Graphics Reference
In-Depth Information
6
Reverse the CTI 10 frames backward (Shift
Page Up).
7
Select the Move Tool (V) and reposition the vertices around the hand,
trying to keep each vertex located near the image feature where it was
initially positioned.
Sometimes the change in the movie clip is so
pronounced that you lose track of the object. To
ease this problem you can deactivate the Mask's
stencil to view the entire frame as you manipulate
the Mask's path.
8
Uncheck the Render option in the Footage Window.
9
Repeat steps 6 and 7 until the object is gone from the clip.
10
Return to frame 24, then advance 10 frames to continue your
Rotoscope forward.
As you progress through Rotoscope Garbage Matte creation, you will often
have to revise your precision by increasing Magnification (the Period key
increases screen magnification), and/or reducing the frame advance/decline
from 10 frames down to single frame.
11
Reactivate the Effects for the PDA layer, and reactivate the Render
check-box in the Footage Window.
12
Press 'F' to open the Mask Feather properties; set it to a value that
blends the green away to black without removing any of the hand.
As a final step, you should examine the Key with the Mask enabled, checking
for rouge frames where the Rotoscoped object intersects with the feathered
Mask. For these instances you can animate the Feather along with the Mask
Shape.
As your scenes needing Rotoscope Masking become more complicated with
multiple and disconnected elements, you'll begin to use multiple animated
Masks. There's no law that says you have to do all your work with one
Mask - use as many as you need. Utilize Mask Blending Modes to make
compound animated Masks and Mask Opacity in concert with Mask Expansion
to tweak your object's features.
