You can find the roto brush tool on the right side of the toolbar.
Using the roto brush tool in After Effects For this effect we will make my moving hands glow and trying to animate a mask frame-by-frame to follow my hands can be incredibly tedious so we will be using the roto brush tool instead. Using animated masks is a viable option if the moving element is very simple in shape. There are different ways to achieve this, the main choices are using an animated mask or using the roto brush tool (available in Adobe After Effects CS5 or later). When dealing with moving elements, you will have to rotoscope the element which means cutting them out frame-by-frame, to separate them from the footage. No matter whether the element you want to apply a glow effect to is static or moving in your scene, you will have to separate it from the base footage so you can apply effects to it independently.
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Now this was pretty simple! But what if we want to make a moving element glow? Read on to find out how to add a glow effect to a moving object in your scene! How to make a moving element in your scene glowĭuplicate the base layer just like we did for the rubber duck and call it ‘Glowing Hands’.
Glow Intensity: this property determines how strong your glow effect will be.Glow Radius: this property controls the size of your glow effect.A high glow threshold will only have the bright elements of your layer glow, a low threshold will have darker areas glow as well Glow Threshold: this value controls which parts of your layer will glow.Glow Based On: you can choose whether to base the glow on the colour (contents) or the alpha channel (outline) of your footage.To force dithering for previews, apply an 8-bpc effect that does nothing-such as the Arithmetic effect with the default values-to an adjustment layer.Most parameters of the Glow effect are pretty self explanatory and I recommend that you do play around with them to figure out what they do and have some fun, but here are the most important ones and what they do: This dithering is not introduced for previews. To mitigate banding, After Effects introduces dithering of colors when the colors are converted to 8-bpc colors, including when rendering and exporting to an 8-bpc format. Note: Merely increasing the color depth within a project won’t eliminate gradients if the output format has a low bit depth. Working in a higher bit depth provides higher precision for calculations and greatly reduces quantization artifacts, such as banding in gradients. “Even if you’re using 8-bpc footage and are creating movies in 8-bpc formats, you can obtain better results by having the project color depth set to 16 bpc or 32 bpc. After Effects Help has additional tips, which reinforces thinking about delivery codecs, Oddly enough, many of the YouTube tutorials explaining how to eliminate banding actually have banding, which is often revealed after export compression then recompression by the streaming service. A touch of complexity, low detail avoiding busy backgrounds, will reduce color artifacts on heavier encodes. And it might be good to avoid solid color (which become gradients after lights hit them) on backgrounds if your video is intended for the web. If the natural quadratic falloff of the Optical Flares has schmutz, Andrew Kramer says you can add contrast, to clip the subtle light falloff away from the center. If you’re using the Ramp plug-in, increasing Ramp Scatter may help. The stuff on cable systems is subject to God knows what compression and recompression, so being conservative with gradients may be the better part of valor. This solution should work in any application with a video noise filter. Maybe people can’t preview in the appropriate color space or codec to see banding, which often can be eliminated by adding the Noise filter in After Effects or Premiere (or Add Grain in AE), at maybe a 1-5% setting.
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It’s a bit of a mystery why there’s still so much banding in TV & web graphics, but less mystery for for web video.
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