map effect, the Turbulent Displace effect, 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 paper. Robert Powers provides a video tutorial on the that shows how to create and use a depth matte and use it as a control layer for the Displacement Map effect.
The result is then used by the 3D Glasses effect to create a stereoscopic image. The Liquify effect lets you push, pull, rotate, enlarge, and shrink areas in a layer. Several Liquify tools distort the brush area when you hold down the mouse button or drag. The distortion is concentrated at the center of the brush area, and the effect intensifies as you hold down the mouse button or repeatedly drag over an area. You can limit the area of a layer you distort by using Freeze Area Mask.
Use the Reconstruction mode to lessen or undo distortions you’ve created. The Liquify effect can extend beyond the boundaries of the target layer.
This extension is useful when the target layer is smaller than the composition. This effect works with 8-bpc and 16-bpc color.
The Mesh Warp effect applies a grid of Bezier patches over a layer, which you can manipulate to distort areas of an image. Each corner of a patch includes a vertex and two to four tangents (points that control the curvature of the line segment that makes up 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. By moving the vertices and tangents, you can manipulate the shape of the curved line segment. The finer the grid, the tighter the adjustments you can make to the area of the image inside the patch.
The Mesh Warp effect is commonly used to morph a pair of images to create a transition from one image to another. This effect works with 8-bpc and 16-bpc color. The Polar Coordinates effect distorts a layer by transposing each pixel in the (x,y) coordinate system of the layer to the corresponding position in the polar coordinate system, 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 system specifies points by measuring the horizontal distance (x-axis) and the vertical distance (y-axis) from the origin. Each point is specified as (x,y).
The polar coordinate system specifies points by measuring the length of a radius from the origin (r) and its angle from the x-axis ( ). Each point is specified as (r, ). This effect works with 8-bpc, 16-bpc, and 32-bpc color. 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 three masks to define the area you want to distort: the source mask, the destination mask, and the boundary mask (optional). Chris Zwar provides a tutorial on the 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. Specifies how closely the image follows the shape defined by the curve. Stiff acts like cold rubber, allowing the image to distort the least amount. Super Fluid acts like hot rubber, allowing the image to distort in a fluid fashion. The other settings fall between. The more fluid elasticity settings require more rendering time.
If the final image doesn’t follow the curve as expected, use the following elasticity guidelines:. In general, use the stiffest setting possible that doesn’t create a polygonal image. Use a higher elasticity setting if the final image looks polygonal but 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 direction radically). Use Normal, Absolutely Normal, or Above Average if the source and destination masks are dissimilar and have mild curvature.
Use Loose, Liquid, or Super Fluid if the masks are dissimilar and have extreme curvature. 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 panel and control the interpolation of the distortion through space. To precisely control the distortion, you can add, delete, or move the points on either mask. You move the correspondence points with the Selection tool, and you add and remove correspondence points with the Add Vertex and Delete Vertex tools, which you activate by holding the Alt (Windows) or Option (Mac OS) key.
You can only manipulate correspondence points when the effect instance is selected in the Effect Controls panel. A mask can have an unlimited number of correspondence points, but the more correspondence points it has, the longer the effect takes to render. If the distortion appears twisted, try adding 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.). Using the Smear effect, you define an area within an image and then move that area to a new location, stretching, or smearing, the surrounding part of the image with it. Use masks to define the area you want to distort. This effect works with 8-bpc and 16-bpc color. To use Smear, first create or import two masks: the source mask and the boundary mask. You can create masks on the layer in After Effects or use masks created in Adobe Illustrator. To use a mask created in Illustrator, copy the mask and paste it into a layer in After Effects.
How To Do Projection Mapping
Masks must be closed to work with Smear; if a mask is an open trace, After Effects closes it when you select it. Both masks must be on the same layer as the footage to which you apply the Smear effect, although you can copy masks from another layer. When you move the source mask within the image, Smear stretches the portion of the image inside the boundary mask to follow the edges of the source mask. The boundary mask tries to protect the image outside it from being stretched.
After Effects Adobe Projection Mapping
Both the original position of the source mask (set in the Layer panel) and the offset position of the source mask are displayed in the Composition panel. A light red outline indicates the first position of the source mask; a dark outline indicates the new position. You can animate the position, size, and rotation of the source mask as it moves to its offset position.
You can also animate the original position of the source mask in the Layer panel. Processing can take 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. 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.
Discrete produces animations in which the distortions change at keyframes. Smooth requires three or more keyframes and approximates the distortion using cubic curves, producing distortions with graceful motion. If you need further precision in the animation between keyframes, add more keyframes. For example, a distortion representing a 90-degree rotation between two keyframes appears as a folding of the image. To make this distortion more fluid, add a keyframe for every 10°. The Transform effect applies two-dimensional geometric transformations to a layer. This effect supplements the transform properties available for each layer in the Timeline panel.
Anchor Point, Position, Rotation, Scale, and Opacity properties function much the same as the layer transform properties in the Timeline panel. You can specify the shutter angle for motion blur 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.).