Then you can apply the Camera Lens Blur to your shot to create a simulated rack-focus effect. You can use the Roto Brush tool (introduced in After Effects CS5) to select your foreground images and create a matte. This effect replaces the previous Lens Blur effect and also allows you to use a Blur Map to control the DOF. The Subspace Warp really tackles this problem well, which is great for lower-quality cameras and wide-angle lenses.Īnother feature that will give the Indie filmmaker a lot of post-production Depth of Field (DOF) control is the Camera Lens Blur effect. The warp part comes into play when trying to compensate for lens aberration and foreground object movement, which can make even a stabilized shot look odd. Stabilized shots can also be locked-down and the Warp Stabilizer can try to create the extended edges for you.
But you can also select the Stabilize, Synthesize Edges option, in which the effect will attempt to use image data from previous and subsequent frames to fill in the blanks around the edges that would normally appear with the old Stabilize feature. Stabilization also results in some automatic cropping of your footage by default, as would be expected, and it does save the step of having to rescale and manually crop your layer. The Warp Stabilizer can be set to automatically crop your stabilized footage. The new Warp Stabilizer processes in the background while you work on other tasks. Yes, that’s right-the Warp Stabilizer is an effect, which means you can turn it on or off just like any other effect on a footage layer. While I missed the ability to define stabilization points at first, I quickly forgot about it once I dug into the parameters of the Warp Stabilizer effect. As an automated process, the new Warp Stabilizer does not give you control over the scale or rotation from selected points. Missing from After Effects CS5.5 (but present in previous versions) is the ability to select a point in the frame to stabilize around.
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