Draw a Circle After Effects Shortcut

1. After Furnishings User Guide
   
2. Beta releases
   1. Beta Program Overview
   2. After Effects Beta Home
   3. Features in Beta
      1. Properties panel (Beta)
3. Getting started
   1. Go started with Later on Effects
   2. What'due south new in After Furnishings
   3. Release Notes | After Effects
   4. Afterwards Effects organization requirements
   5. Keyboard shortcuts in Afterward Effects
   6. Supported File formats | Later on Effects
   7. Hardware recommendations
   8. Planning and setup
   9. Setup and installation
4. Workspaces
   1. Full general user interface items
   2. Get to know After Effects interface
   3. Workflows
   4. Workspaces, panels, and viewers
5. Projects and compositions
   1. Projects
   2. Composition nuts
   3. Precomposing, nesting, and pre-rendering
   4. View detailed performance information with the Limerick Profiler
   5. Movie house 4D Composition Renderer
6. Importing footage
   1. Preparing and importing still images
   2. Importing from After Effects and Adobe Premiere Pro
   3. Importing and interpreting video and audio
   4. Preparing and importing 3D prototype files
   5. Importing and interpreting footage items
   6. Working with footage items
   7. XMP metadata
7. Working with text and graphics
   1. Text
      1. Formatting characters and the Character console
      2. Text furnishings
      3. Creating and editing text layers
      4. Formatting paragraphs and the Paragraph console
      5. Extruding text and shape layers
      6. Animating text
      7. Examples and resources for text animation
      8. Live Text Templates
   2. Motion Graphics
      1. Piece of work with Motion Graphics templates in Afterward Furnishings
      2. Use expressions to create drop-down lists in Move Graphics templates
      3. Piece of work with Essential Properties to create Motion Graphics templates
      4. Supervene upon images and videos in Move Graphics templates and Essential Properties
8. Drawing, painting, and paths
   1. Overview of shape layers, paths, and vector graphics
   2. Paint tools: Castor, Clone Stamp, and Eraser
   3. How to taper shape strokes
   4. Shape attributes, paint operations, and path operations for shape layers
   5. Use Start Paths shape effect to modify shapes
   6. Creating shapes
   7. Create masks
   8. Remove objects from your videos with the Content-Aware Fill panel
   9. Roto Brush and Refine Matte
9. Working with layers
   1. Selecting and arranging layers
   2. Blending modes and layer styles
   3. 3D layers
   4. Layer properties
   5. Creating layers
   6. Managing layers
   7. Layer markers and limerick markers
   8. Cameras, lights, and points of interest
10. Animation, keyframing, motion tracking, and keying
    1. Animation
       1. Blitheness basics
       2. Animating with Boob tools
       3. Managing and animating shape paths and masks
       4. Animating Sketch and Capture shapes using After Effects
       5. Contrasted animation tools
       6. Work with Data-driven blitheness
    2. Keyframe
       1. Keyframe interpolation
       2. Setting, selecting, and deleting keyframes
       3. Editing, moving, and copying keyframes
    3. Movement tracking
       1. Tracking and stabilizing motion
       2. Face Tracking
       3. Mask Tracking
       4. Mask Reference
       5. Speed
       6. Time-stretching and time-remapping
       7. Timecode and fourth dimension brandish units
    4. Keying
       1. Keying
       2. Keying effects
11. Transparency and compositing
    1. Compositing and transparency overview and resource
    2. Alpha channels, masks, and mattes
12. Adjusting color
    1. Color basics
    2. Utilise the Adobe Color Themes extension
    3. Color management
    4. Color Correction furnishings
13. Effects and animation presets
    1. Effects and animation presets overview
    2. Issue list
    3. Simulation effects
    4. Stylize effects
    5. Audio effects
    6. Distort effects
    7. Perspective effects
    8. Channel effects
    9. Generate furnishings
    10. Transition effects
    11. The Rolling Shutter Repair effect
    12. Blur and Sharpen effects
    13. 3D Channel effects
    14. Utility furnishings
    15. Matte effects
    16. Dissonance and Grain effects
        
    17. Detail-preserving Upscale effect
    18. Obsolete effects
14. Expressions and automation
    1. Expression
       1. Expression nuts
       2. Understanding the expression language
       3. Using expression controls
       4. Syntax differences between the JavaScript and Legacy ExtendScript expression engines
       5. Editing expressions
       6. Expression errors
       7. Using the Expressions editor
       8. Use expressions to edit and admission text properties
       9. Expression language reference
       10. Expression examples
    2. Automation
       1. Automation
       2. Scripts
15. Immersive video, VR, and 3D
    1. Construct VR environments in After Furnishings
    2. Apply immersive video effects
    3. Compositing tools for VR/360 videos
    4. Tracking 3D photographic camera motion
    5. Work in 3D Blueprint Space
    6. Preview changes to 3D designs real time with the Existent-Time Engine
    7. Add together responsive blueprint to your graphics
16. Views and previews
    1. Previewing
    2. Video preview with Mercury Transmit
    3. Modifying and using views
17. Rendering and exporting
    1. Nuts of rendering and exporting
    2. Export an After Furnishings project as an Adobe Premiere Pro project
    3. Converting movies
    4. Multi-frame rendering
    5. Automated rendering and network rendering
    6. Rendering and exporting still images and still-image sequences
    7. Using the GoPro CineForm codec in After Effects
18. Working with other applications
    1. Dynamic Link and After Effects
    2. Working with Later on Effects and other applications
    3. Sync Settings in After Effects
    4. Interact with Squad Projects
    5. Share and manage changes with Team Projection collaborators
    6. Creative Deject Libraries in Later Effects
    7. Plug-ins
    8. CINEMA 4D and Cineware
19. Retentiveness, storage, performance
    1. Memory and storage
    2. Improve performance
    3. Preferences
    4. GPU and GPU driver requirements for After Effects

Create and modify shapes using Pen and shape tools and copy paths into After Furnishings from Illustrator and Photoshop.

You create a shape layer by drawing in the Composition panel with a shape tool or the Pen tool. You can so add shape attributes to existing shapes or create shapes inside that shape layer. By default, if you describe in the Composition panel when a shape layer is selected, y'all create a shape within that shape layer, above the selected shapes or grouping of shapes. If you describe in the Composition panel using a shape tool or Pen tool when an image layer other than a shape layer is selected, you create a mask. For more information, see Create masks in After Effects.

Shortcuts for Shape tool is Q, and Pen Tool shortcut is Thou.

Before drawing in the Limerick console to create a shape layer, press F2 and deselect all layers.

Ordinarily, a new shape has a fill and a stroke that correspond to the Fill and Stroke settings in the Tools console at the time that the shape is drawn. You can use the aforementioned controls in the Tools console to change these attributes for a selected shape later on information technology has been drawn. Shapes created from text are created with fills and strokes that lucifer the fills and strokes of the original text.

Convert Vector Art Footage to Shape

You tin can create a shape layer from a vector fine art footage layer, and so modify it. With the ability to bevel and extrude objects in Subsequently Effects, yous can extrude the artwork, for example, extruded logos. For more information, see Extruding text and shape layers.

To convert a vector art footage layer to shape layer, chooseLayer > Create >Create Shapes from Vector Layer. A matching shape layer appears above the footage layer, and the footage layer is muted.

• Not all features of Illustrator files are currently preserved. Examples include: opacity, images, and gradients.
• Converted shapes ignore PAR overrides specified in the Interpret Footage dialog box.
• Gradients and unsupported types may show as 50% gray shapes.
• Files with thousands of paths may import slowly without feedback.
• The card control works on a single selected layer at a time.
• If you import an Illustrator file as a limerick (multiple layers), you cannot catechumen all those layers in one pass. However, you lot can import the file equally footage, and then use the command to convert the single footage layer to shapes.

To activate and cycle through the shape tools, press Q.

A polygon is a star without an Inner Radius or Inner Roundness property. So, the name of the shape created for a polygon or a star is the aforementioned: polystar.

You can create a mask by dragging with a shape tool on a selected layer in the Composition panel or Layer panel. You can create a shape by dragging with a shape tool on a selected shape layer in the Composition panel. If you lot drag with a shape tool in the Composition panel with no layer selected, you create a shape on a new shape layer.

To depict a mask on a shape layer, click the Tool Creates Mask button in the Tools panel with a shape tool active.

When you create a shape by dragging with a shape tool in the Composition console, you create a parametric shape path. To instead create a Bezier shape path, press the Alt (Windows) or Option (Mac OS) key before you click to begin dragging. You lot can release the key before y'all complete the drag operation. All mask paths are Bezier paths. (See Almost shapes and shape layers.)

Dragging starts when you click in the Composition panel or Layer console to begin drawing, and ends when you release the mouse button. Pressing modifier keys at different times during a unmarried dragging operation achieves different results:

• To reposition a shape or mask equally you are drawing, hold the spacebar or the heart mouse push button while dragging.

• To scale a circle, ellipse, square, rounded square, rectangle, or rounded rectangle around its center while drawing, hold the Ctrl (Windows) or Control (Mac Os) cardinal afterward y'all brainstorm dragging. Don't release the key until yous have released the mouse button to cease cartoon.

• To cancel the drawing operation, press Esc.

Each shape tool retains the settings of the most recent drawing operation with that tool. For example, if you draw a star and modify the number of points to exist x, then the next star that y'all depict will also have 10 points. To reset settings for a tool and create a shape with the default settings, double-click the tool in the Tools panel. (See Create a shape or mask the size of the layer.)

Draw rectangles, rounded rectangles, squares, and rounded squares

2.  (Optional) If drawing a rounded rectangle or rounded square, practice the following before releasing the mouse push button:

• To increase or decrease the corner roundness, press the Upward arrow cardinal or the Down arrow central, or ringlet the mousewheel forward or backward.
• To set corner roundness to the minimum or maximum, press the Left arrow fundamental or the Right arrow key.

3.  Finish drawing by releasing the mouse button. If drawing a foursquare or rounded square, release the Shift key later on releasing the mouse push button.

Squares are created to be square according to the pixel attribute ratio of the composition. If the pixel aspect ratio of the composition is not 1, then squares appear square in the Limerick panel merely if the Toggle Pixel Aspect Ratio push button is selected at the bottom of the Composition console.

Depict ellipses and circles

1. Select the Ellipse tool, and exercise one of the following:
   • To draw an ellipse, elevate diagonally.
   • To draw a circumvolve, Shift-drag diagonally.
2. Release the mouse to terminate cartoon. If cartoon a circumvolve, release the Shift key subsequently releasing the mouse push.

Circles are created to be circular co-ordinate to the pixel aspect ratio of the limerick. If the pixel attribute ratio of the composition is not 1, then circles appear round in the Composition panel but if the Toggle Pixel Aspect Ratio push button is selected at the bottom of the Composition panel.

Draw polygons and stars

2.  (Optional) Do the following before releasing the mouse push:

• To add or remove points, press the Upwardly arrow key or the Down arrow key, or whorl the mouse wheel forward or astern.
• To increase or decrease the outer roundness, press the Left arrow key or the Right pointer key.
• To keep the inner radius of a star abiding as you lot move the mouse to increment the outer radius, hold the Ctrl (Windows) or Control (Mac OS) key.
• To increase or subtract the inner roundness of a star, printing the Page Up key or the Page Down central.

three.  Release the mouse button to finish cartoon. If Shift-dragging to forbid rotation, release the Shift cardinal later releasing the mouse button.

You tin can create a Bezier mask using the Pen tool on a selected layer in the Composition console or Layer panel. You can create a shape with a Bezier path using the Pen tool on a selected shape layer in the Limerick console. If you draw with the Pen tool in the Composition panel with no layer selected, y'all create a shape on a new shape layer.

Creating a RotoBezier path is like to creating a manual Bezier path. The primary difference is that direction lines for vertices and curvature for path segments are automatically calculated.

With the Pen tool selected and the RotoBezier selection deselected in the Tools panel, click in the Limerick panel where y'all want to place the first vertex.

Click where you want to place the side by side vertex. To create a curved segment, drag the direction line handle to create the curve that you want.

To reposition a vertex later on you lot've clicked to place it simply before y'all've released the mouse button, hold the spacebar while dragging.

The last vertex that y'all add appears as a solid foursquare, indicating that it is selected. Previously added vertices become hollow, and deselected, every bit y'all add more vertices.

Repeat step 2 until yous are ready to complete the path.

Consummate the path past doing ane of the following:

• To close the path, place the arrow over the outset vertex and, when a closed circumvolve icon appears next to the arrow , click the vertex. Y'all tin can also shut a path by double-clicking the concluding vertex or choosing Layer > Mask And Shape Path > Closed.
  
• To leave the path open, activate a different tool, or printing F2 to deselect the path.

The simplest path that you can depict with the Pen tool is a straight line, made past clicking with the Pen tool to create two vertices. By standing to click, yous create a path made of straight-line segments connected by corner points.

Place the Pen tool where you want the straight segment to begin, and click to identify a vertex. (Do not drag.)



Clicking with Pen tool creates straight segments.

Click again where you want the segment to end. (Shift-click to constrain the angle between segments at the corner indicate to a whole multiple of 45°.)

Go on clicking to fix vertices for additional directly segments.

You lot create a curved path segment by dragging direction lines. The length and direction of the direction lines determine the shape of the curve.

Shift-drag to constrain the angle of the direction lines to whole multiples of 45°. Alt-drag (Windows) or Option-drag (Mac OS) to alter only the approachable management line.

i.  Place the Pen tool where you want the curve to begin, and hold the mouse push button downward. A vertex appears, and the Pen tool pointer changes to an arrowhead.

ii.  Drag to modify the length and management of both direction lines for a vertex, and then release the mouse push.

Cartoon the outset vertex in a curved path

A. Placing the Pen toolB. Starting to drag (mouse button pressed)C. Dragging to extend direction lines

3.  Place the Pen tool where you desire the curved segment to finish, and practice one of the following:

• To create a C-shaped curve, elevate in the management opposite from the direction that y'all dragged the previous direction line, and then release the mouse push.

Drawing the second vertex in a curved path

A. Starting to dragB. Dragging away from previous direction line, creating a C bendC. Issue afterwards releasing mouse push button

• To create an S-shaped bend, drag in the same direction equally the previous direction line, and then release the mouse button.

Cartoon an S bend

A. Starting to dragB. Dragging in aforementioned management equally previous direction line, creating an South curveC. Result after releasing mouse button

4.  Continue dragging the Pen tool from unlike locations to create a series of smooth curves.

Create a shape of the size of the layer

Select the destination for the new shape:

• To create a shape on an existing shape layer, select the shape layer.

• To create a shape on a new shape layer with the dimensions of the composition, deselect all layers by pressing F2.

• To supplant a shape path, select the shape path (non the group) in the Limerick panel or Timeline console.

Create shapes from text characters

Utilize Create Shapes From Text to extract the outlines for each character, create shapes from the outlines, and put the shapes on a new shape layer. You tin then use these shapes as you would whatsoever other shapes.

Employ Create Masks From Text to extract the outlines for each grapheme, create masks from the outlines, and puts the masks on a new solid-color layer. You tin and then use these masks as you would any other masks.

Some font families, such as Webdings, include characters that are graphical images, rather than text. Converting text from these font families can exist a expert way to get started with simple graphical elements in shape layers.

Select the text to catechumen to shapes:

• To create shapes for all characters in a text layer, select the text layer in the Timeline panel or Limerick panel.
• To create shapes for specific characters, select the characters in the Limerick console.

• Choose Layer > Create Shapes From Text.
• Right-click (Windows) or Control-click (Mac Bone) the layer or text and choose Create Shapes From Text from the context menu.

• The Video switch for the text layer is turned off.
• The new shape layer is created at the top of the layer stacking social club. The new layer contains one shape grouping for each selected character, plus fill and stroke properties that match the fills and strokes of the text.
• For characters that consist of compound paths—such as i and e—multiple paths are created and combined with the Merge Paths path operation.
• Effects, masks, layer styles, and keyframes and expressions for properties in the Transform belongings grouping of the text layer are copied to the new shape layer or solid-color layer.

Re-create a path from Illustrator or Photoshop

You can copy a path from Illustrator or Photoshop and paste it into After Furnishings equally a mask path or shape path.

To brand the information copied from Illustrator compatible with After Effects, the AICB option must exist selected in the Files & Clipboard section of the Adobe Illustrator Preferences dialog box.

For a path imported from Photoshop to be scaled correctly, the Photoshop document must take a resolution of 72 dpi. 72 dpi is the Resolution setting of documents created in Photoshop using a Film & Video preset.

You tin likewise utilize a copied Illustrator or Photoshop path as an After Effects motion path. Run into Create a move path from a mask, shape, or paint path for more data.

Path fatigued in Adobe Illustrator (left) and pasted into After Effects equally a mask (right)

In Illustrator or Photoshop, select an entire path, so choose Edit > Copy.

In Later on Effects, practise one of the following to define a target for the paste functioning:

• To create a mask, select a layer.

• To replace an existing mask path or shape path, select its Path property.

To paste a path as a shape path, yous must select the Path property of an existing shape in a shape layer. This choice tells After Effects what the target of the paste performance is; if the target isn't specified in this way, After Effects assumes that the target is the entire layer and therefore draws a new mask. If at that place is no Path property—perhaps considering the shape layer is empty—then you can draw a placeholder path with the Pen tool then paste the path from Illustrator into the placeholder path.

Cull Edit > Paste. If you paste multiple paths into a shape path, the first path goes into the shape path, and the remaining paths are pasted into new mask paths.

Create a shape from a motionpath

You can copy position keyframes, anchor betoken keyframes, or an effect control bespeak's position keyframes and paste those keyframes into a selected mask path or shape path. When you create mask paths or shape paths from movement paths, make sure that you re-create keyframes from a single Position property only—do not re-create the keyframes of any other property.

Draw a motion path with Move Sketch and and so paste the path into a mask path or shape path.

The motility path of the spaceship copied to the groundwork layer, and animated

Create a shape path from a motion path

In the Timeline panel, click the name of the Position property or Ballast Point property from which you want to copy the move path. (This selects all keyframes. To select only some of the keyframes of a movement path, Shift-click them.)

To create a shape layer, printing F2 to deselect all layers, and so click in the Limerick panel with the Pen tool to create a unmarried-bespeak Bezier path.

Press SS to reveal the Path property for the shape. Click the name of the Path property into which to paste the keyframes from the motion path.

Create a mask path from a motion path

Indistinguishable a shape group while transforming

When a shape grouping is selected in group option manner, yous tin indistinguishable the grouping while moving, rotating, or scaling it in the Composition panel.

Hold the Alt (Windows) or Option (Mac OS) central as you elevate to transform a group.

The pointer changes to a duplication arrow ( or ) every bit y'all hold the key and identify the pointer most the group transform box.

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Source: https://helpx.adobe.com/after-effects/using/creating-shapes-masks.html

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