If you want to add more flare to your parallax, you can create particles using CC particle. If you want to add a little more drama, you can play with the orientation of the null object. Click “P” to open up the Position controls for the null object and start keyframing! I usually do a push in, which is great by itself. Now it’s time to add some movement! Make sure that 3D is turned on for your null object. Often I’ll scale it back up to 100% and push it as far back along the Z axis as possible, leaving some of it unseen to give room for movement along the Y and X axis. Take each layer and move it in 3D space – I usually move the background first. You’ll want to switch to two views so that you can see the distance in between your layers. Parent the camera to the null object – I find this to be a much easier way to animate camera movements. ![]() Enable 3D for each layer, add a camera, and add a null object. Your photos will be a lot larger, so you’ll want to scale them down just so you can fit them into your preview. Create a new comp and make it 1920 x 1080. Import your photoshop file, making sure to select “Editable Layers”. The sample area will move with the brush, so you will have to resample often.Īdding movement in After Effects. Then begin to “paint” over the edges of the object you want removed. Adjust the brush size to an appropriate size, and then alt-click to grab a sample of pixels. To use the Healing Brush Tool, hover your mouse over an area near the part of the image you want to replace. This method is great for hard edges and parts of the background with more detail. It will replace the area you paint over with the pixels from the corresponding sample area. Replace Mode: The replace mode does exactly that. This method is great for non-distinct parts of the image, like a blank wall, or out of focus background. Normal Mode: The normal mode blends the pixels that you’re painting over with the pixels from the corresponding sample area. Depending on the circumstance, I either use the “Normal” mode, or the “Replace” mode. If you want dramatic movement, well then you have your work cut out for you (but don’t despair!)įor this step, I use the Healing Brush Tool. If you’re only planning to have very slight movement, then you don’t have to have a completely clean background. ![]() It’s important to remove most, if not all, of your subject from the background to give you the most freedom when you start adding movement in After Effects. If you have a nice, out of focus, minimal background – then this will be easy! If you have a more complicated background, maybe with windows or doors, or any sort of lines – this will take a lot longer. Okay, so this step might actually take longer than the first … really depends on the photo. Removing your object/subject from the background. This method gives you a lot of control over the outcome and is a straightforward way to separate all the elements from your photo. ![]() You can also add hair detail back in this step that might’ve been missed in the quick select. I often soften up and smooth out the edges in this step, as the quick select tool usually creates fairly rough and unattractive edges. Use the brush tool to fine tune your mask. Create a mask out of the selection by clicking the “Add Layer Mask” button in the bottom right.ģ. It doesn’t have to be perfect, but the more accurate you can make it, the less time you’ll spend in the third step.Ģ. Use the quick selection tool to select your object or subject. ![]() (Note: make sure you hide the other layers you aren’t working on so you can actually see what you’re doing!)ġ. There are many ways to separate objects out from an image, and you may have your preferred technique – but below is what I find most effective. I start with the foreground first and move backwards – ending with the background image.īegin separating out the objects that belong to the layer you are working on. (If there’s three layers, the third is almost always a very out of focus foreground object/person).ĭuplicate the photo layer in photoshop. First you’ll want to determine how many layers there will be in your parallax – usually there’s only two or three layers. This step is the longest, tedious, and most important. Separating your photo into different layers.
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