![]() ![]() After you’ve set this up a time or two, the actual effect creation time is only a few minutes – the hardest part is pulling a clean key. And the very cool part is that the shadow moves as Andrew moves. This anchors the shadow to Andrew’s body and floats the top. There’s no perfect setting – the two pins you need to move are Upper Left and Upper Right. This allows us to bend the shape of the shadow to make it look like it is falling over and behind Andrew. The key is to be sure to select “Shadow Only,” this replaces Andrew’s face with his shadow. Gaussian blur looked the same as the Softness option and Directional blur just looked awful. NOTE: As I was writing this tutorial, I also experimented by adding Compound blur, which alters the blur applied to the shadow, but it develops artifacts very quickly. ![]() Then, increased Softness to put a gentle blur on the shadow. Change your Opacity settings to match mine I lowered opacity to 34%. This allows us to focus on creating the shadow for V2.Īpply Perspective > Drop Shadow to the V2 clip. Turn off the “eye” for V3 to make that track invisible. Press the Option ( Alt) key and drag the clip from V3 to V2 to make a copy of the keyed foreground. Switch the Ultra Key Output setting back to Composite. (Please, avoid shadows on your background screen if at ALL possible!) The only way I could do this, due to the shadow on the green-screen wall, was to create an Opacity mask to isolate him. Our goal is for the foreground to be solid white and the background solid black. Switch the Output menu in Ultra Key to Alpha channel and look at your key. Every key is different, so tweak the Ultra key settings to get a clean key. The analysis and solving phases occur in the background, with status appearing as a banner on the footage and next to the Cancel button. ![]() In the Tracker panel, click the Track Camera button. However, in this case, put the foreground on V3.Īpply Effects > Keying > Ultra Key to the top layer. Choose Effect > Perspective > 3D Camera Tracker. To create a chroma key (also called a “green-screen key”) put the background on V1. First, because it makes this a much harder key to create and, second, I want to determine where that shadow falls and what it looks like during editing. When I shot this, I should have moved him away from the green background to avoid casting a shadow on it. In order for this to work, we need to use green screen footage, so that we can isolate the shadow to the foreground. Andrew is casting a shadow on the background. Still, there are some very cool tricks here than can spark your thinking. If you export an object with inner or outer strokes. However, when you export the object, chances are there for the dimensions of the object to change depending on the type of stroke used. This tutorial is suitable for beginners - intermediate users. The answer is “Yes,” but it takes a few steps. Changing the stroke width or stroke alignment does not change the actual size of the object (in terms of the bounding box). An animation tutorial on how to create the perfect natural looking drop shadows using After Effects. Instead, I wanted to see if we can create a cast shadow in Premiere. There is undoubtably an easier way to do this in After Effects, but I don’t know After Effects. ![]()
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