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After Effects - Alpha Channel, Mask & Matte

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A Beginner's Guide to Alpha & Luma Mattes | After Effects Tutorial

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You NEED to be using Null Objects in After Effects

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Difference Between Track Matte and Mask in Adobe After Effects CC (2017)

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6 Creative Masking Effects in Adobe Premiere Pro

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How to Create Animated Mattes in Adobe Premiere Pro

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Use track mattes for stunning visual styles in Adobe Premiere Pro

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Demystifying mattes, masks & alpha channels!

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Compositing is a digital process where two or more image sequences are combined in order to build a single scene out of multiple layers. A common simple form of compositing is the addition of titles to a video. In order to create layers of video, the editing software needs to be instructed as to which parts of which images should be seen and which parts.

The history of digital compositing

1898 George Melies in his 1898 film Un Homme de Têtes was the first to use a Compositing Matte special effect. Multiple exposures were used to combine more than one frame together: by blacking out part of the frame using blocks of painted glass and placing these blocks where the heads would later be positioned and re-filmed, he then rewound the film and this time painted a black matte on
everything else in the frame, exposing only the part of the frame that had initially been kept unexposed by the squares of black glass. This resulting double exposure allowed for two or more images to co-exist within a single frame (a
composite frame).

Early 1900s techniques for superimposing images onto a shot developed quickly

1903 The Great Train Robbery and many other popular films used Melies' ‘in camera’ special matte effect.

‘glass shot’ ‘real world compositing’: an augmented set was overlaid by painting scenery onto glass in front of the camera.

black matte effect: glass in the frame was painted black so that detailed scenery could be added later and superimposed over these black/non-exposed parts of the film. The difficulty with this technique was that for the illusion to work, each shot needed to be static and no action could pass the line of the painted silhouette.

1920-1940s: travel matte and keying
Travel matte technology became a field of intense experimentation and competition with the use of different lights and ways of separating or ‘keying’ subjects from their background for superimposition into a different scene.
1927  F.W Murnau’s film Sunrise (1927). The actors were shot against an entirely black background and their silhouettes were then superimposed onto a scene.
1933 The Invisible Man (1933). The actor wore a black velvet suit and was filmed against a black background. Later the same footage was exposed by filming the set and other characters to create the effect of a partially ‘invisible man’.
1933 King Kong and 1940 The Thief of Bagdad: use of coloured lights to separate subjects from their background.

Digital developments; 'green screening'

Once digital video started to replace celluloid, the separation of signals and colours took on a mathematical approach– colours were interpreted and ‘keyed’ so that certain colour signals eg green were interpreted by the computer to be
transparent. Green is most often chosen over blue because it is a less common colour in costumes and can be used outdoors (against a blue sky), and because digital
cameras are by design more sensitive to green light.

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Look at the work of animators who use compositing techniques. Reference some of the names mentioned in the preceding text and below are some examples of artists who work with compositing.

Heather Phillipson, Zero point garbage matte (2014)

Andy Holden, Chewy Cosmos (Panels to the Walls of Heaven) (2013)

Benjamin Popp, East Lake Sans Souci (2017)

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Research 4.2: Compositing: Masks and Mattes

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Look at the work of animators who use compositing techniques. Reference some of the names mentioned in the preceding text and below are some examples of artists who work with compositing.

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Heather Phillipson, Zero point garbage matte (2014)

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Heather Phillipson, Zero point garbage matte (2014)

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an odyssey through the inner ear and into the brain - upending perception, digital images, olympic sports and medical procedures.

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Andy Holden, Chewy Cosmos (Panels to the Walls of Heaven) (2013)

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Andy Holden, Chewy Cosmos (Panels to the Walls of Heaven) (2013)

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Chewy Cosmos (Panels to the Walls of Heaven)

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Film commissioned by TATE Media and Channel 4
3mins
Broadcast 28th Feb 2012 as part of Random Acts

Made from one years cuttings of images of make-up 
collected by my mum and I from woman's magazines, 
animated by hand using a scanner.

Sound track compossed by the Grubby Mitts (Holden/Illingworth) 2013

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Benjamin Popp, East Lake Sans Souci (2017)

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Benjamin Popp, East Lake Sans Souci (2017)

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A diary/travelogue film shot on super 16mm with differing frame rate transfers overlaid upon one another.